MODULE # 5

21st Century Literature from the

Philippines
 SUBTOPIC#1

“”The illiterate of the 21st Century will not be those who cannot read and write, but
those who cannot learn, unlearn, and relearn.”

— Alvin Toffler
 Identify the emerging literatures of the 21st Century;
 Show understanding of various literary text through careful
examination of its elements and meaning; and
 Show understanding and appreciation of the 21st century texts
through writing your own poems and fictions.
 The 21st Century Philippine Literature
In the article Isagani Cruz titled “21st-Century Literature,” he enumerated the so-called 21st-
century literature such as “textual”, graphic novel, performance poetry, prose novel serialized in
blogs, hypertextual poem, eBook, flash fiction, urban legend, chick lit, speculative fiction, and
creative non-fiction.

The said forms of 21st-century literature may have traces of the usual forms of the Philippine
literature but may somehow started veering away from the tradition. According to Remoto (2015),
the works in this century “are seen as sensitive to gender, alludes to technology, show culture as
plural rather than singular, and questions conventions and supposedly absolute norms.”
 The 21st Century Philippine Literature
Readers become part-writers of texts. Prose novels, for example, which used to be printed are now serialized on blogs,
where readers get the chance to suggest change in the plot or the characters. Hypertextual poems allow readers to
move from one website to another because of the embedded links in the words, sometimes not returning to the
original pages at all.

Writers, therefore, are not limited to those who have made big names in the literary circle. Some start writing not only
on personal blogs but on Wattpad. Filipinos who work abroad are able to produce OFW literature. Writers are freer in
the use of the language. Different variants of Filipino – whether formal or informal, English language and dialects
with the corresponding translation are found in both printed and electronically published literary pieces. How
language “performs” on printed page evident in concept writing slowly gets into the new Philippine literary landscape.
 The 21st Century Philippine Literature
Wide range of topics are likewise explored. Issues on women, gays, and lesbians, even the local and national concerns
like clamor for peace and poverty alleviation as well as environmental subjects including the effects of natural
disasters have been articulated. Writers, young and old, in their literary experience are bold enough to have
commentaries about the weaknesses of the government.

Indeed, over the centuries, changes have taken place in the literature of the Philippines. The mushrooming of
periodicals and college papers increased the venue for writing, whether the medium be in English, Filipino, or
vernacular. The presence of award-giving bodies indicate that literary standards have been set. Creative writing
workshops are also testaments to the continuous desire for the improvement of the literary quality of the Filipino
writings. Lastly, it must be noted that technology does not only play an important role in the nation‟s progress in
terms of business and economy but in the development of literature as well.
21st Century Literatures

TextTula
Poetry comes in a wide variety of forms, such as free verse, blank verse, couplet, sonnet, quatrain, cinquain,
diamante, limerick, haiku, and ballad. Many forms, such as haiku and sonnet, were originally developed in other
languages but became popular with poets writing in English. Thus, form in poetry refers to the way words and
sentences are structured in a poem, and the kind of sounds that may come within a given structure.
One of the most recent genres in Philippine Literature is the text tula, a poetry genre mastered by Frank Rivera
where entire poems are written and read on mobile phones. Though usually short due to the necessity of the
number of characters allowed in text messaging, the elements of poetry are still present in this genre.
 21st Century Li t eratures

Chicklit or Chickliterature
Chick lit or Chick literature is genre fiction which addresses issues of modern womanhood, often humorously and light-heartedly. The genre became
popular in the late 1990s, with chick lit titles topping bestseller lists and the creation of imprints devoted entirely to chick lit. Although it sometimes
includes romantic elements, chick lit is generally not considered a direct subcategory of the romance novel genre, because the heroine's relationship with
her family or friends is often just as important as her romantic relationships.
Here in the Philippines, industry insiders place its debut to have taken place in 2002, which is about the time Summit Books began publishing English-
language novels for young, female urbanites. Since then, chick lit has become one of the top money-makers of the local book industry, with its books
having print runs far beyond those of other local titles. The usual print run for other books is 1,000 copies each. Summit, which is credited even by its
rivals as having gotten chick lit going, has printed at least 10,000 copies of each of its 12 chick-lit titles. Three of these have enjoyed second print runs.
 There are several chick lit available in the country and one of the notable authors of the 21st
century chick lit is Mina Esguerra who is very vocal when it comes to discussing the ideas and
concepts about chick lit.

