FINALS

NORTH
AMERICAN
LITERATURE
 Name: Ma. Bless Anzhela E. Fernandez
Grade and Section: G-12 St. Augustine of Hippo
Subject: 21st Century Literature from the Philippines and the World
Subject Teacher: Mr. Cristian Paul T. Madelo

Mastiff
By Joyce Carol Oates
SUMMARY

Mariella and Simon set off on trail together. At the start, they notice a giant mastiff on a leash with its
owner on the trail. The woman notes how massive the mastiff is. However, the owner and dog go off on
another trail. The man and woman walk single file up a trail to reach Wildcat Peak. There are
differences in how the two experience the world and the woman notes this while they walk. The hike
was his idea and the woman was a little bit dubious about it . However, the two were in the early stages
of dating. She notes that they had gone on walks, but a challenging hike felt like something else. They
had made it to the peak and were now making their way down. Mariella is less prepared for a full hike
than Simon, so he regularly is watching over were. Both increasingly found fault with one another in the
time leading up to and throughout the hike. Their dynamic on the trail frustrates them both with his
insistence on certain things, and her desire not to be held down by what she sees as extras. At one point,
he begins taking pictures almost to the point of ignoring her. As people pass on the trail, she strikes up
conversations with them which mystifies him. They encounter other dogs on the trail. She can tolerate
the smaller dogs but a nasty encounter with a German shepherd when she was a kid still made her
apprehensive of the larger ones. She recognizes that she had yet to tell Simon much of her past. She
viewed her past as a weakness and chose not to reveal it and while they were intimate, she didn't
consider them lovers yet. She further explains that she doesn't want to work through getting into the
married state but simply arrive at it. Finally, she interrupts his shooting to ask when they will return.
Though frustrated, she recalls earlier as they drove here how content she was with him. Both were
lonely in their lives and looking for something more. However, she realizes that in some ways, going
with Simon would be settling. As they descend the trail, self-absorbed in their own thoughts, they do
not notice that sound of a dog nearby. As two trails converge, the mastiff is discovered, bounding
towards them. As the dog attacks, Simon thrusts himself in-between to protect her. The owner gets the
dog under control and runs to the nearest ranger station to get help. Mariella holds onto Simon while
waiting. The man's face is torn and bloody but he is awake and insists he can walk to the station. At the
station, he is patched up a bit but then taken to the hospital in an ambulance. The man with the mastiff
had fled but people had gotten information. Mariella takes the car to the hospital to find Simon. She
finds out that on his way to the hospital he had suffered a seizure and needed more help. When
challenged about her relation to the man, she insists that she's his fiance. She stays at the hospital for an
indefinite time, hoping he doesn't die. She contemplates Simon's willingness to sacrifice himself for her
and what that meant to both of them. While waiting, she looked through his backpack and discovers that
he is sixteen years old than him, much older than previously believed. She also discovers that he has a
heart condition and tells the nurse. Later, they tell her that they had been able to stabilize him. However
instead of going home now, she goes up to ee the man and watch him. He is somewhat conscious and so
she talks to him until she has to leave. She reflects on her connection with Simon and what it means to
be a man and a woman in a relationship and what each must give and take. She also revisits the day's
events but can't seem to enjoy the view in her head without hearing the sounds of the mastiff.
 Where Are You Going, Where Have You Been?
By Joyce Carol Oates

Connie, fifteen, is preoccupied with her appearance. Her mother scolds her for admiring herself in the
mirror, but Connie ignores her mother’s criticisms. Connie’s mother urges her to be neat and responsible
like her older sister, June. June, who is twenty-four and still lives at home, works as a secretary at
Connie’s high school. She saves money, helps their parents, and receives constant praise for her maturity,
whereas Connie spends her time daydreaming. Their father works a lot and rarely talks to his daughters,
but their mother never stops nagging Connie. Connie is often so miserable that she wishes she and her
mother were dead.Connie is grateful for June for setting one good precedent: June goes out with her
girlfriends, so their mother allows Connie to go out as well, with her best friend. Connie’s friend’s father
drives them to a shopping plaza in town and returns later to pick them up, never asking how they spent
their time. The girls often sneak across the highway to a drive-in restaurant and meet boys.One night, a
boy named Eddie invites Connie to eat dinner with him, and Connie leaves her friend at the restaurant’s
counter to go with him. As they walk through the parking lot, she sees a man in a gold convertible. He
smiles at her and says, “Gonna get you, baby.” Connie hurries away, and Eddie notices nothing. They
spend three hours together, at a restaurant and then in an alley.Connie spends the summer avoiding her
mother’s prying questions and dreaming about the boys she meets. One Sunday, her parents and June
leave her at home alone while they go to a family barbeque. Connie washes her hair and dozes while she
lets it dry in the sun. When she gets hot, she goes inside and listens to the radio. She is startled by the
noise of a car coming up her driveway. From the window she sees that it’s a gold convertible, and she
grows afraid. She walks into the kitchen, looks out the screen door, and realizes that the driver is the man
she saw in the parking lot the night she met Eddie.