Mina V. Esguerra writes contemporary romance and young adult novellas. She has a bachelor's
degree in Communication and a master's degree in Development Communication, put to good use
in her work as trainer and content management consultant.

When not writing romance, she is president of communications firm Bronze Age Media,
development communication consultant, indie publisher, professional editor, wife, and mother. She
created the workshop series "Author at Once" for writers and publishers, and #romanceclass
for aspiring romance writers.

Her young adult/fantasy trilogy Interim Goddess of Love is a college love story featuring gods
from Philippine mythology. Her contemporary romance novellas won the Filipino Readers' Choice
MinaV. Esguerra awards for Chick Lit in 2012 (Fairy Tale Fail) and 2013 (That Kind of Guy). Mina lives in Metro
Manila, Philippines, with her husband and daughter.
21st Century Li t eratures

Another important influence of the Spanish period is found in the plays called linambay (known also as moromoro because of its
anti-Muslim theme), a regular fare at town fiestas that involved parti- cipation of the whole rural community and attracted
audiences from the neighboring towns. The prose narratives developed into the sugilanon or short story, the first example of which
is ―Maming‖(1901) by Vicente Sotto, the ―father of Cebuano letters‖; and later into the sugilambong or novel. The press
contributed much to the development of literature by regularly publishing works of local writers, especially in the three decades
before World War II. The Cebuano writer„s craft was honed in early translations of European fiction and imitations of American
models, as shown in the works of Juan Villagonzalo, Uldarico Alviola, Angel Enemecio, Flaviano Boquecosa, Sulpicio Osorio, Nicolas
Rafols and others. Pre-Commonwealth fiction was mostly nationalistic and didactic in spirit, to be replaced later by more escapist
fare like stories of love, detection and adventure. A similar shift was seen in drama, but the more popular plays were a combination
of social criticism and entertainment, as in the works of Buenaventura Rodriguez, Piux Kabahar and Florentino Borromeo.
21st Century Li t eratures

Speculative fiction
Speculative fiction is a broad umbrella category of narrative fiction referring to any fiction story that includes
elements, settings and characters whose features are created out of human imagination and speculation rather
than based on attested reality and everyday life. That encompasses the genres of science fiction, fantasy, science
fantasy, horror, alternative history, and magic realism.

At the turn of the millennium Speculative Fiction got a much needed boost when the country„s most prestigious
literary awards body, the Don Carlos Palanca Memorial Awards for Literature added the ―Future Fiction‖ category
(in both Filipino and English languages).
21st Century Li t eratures

• Fantasy- Include es elements and beings from human cultural imagination, such as mythical creatures (dragons and
fairies, for example), magic and magical elements, sorcery, witchcraft, etc. The Lord of the Rings, Harry Potter

• Science fiction-Features technologies that do not exist in real life (but may be supposed to do in the future), including
time travel, interstellar travel, flying cars and also beings and societies from other planets (aliens) Star Wars, Planet of
the Apes

• Horror-Somewhat similar to fantasy, but focusing on terrifying, evil and often powerful beings, such as monsters and
ghosts. Also aims to transmit actual fear and confusion to the reader/watcher. A Nightmare on Elm Street, Case 39
21st Century Li t eratures

• Utopia-Takes place in a highly desirable society, often presented as advanced, happy, intelligent or even perfect or problem-free.

• Dystopia-Takes place in a highly undesirable society, often plagued with strict control, violence, chaos, brainwashing and other negative
elements.

• Alternate history- Focusing on historical events as if they happened in a different way, and its implications on the present.

• Apocalyptic- Takes place before and during a massive, worldwide disaster.

• Post-apocalyptic- Focuses on groups of survivors after a massive, worldwide disaster.

• One of the 21st century speculative fiction writers in the country is Ian Casocot. His work „The Sugilanon of Epefania's Heartbreak‟ is a
fusion of magic realism and a love story.
Ian Rosales Casocot was born in Dumaguete City in 1975, and studied in the International
Christian University in Tokyo, Japan, and in Silliman University, where he graduated cum
laude with a Bachelor in Mass
Communication degree. He was a fellow for fiction in English in the National Writers'
Workshops in Dumaguete, Baguio, Cebu, and Iligan. He is currently working on a Masters
Degree in Creative Writing at Silliman University, where he is a faculty of the Department
of English and Literature. He has won several Don Carlos Palanca Awards and an NVM
Gonzalez Prize for his fiction, and was chosen as one of the authors for the UBOD New
Writers Series 2003 by the country's National Commission for Culture and the Arts
(NCCA).
In 2002, he edited FutureShock Prose: An Anthology of Young Writers and New Literatures,
which was nominated as Best Anthology in the National Book Awards given by the Manila
Critics Circle.
In 2005, the NCCA published his first short story collection, Old Movies and Other IanRosalesCasocot
Stories. His children's book Rosario and the Storiesgarnered
21st Century Li t eratures

him an Honorable Mention from the 2006 PBBY-Salanga Writer's Prize, and his stories "A Strange Map of Time"
and "The Sugilanon of the Epefania's Heartbreak" has won top prizes in the Fully-Booked/Neil Gaiman Philippine
Graphic/Fiction Awards. His novel "Sugar Land" was longlisted in the 2008 Man Asian Literary Prize. One of his
stories, "Old Movies," has been translated to French. He has published in Story Philippines, The Sunday Times,
Sands and Coral, Dapitan, Tomas, Philippines Free Press, Philippine Graphic, Sunday Inquirer Magazine, Philippine
Daily Inquirer, SunStar Bacolod, and MetroPost. He is a correspondent of the Philippine Daily Inquirer, and writes
two weekly columns, "The Spy in the Sandwich," for StarLife Magazine of the Visayan Daily Star, and "Tempest in
a Coffee Mug" for MetroPost.
Aguila, A. A., Ariola, J., & Wigley, J. J. (2008). Philippine Literatures: texts, themes, approaches . Manila: UST Publishing
House.
Menoy, J. Z. (2016). 21st Century Literature from the Philippines and the World. Mandaluyong: Books Atbp. Publishing
Corp.
Sanchez, L. J., Agustin, R. T., Cuartero, J. M., & Lizada, M. A. (2016). 21st Century Literature from the Philippines and
the World. Quezon : Vibal Publishing House.
.
 SUBTOPIC#2

BYBJPATINO

“Looking at the past must only be a means of understanding more clearly what and
who you are – so you can more wisely build the future.”

— Paulo Freire
 Analyze the figures of speech and other literary
techniques and devices in the poem;
 Appreciate the use of poetic devices in the development of
meaning in a poem; and
 Respond critically to the essay and consequently articulate
this response through creating a visual interpretation of
the poem.
Tofully understandthe lesson,youneedto readthe poem
first. Checkthe supplementarypagetitled:
Apoonthe Wall byBJPatino
Meet the author

Bernard Julian “BJ”Patino is a graduate of Ateneo de Manila University,

where he also obtained his master‟s degree in Literature. He is
currently a faculty member of the English Department of Ateneo de
Manila University and a photojournalist for Mindanao News and
Information Cooperative. He is affiliated with the Davao Writers Guild
and the Mindanao Project. He is currently working on obtaining his
BJPatino
master‟s degree in Anthropology.
 Background

The Marcos era was seen to be one of the most oppressive periods in Philippine history, and yet, a quick glance
at the internet reveals a number of claims that the this era was supposedly the best time in Philippine history.
 Background