The man grins and begins talking to her. Connie is careful not to show any interest and tells him several
times that she does not know who he is. He gets out of the car and points to the words painted on the door.
His name, Arnold Friend, is written next to a picture of a round smiling face, which Connie thinks
resembles a pumpkin with sunglasses. There is another man in the car, whom Arnold introduces as his
friend Ellie. Arnold asks Connie to get in the car, but she says she has “things” to do. He laughs, and
Connie notices he seems unsteady on his feet. She asks how he knows her name, and he says he knows a
lot of things about her. He rattles off the names of her friends and tells her where her parents are. He
demands to know what she is thinking and tells her that today she is going for a ride with him. He asks
whether she saw his sign, and he draws a large X in the air. Connie thinks that she recognizes parts of
him, but she does not know how or from where. When she asks him how old he is, he stops smiling and
says they are the same age, or maybe he’s just a little older, which she immediately knows is a lie. To
distract her, he makes fun of Ellie, who is listening to music in the car. He too looks much older than
Connie, which makes her feel dizzy with fear. Connie tells Arnold he should leave, but he insists on
taking her for a ride. She recognizes his voice as the voice of a man on the radio. She tells him again to
leave and again grows dizzy with fear as he starts telling her what her parents are doing at that precise
moment at their barbeque. She is both horrified and fascinated by his accurate descriptions. Arnold tells
Connie that she is his lover and will give in to him and love him. She screams that he is crazy and begins
to back away from the front door. She tells him to leave and threatens to call the police. Arnold, moving
unsteadily toward the porch, tells her he will not follow her into the house—unless she touches the phone
and tries to call the police. She tries to lock to door, but her fingers are shaking too much. Arnold points
out that he could break down the door. She asks him what he wants, and he says he wants her, that after
seeing her that night, he knew she was the one for him. He becomes more threatening, telling her that if
she doesn’t come out of the house, he’ll do something terrible to her family when they come home.

Arnold asks Connie whether she knows one of her neighbors, a woman who owns chickens. Connie,
shocked, replies that the woman is dead. Arnold says again that she should come outside or her family
will get hurt. Connie runs from the door and grabs the telephone. In a rushed, blurry scene, something
happens: Connie is sweating and screaming for her mother; she can’t dial the phone; and Arnold is
“stabbing her . . . again and again with no tenderness.” Oates does not say exactly what happens, but at the
end of the scene, Connie is sitting on the floor, stunned and terrified. From the door, Arnold tells her to
put the phone back on the hook, and she obeys. He tells her quietly where they’re going to go and tells her
to come outside. She thinks to herself that she will never see her mother again and tries to figure out what
to do. At his command, she stands up. She feels as though she is watching herself walk toward the door,
open it, and walk outside toward Arnold. He comments on her blue eyes, even though she has brown eyes.
Connie looks out at the vast expanses of land behind him and knows that’s where she is going.
 MIDDLE
EASTERN
LITERATURE
Name: Ma. Bless Anzhela E. Fernandez
Grade and Section: G-12 St. Augustine of Hippo
Subject: 21st Century Literature from the Philippines and the World
Subject Teacher: Mr. Cristian Paul T. Madelo

Pipes
By Etgar Keret

The narrator reflects on their experiences in seventh grade when a psychologist diagnosed
them with severe perceptual disorders due to an inability to notice a detail in a picture. This
diagnosis led to a transfer to carpentry school, and later, metalworking class. Despite
excelling in metalworking, the narrator finds no real enjoyment in anything. They eventually
start working in a pipe factory, creating unique pipes and rolling marbles through them after
hours. One day, they create a pipe so intricate that marbles placed inside seemingly
disappear. This sparks an idea, and the narrator decides to make a larger pipe to crawl into
and disappear.