Oppression has been seen in many instances in our history. And it is natural that our literature reflects our
engagement with this reality. In particular our poets have used the subject of oppression as a beginning,, creating
situations that lead us to a greater understanding of the issues at hand and how these affect our lives. Poems
present these situations via a speaker in the poem, or a persona. The persona in the poem is usually not the poet
but is rather a character or a mask which a poet uses as his/ he “voice “ in the poem. The persona can be a
character in the poem who is involved in the situation, or the persona can be an observer who is watching the
situation unfold.
 Apoonthe
Wall
 ANALYSIS
This phrase was repeated
several times in the poem.
Placed strategically to
The poemis clearly setin
the house where the
There‟s this man‟s photo on the wall interrupt the “story” of the
persona as he narrates it to
persona lives, yet the
following lines suggest of Of my father‟s office at home, you someone.
a place or a room which
functions as an extension Know, where father brings his work,
of his father’s workplace.
Aplacewhere,according to Where he doesn‟t look strange The images paints a picture
the persona,“he of a soldier or someone
doesn’t look strange” Still wearing his green uniform employed in either defense
“wearing his green or law enforcement. The
uniform”. And colored breast plates, where, father could be a military
general as suggested by the
To prove that he works hard, he image of “colored breast
plates”.
 ANALYSIS Apo is the central metaphor of
the poem. It represents
Ferdinand Marcos. Apo means
Also brought a photo of his boss leader.
The way this phrase interrupts the
“conversation” between the
Whom he calls Apo, so Apo could
The use of personification in
persona and the addressee creates You know, hang around on the wall describing the influence of the
an atmosphere of uncertainty or
doubt. Somehow it feels like the Behind him and look over his shoulders photo of Apo to the father, and
possibly to the persona as well,
personais beingcareful with how he
shareshisobservations. To make sure he‟s snappy and all. makes the photo, despite being
inanimate”scary” andpowerful.
Father snapped at me once, caught me
Thepersonais the man’schild, a son
asrevealed in the line “no placefor Sneaking around his office at home
aboy”
Looking at the stuff on his wall- handguns,
Plaques, a sword, medals a rifle-
 ANALYSIS The comparison between
the photo of Apo (on the
wall of his father’s
Again, the poem is
Told me that was no place for a boy office) andthe imageof
That photo of Apo on the wall was already Looking at me around, Jesus (found in the
clearly set in the homeof Only men, when he didn‟t really hallway of the boy’s
theHis eyes
boy following
, yet there me
is like
a he was That scary Jesus in the hallway, saying
house) creates an even
place where he is not Have to tell me because, you know, more frightening mood in
allowed to be in because
the poem. The Apo, like
it was a “place for no
Jesus, knows everything
boy” and “only men” are
that is happening inside
allowed inside.
the homeof the child and
is keeping an eye on the
boyasshownin these two
lines: “looking at me
around” “his eyes
I know what you‟re doing. following me”.
 ANALYSIS

The poem Apo on the Wall, portrays the experience of the Filipinos during the Martial Law years. By using a child/ boy‟s
“voice” in “narrating” the situation and the clever use of the phrase “you know”, BJ Patino had successfully channelled
the discomfort felt by the persona to the readers. We felt the wrongness of the situation of the boy feeling scared,
unsure, and unsafe within the walls of his own home because of the ever-watching presence of Apo.

This situation clearly portrays the struggles of the Filipinos, especially the youth, during the Martial law years. It also
portrays how difference of opinion or allegiance affected the relationship of the father and his son. Marcos was able to
invade and control the people in numerous ways. Creating a permanent atmosphere of uncertainty, doubt, and fear
among people that we even see a boy struggle to finish his “story”.
Sources:

Uychoco, M. T. (2016). 21st Century Literature from the Philippines and the World.
Quezon: Rex Book Stre Inc.
Lapingcao, A.S. (2018, July 13). 21st Century Literature. Retrieved from
http://bertsnewblog.blogspot.com/2018/07/apo-on-wall-by-bj-patino.html
 SUBTOPIC#3

BYDARYLLDELGADO

“As we feed continually, we also acknowledge the perennial nature of our hunger”

-- Merlinda Bobis
 Explain the relationship of context with the text‟s meaning;
 Relate how plot and plot devices help create the reading experience in works of fiction; and
 Respond critically to the story and articulate the response through a reflective essay.
Tofully understandthe lesson,youneedto readthe
story first. Checkthe supplementarypagetitled:
PreludesbyDaryll Delgado
Meetthe
author
• She is a brilliant fictionist in the 21st century and the author of
the short story collection AFTER THE BODY DISPLACES WATER

• She has become a more voracious reader than ever. As a young

girl, the books she read made her want to be a detective, or a
castaway sailor, a Russian priest, a Japanese boy, or a dog.

Daryll Delgado
 Whatisa
•
Prelude?
This is an event or situation that serves as an introduction
to
something which is more important.

• It is similar to a prologue; preludes are short pieces that introduce something

larger

• It is an opening act which gives a brief glimpse or preview of something larger.

 ANALYSIS
“A mandiedsinging. Hehadsungatotal of three songsbeforeheheavedhis last breath andcollapsedonachair. It
happenedat the Municipal Hall. Thetime wasthree in the afternoon. Thesunwashigh. Heat seepedinto people's
bones.Tubawarnedtheir bloodevenmore.Someone'sninth deathanniversarywasbeingcelebrated. Anotherman's
life in that party ended.It endedonahigh note.”

The story opened with a very impersonal and detached description of a man‟s death at the
municipal hall. The next paragraph, we learned that the man who died is Nenita‟s husband.
 ANALYSIS
“At that very moment, Nenita the wife, wasat home,picking leavesfor amedicinal brew.Earlier that day, Nenita
hadbeenlying onthe sofa, slipping in andout of an afternoon sleep sheshould not haveheeded, embracingWilly
Revilamein herdreams.Shehadhadnoplansof taking anap.Shehadjust wantedto catcha glimpseof Willy after
shesentoff hergrandsonfor the city, just beforesheresumedher cooking.”
Nenita‟s character was introduced in the second paragraph. She was introduced as the wife of the man who died singing.
At this point we see that the plot is structured differently from the usual order that we are familiar with. The story
started in the death of the man, followed by the events that happened to the man‟s wife, Nenita, before his death. Then,
it was followed by flashbacks from the past----when Nenita‟s husband is sick and she welcomed him back, the rumors
circulating about the affair of judge‟s wife and her husband, the memories of Nenita‟s siblings-on-law criticisms, the
conversation with her herbalist----before coming back in the present with her husband dying after singing the high
notes of the song.
 ANALYSIS
Another interesting fact about the story is the lack of names of the other characters. Nenita is the only one in the story who was
given a name, the rest are addressed using generic or common names such as husband, siblings-on-law, and herbalist.

By doing this, the readers‟ attention were focused to Nenita, her story and her actions.

It was no secret in their community that Nenita‟s husband is a womanizer and is having an affair with judge‟s wife. What is
surprising is Nenita‟s lack of reaction towards all the injustices heaped on her not only by her husband but by his family as well.

Nenita took her husbandbackagain when,with the moneyher in-laws sentfor his medication hewentawayto bewith oneof his women.Peoplesay her
husband went to Manila with the judge's widow. Nenita never confirmed this. Nenita never asked- Shejust took her husband back. Nursed him back to
healthagain.”

“She used to feel slighted whenever her siblings-in-law recalled with such intense, exaggerated regret, the way their brilliant brother squandered his
moneyandhis talent andoh,all the wrongdecisionshemadealongthe way.Including, though they wouldneversaydirectly, his decisionto marry Nenita.
“
 ANALYSIS
So, did Nenita killed her husband? Is a woman who spent her time silently nursing her husband
back to health capable of murder?
“As soonasNenita wascertain that hergrandsonhadleft, shepositionedthe electric fan in front of her,sat on the
sofaandturned onthe TVto catchthe last segmentof herfavorite show.Thenext thing sheknew,Willy Revilame
waspulling herinto hisarms,soothingherwith wordsof condolences,beforehandinghersomecash andoffering his
left cheekfor akiss.

Remember that the plot started in the middle, therefore, this event had happened prior to the
death of the husband, yet Nenita‟s dream involved another man comforting her with words of
condolences.
 ANALYSIS
“She could have prepared him then that other brewher herbalista friend hadsuggestedat the time, the onethat
would makehis balls shrink, give him hallucinations, makehis blood boil until his veins popped. But shedidn't, of
course.”
As stated in the text, Nenita has the means to kill her husband but she did not do it…well at
least not right away. From what can be gathered from the text, Nenita is not really indifferent from
the actions of her husband. She is definitely affected by it, especially when her husband started
singing again for another woman.
“Shehadnot heardherhusbandsingthis wayin averylongtime, eversincehebecameill-when the sugar and
alcohol in his bloodburnedthe sidesof his heart, almostgetting to the coreof it. “
 ANALYSIS
The idea was further proven by the last paragraph of the story:

“Nenita gatheredthe leavesandwentbackinsidethe house.Just aswell, becauseit wasstarting to bevery,

intolerably, hot outside.Certainly hot enoughto boil anoldman'sbloodandpophisveins,shethought.”