Over 20 days, the narrator constructs the giant pipe, assembling it on the last night. When
it's complete, they crawl inside with the intention of disappearing. However, instead of
vanishing, they find themselves in a different place with wings and a circle over their head.
They believe they are in heaven, surrounded by others like them who found unique ways to
get there. The narrator learns that heaven is not just for those who led virtuous lives but for
those genuinely unable to find happiness on Earth. People who committed suicide return to
live their lives again, but those who don't fit in the world end up in heaven.

The story explores themes of alienation, the search for happiness, and the unconventional
paths people take to find their own version of paradise. It combines elements of surrealism
and existentialism, encouraging readers to contemplate the idea of a personal heaven for
those who struggle to find contentment in the earthly realm.
 The Bus Driver Who Wanted to be God
By Etgar Keret

The narrative centers around a bus driver with a peculiar ideology that he strictly adheres to—
refusing to open the bus door for anyone who is late, regardless of their circumstances. This is
not driven by malice but by a conviction in the driver's mind that sacrificing a few seconds for
a late passenger would unjustly impact the entire bus full of people. Despite being perceived
as a mean-spirited individual by the passengers, the driver sees himself as upholding a
principle of fairness.

One late passenger, Eddie, stands out in this story. Eddie works as an Assistant Cook at a
restaurant named The Steakaway, and despite his pleasant personality, he is plagued by a
condition that causes him to oversleep by precisely ten minutes. This chronic tardiness has
already cost him opportunities in life. Eddie's plight is exacerbated by the bus driver's
uncompromising stance on not opening the door for latecomers.

Eddie, however, finds a glimmer of hope in the form of a chance encounter with a girl he calls
Happiness. This girl exhibits kindness and understanding when Eddie serves her a less-than-
perfect dish at The Steakaway. Their connection is fleeting, with no exchange of names or
contact information, but they agree to meet the next day at the Dolphinarium.

Determined not to let his chronic lateness ruin this opportunity for happiness, Eddie takes
extreme measures. He stays awake, lines up multiple alarm clocks, and even orders a wake-up
call to ensure he doesn't oversleep. Unfortunately, his condition prevails, and he falls asleep
watching the Kiddie Channel, jeopardizing his chances of meeting Happiness.

In a desperate bid to catch the bus, Eddie runs tirelessly, fueled by the urgency of finally
having something to lose. The bus driver, following his rigid ideology, closes the door and
starts pulling away. Miraculously, a red traffic light intervenes just in time, halting the bus a
hundred yards past the stop.

Eddie seizes this moment, catching up with the bus and collapsing in front of the driver's door,
gasping for breath. The bus driver, recalling a distant memory of a promise he made to
himself before becoming a bus driver, a promise of mercy and kindness if he were to become
God, is conflicted. Despite his usual stance, he opens the door, allowing Eddie to board.
Eddie, too overwhelmed to express gratitude, is granted a rare exception, leaving the driver
contemplating the intersection of personal mercy and societal ideals.
 AFRICAN
LITERATURE
 What is Third World Literature

The third world is a term coined in the 1950s and used to describe countries that were neither
part of the capitalist/industrialized first world, nor part of the communist second world.
Although the world today is no longer neatly divided into three, the term “third world” is often
used to designate countries in Asia, Africa, and Latin America, especially those with high levels
of poverty. Clearly, the “third world” – where the vast majority of the world’s inhabitants live –
is a socially, culturally, economically, and technologically diverse place (like the first world).
There is much debate, in fact, as to whether the term still holds weight, whether it might be
replaced by terms such as “the Global South” or “developing,” or whether these distinctions
even matter when worlds and cultures are irreversibly intermingled. What does it mean, then, to
study third world literature today? This is a question that we will return to many times
throughout the semester. But in part this means that we will need to understand the conditions of
oppression, dependence, racism and colonialism that third world writers have struggled against
for years. And it also means examining some of the philosophical questions that “third world”
writers address, questions about belief systems, bodies, sexualities, ethics, etc. Furthermore, it
means looking at the specifics of a particular struggle or war or act of violence and examining
individual authors’ aesthetic responses.