The image of heat in the story does not only pertain to the sweltering heat of that afternoon, but
also of the “boiling” emotions of Nenita for her husband. Her anger must have reached its peak
and prepared the other tea for her husband, which he takes with his dinner.
 Gender
Inequality
The story preludes explores society‟s double standard when it comes to women. Nenita represents
all women who were “slighted” and subjected into this injustice.
“Nenita forcedherself out of the dreamandthe motionbrought herentire bodyupandout of the sofa.Shefoundherself standingin
the middleof the sala,face-to-face with ateary-eyedWilly. Herheart wasbeatingwildly. Herarmpits weresoakedin sweat.Herhair
bunhadcomeundone.Shelookedaroundguiltily, shethought sheheardherhusbandswearat her.Shefelt her husband'spresencein
the living roomwith her, evenif sheknewhewasat the deathanniversaryparry. Shequickly turned off the TVandmadeherwayto
thekitchen.”

Nenita‟s reaction upon waking up after dreaming of Willie Revillame verifies this idea. She did not do anything that
can be tagged as infidelity but still she feels guilt for merely dreaming of another man. Meanwhile, her husband,
who was known as a womanizer, did not even show any remorse towards his actions to Nenita.
 Analysi
s
In a society in which men are given more privileged and leeway than women, it is not
surprising that someone like Nenita exists. This is not to justify that her actions or
her form of revenge is correct and just, but merely a reminder that women can be as
vicious as men. That injustice gives birth to anger, anger is capable of destruction,
and revenge knows no gender.
Aguila, A. A., Ariola, J., & Wigley, J. J. (2008). Philippine Literatures: texts, themes, approaches . Manila: UST Publishing
House.
Menoy, J. Z. (2016). 21st Century Literature from the Philippines and the World. Mandaluyong: Books Atbp. Publishing
Corp.
Sanchez, L. J., Agustin, R. T., Cuartero, J. M., & Lizada, M. A. (2016). 21st Century Literature from the Philippines and
the World. Quezon : Vibal Publishing House.

.
 SUBTOPIC#4

BYROWENATIEMPO-TORREVILLAS

“And in the end, all is nothingness. The Coyote remains unfulfilled and the Roadrunner
continues to run down the endless desert highways, merely passing by.”

— Rowena Tiempo-Torrevillas
 Compare and contrast the various 21st Century literary
genres and their elements, structures, and traditions across
the globe.
 Explain the concept of ennui as it relates to the structure of
Teimpo-Torrevillas‟ essay.
 Respond critically to the essay and consequently articulate
this response through the use of social media.
Tofully understandthe lesson,youneedto readthe ESSAY
first. Checkthe supplementarypagetitled:
TheRoadrunnerbyRowenaTiempo-Torrevilas
Meet the author
Rowena Tiempo Torrevillas was born on 13 June 1951 in Dumaguete City. She has an AB and an
MA Creative Writing, 1971 and 1978, and a Ph.D. English Lit., 1983, all from SU. She was an
associate program administrator of the International Writing Program, University of Iowa.
Her several awards are as follows: the Palanca for poetry: 3rd prize, 1980, for The Running
Shadow and the Secret Tree, with Alfred Yuson; 1st, 1983, for Seeress and Voyager, with G. H.
Abad; the Palanca also for fiction in English; the UMPIL Distinguished Writer Award, 1984.
Her works include: Mountain Sacraments/Selected Poems, DLSU Press, 1991; The Sea-Gypsies
Stay, forthcoming 1999. Fiction – Upon the Willows and Other Stories , New Day, 1980. Also co-
ed. with Paul Engle, The World Comes to Iowa, Iowa State U. Press, 1987. Essays – Flying Over RowenaTiempo-Torrevilas
Kansas, Giraffe Books, 1998.
Her parents are also writers, Edilberto Tiempo and National Artist for Literature Edith Tiempo.
 TheRoadrunnershow

The Road Runner Show is a 1966-1972 animated anthology series which compiled theatrical Wile E. Coyote and the
Road Runner cartoons from the Looney Tunes and Merrie Melodies, which were produced by Warner Bros. Cartoons
between 1949 and 1964. Several of the shorts, especially the ones produced from 1965 onward, were produced by
DePatie–Freleng Enterprises after Warner Bros. closed their animation studio. DePatie–Freleng Enterprises
provided the animation for the show's intro and closing credits
ANALYSIS

Doing everything and therefore nothing is something that many us experience not
just online but in our daily lives as well. These habits are influenced by something
cultural critics call "material conditions." The distinguished historians and literary
critic, Resil Mojares, wrote this interesting take on mall culture:

The malls are something else. They are no longer just sites of commerce but "cities" of
leisure and aimlessness where people consumenot just material goods nut other things as
well--moments of ease, bright surfaces, illusions of luxury, sociality (or its apparitions),
amusement,anonymity...MallsareourpostmodernLabyrinth.
 ANALYSIS
What does all this aimlessness lead to? The French have a word
for this, which philosophers and thinkers utilize in their own
examinations of modern life: ennui. Roughly translated in English
as "boredom," ennui refers to that lethargic feeling wrought out
of routine, out of the repetition of meaningless things.

The essay 'The Roadrunner' is a contemplation of a sensibility

and disposition. In this somewhat humorous but also poignant
piece, Rowena Tiempo-Torrevilla's piece, allows us to explore not
just her insights on the matter but how she organizes her ideas
into a cumulative thrust.
 ANALYSIS

Remember that this essay explores the significance of structure in understanding themes
of ennui and aimlessness in modern life.
Do the activities you enjoy doing (refer to the selfie showing your fave activities) fall
under the same idea? Are those activities a "waste of time"?
 ANALYSIS
The author mentions a philosophical concept called nihilism. Nihilism in a very basic sense refers to an
attitude that finds meaninglessness in things, social structures, rituals/ habits, and moral codes. How
does the author apply this concept of nihilism in her interpretation of the Roadrunner cartoon?
 ANALYSIS
The author uses terms such as catharsis (emotional release), which originate
from classical Greek tragedy, to describe the perennial conflict between the
Coyote and the Roadrunner. There are three important elements in a classical
tragedy:

 hubris (pride) which often functions as the tragic character's flaw.

 the tragic character's downfall (how he falls from his grace with his
hubris disintegrating)
 recognition (what the tragic character realizes through his fall).

Can you identify such elements in the Roadrunner cartoon?

 ANALYSIS

In your Reading and Writing class, you learn that an essay is a structures
articulation of ideas in that the insights are effectively organized to a coherent and
cumulative conclusion. There are three ways to organize an essay:

• chronological (arrangement according to the order of events)

• spatial (arrangement according to an an ordered way of looking at space)
• importance (arrangement according to the weight/ value of the ideas.
Arranging your ideas based on gradation of concepts [e.g personal to politics,
experiential to philosophical])
Look at the essay again and identify how the author organizes her essay.
 REFLECTION

According to Tiempo-Torrevillas, the problem with the Roadrunner cartoons is that they result in nothingness. The
investment the Coyote makes in his different devices and traps, the escape of the Roadrunner, the consistent downfall of
the Coyote in his attempts, cumulatively lead to a bland, empty ending with absolutely no insight at all. The rituals and
performances, however plentiful, lead to nothing.

In what sense is this nihilism, this nothingness, brought yo you, the viewer, at the end if the cartoon? So much so that
you share the bland tragedy of the coyote?
Sources:

Sanchez, L. J., Agustin, R. T., Cuartero, J. M., & Lizada, M. A. (2016). 21st Century
Literature from the Philippines and the World. Quezon : Vibal Publishing
House.
https://en.wikipedia.org/wiki/The_Road_Runner_Show