Song of Lawino
(My Husband’s House is a Dark Forest of Books)
By Okot p’Bitek

Listen, my clansmen,
I cry over my husband
Whose head is lost.
Ocol has lost his head
In the forest of books.
When my husband
Was still wooing me
His eyes were still alive,
His eyes were still unblocked,
Ocol had not yet become a fool
My friend was still a man then!
He had not yet become a woman,
He was still a free man,
His heart was still his chief.
My husband was still a Black man.
The son of the Bull
The son of Agik.
The woman from Okol
Was still a man,
 The Danger of a Single Story
By Chimamanda Ngozi Adichie
Chimamanda Ngozi Adichie's "The Danger of a Single Story" Ted Talk, in July 2009, explores
the negative influences that a “single story” can have and identifies the root of these stories.
Adichie argues that single stories often originate from simple misunderstandings or one’s lack
of knowledge of others, but that these stories can also have a malicious intent to suppress other
groups of people due to prejudice (Adichie). People, especially in their childhood, are
“impressionable and vulnerable” when it comes to single stories (Adichie 01:43). Adichie
asserts that media and literature available to the public often only tell one story, which causes
people to generalize and make assumptions about groups of people.

Adichie shares two primary examples to discuss why generalizations are made. Reflecting on
her everyday life, she recalls a time where her college roommate had a “default position” of
“well-meaning pity” towards her due to the misconception that everyone from Africa comes
from a poor, struggling background (04:49). Adichie also clearly faults herself for also being
influenced by the “single story” epidemic, showing that she made the same mistake as many
others. Due to the strong media coverage on Mexican immigration she “had bought into the
single story”, automatically associating all Mexicans with immigration (Adichie 08:53). These
anecdotes emphasize how stereotypes are formed due to incomplete information, but one story
should not define a group of people.

Adichie also tackles the effect of political and cultural power on stories. Power not only
spreads a story, but also makes its ideas persist. Adichie states that power can be used for
malintent, through controlling “how [stories] are told, who tells them, when they're told, [and]
how many stories are told” (09:25). Using power to manipulate our understanding of others
can be evidenced by Adichie’s trip to Mexico, where she realized Mexicans were not the
harmful Americans Western media had portrayed them to be. Additionally, influential western
stories have caused people like Adichie to have a limited idea of characters that appear in
literature, since foreigners were not part of them. This is why the first stories Adichie had
written included white characters playing in the snow rather than things reflective of her life in
Africa (Adichie 00:39). Adichie explains how she became enlightened through “the discovery
of African writers”, which “saved [her] from having a single story of what books are” and
becoming another victim of a biased sample of literature (02:36).

Adichie puts her speech in a nutshell stating that “to create a single story, show a people as one
thing, as only one thing, over and over again, and that is what they become” (09:25). Her
conclusion responds to these misconceptions by reiterating the importance of spreading
diverse stories in opposition to focusing on just one. She professes that the rejection of the
single-story phenomenon allows one to “regain a kind of paradise” and see people as more
than just one incomplete idea (Adichie 18:17).
 ASIAN
LITERATURE

Thoughts of Hanoi
by Nguyen Thi Vinh

The night is deep and chill Stainless blue sky,

As in early autumn. Pitchblack jubilant voices of children
It thickens after each lightning flash. stumbling through the alphabet
I dream of Hanoi: village graybears strolling to the temple,
Co-ngu Road grandmothers, basking in twilight sun,
chewing betel leaves
ten years of separation while the children run

the way black sliced by a frontier of hatred. low is all that now?
I want to bury the past Or is it obsolete?
to burn the future Are you like me,
still I yearn reliving the past,
still I fear imagining the future?
those endless nights Do you count me as a friend
waiting for dawn.
Or am I the enemy in your eyes?
Brother, Brother, I am afraid
how is Hang Dao now? that one day I’ll be with the March-North Army
How is Ngoc Son temple? meeting you on your way to the South.
Do the trains still run I might be the one to shoot you then
each day from Hanoi or you me
 Ulysses by the Merlion
by Edwin Thumboo

I have sailed many waters,

Skirted islands of fire,

Contended with Circe
Who loved the squeal of pigs;
Passed Scylla and Charybdis
To seven years with Calypso,
Heaved in battle against the gods.
Beneath it all
I kept faith with Ithaca, travelled,
Travelled and travelled,
Suffering much, enjoying a little;
Met strange people singing
New myths; made myths myself.

But this lion of the sea

Salt-maned, scaly, wondrous of tail,
Touched with power, insistent
On this brief promontory...
Puzzles.

Nothing, nothing in my days

Foreshadowed this
 The Open Boat
By Stephen Crane

It is just before dawn, and not far off the coast of Florida, between the open sea and the surf, are four
men in a dinghy. The ship on which they were sailing sank overnight, and they are the only survivors,
left to bob up and down in the waves until their bathtub-sized boat capsizes and they too drown. They
do not have a moment’s peace. The ocean is so rough that one indelicate move will upset the dinghy
and send them into the winter waters. Each man, despite not having slept for two days, works tirelessly
to keep the boat afloat. The correspondent and the oiler share the work of rowing, while the cook
huddles on the floor of the dinghy, bailing water. These men take their direction from the captain, who
was injured during the shipwreck and sits grimly in the bow, the memory still fresh of his ship
engulfed in the sea and the crew’s dead faces in the water.

As day breaks and the cook and correspondent bicker about being rescued, the men begin to make
progress toward the shore. Fighting hopelessness, they row silently. Gulls fly overhead and perch on
the water. The gulls are at ease on the ocean, so much so that one lands on the captain’s head. The men
see this as a sinister, insulting gesture, but the captain cannot swat the bird off because the sudden
movement would likely topple the boat.

Eventually, the captain shoos the bird away, and they go on rowing until the captain sees a lighthouse
in the distance. Although the cook expresses reservation that the nearby lifesaving station has been
abandoned for more than a year, the crew heartens at approaching land, almost taking pleasure in the
brotherhood that they have formed and in attending to the business of the sea. The correspondent even
finds four dry cigars in a pocket, which he shares with the others.
The men’s optimism evaporates when, approaching land yet unable to master the turbulent surf, they

QUIZZES
Group 1- North American Literature
Group 2- Middle Eastern Literature

Group 3- African Litertature

Group 4- African Literature

Group 5- Asian Literature

The African Worldview

By Kofi Abrefa Busia

Religious ideals and social values are prevalent in Africa, yet there are differences. When
we consider people's worldviews, we take into account their ideas about the supernatural, nature,
man, and society, as well as how these ideas work together to create a foundation that gives
meaning to men's lives and activities.
The Supreme Being, who created the world and all in it, is worshipped by Africans. They
all think he is endowed with both good and dangerous power. The Supreme Being of the African
is the source of life, but between Him and man are many powers and principalities, both good
and bad, gods, spirits, magical forces, and witches to account for the strange happenings in the
world.
Nature can also be endowed with power and even spirits. The African exhibits knowledge
of natural causes in farming, fishing, rearing animals, and other economic activities. Those who
have studied Western philosophy are familiar with such formations, but because the African does
not formulate his difficulties common to Europeans, or may not even be able to communicate his
awareness in words, this behavior is frequently misinterpreted.
In Africa, it is widely considered that man is a composite material and an immaterial
substance. Physical death does not mark the end of a man. He is both a spiritual and biological
existence. When a man enters adulthood, his life cannot be fully realized apart from the lives of
others with whom he shares it.

REFLECTION
 Mastiff by Joyce Carol Oates
"Mastiff" by Joyce Carol Oates is a poignant exploration of love and vulnerability set
against the backdrop of a challenging mountain hike. The hike serves as a metaphor for the
complexities of Mariella and Simon's relationship, revealing breakdowns in communication and
the importance of understanding each other. The story unfolds through revelations, such as
Simon's age and health condition, prompting Mariella to reassess their connection. This narrative
subtly delves into gender roles and societal expectations, inviting readers to reflect on the
unpredictable and sacrificial nature of love.

"Where Are You Going, Where Have You Been?" by Joyce Carol Oates
"Where Are You Going, Where Have You Been?" by Joyce Carol Oates is a chilling
exploration of vulnerability and the predatory nature of certain individuals. The story delves into
the world of a teenage girl, Connie, whose obsession with her appearance and daydreaming
leaves her susceptible to the manipulative tactics of the ominous Arnold Friend. Oates
masterfully builds tension through the narrative, emphasizing the power dynamics and the sense
of dread as Connie realizes the true intentions of the stranger. The story serves as a cautionary
tale, shedding light on the dangers young individuals might face when navigating the
complexities of adolescence and the blurred lines between fantasy and reality.

Pipes by Etgar Keret

The narrative provides a thought-provoking exploration of the human quest for happiness
and the unconventional journeys one might undertake in that pursuit. The protagonist's diagnosis
and subsequent transfer to vocational classes symbolize society's often rigid expectations and the
struggle of those who don't fit neatly into prescribed molds. The creation of the intricate pipe as a
means of escape highlights the lengths some may go to find their own version of solace. The
unexpected twist, where the protagonist discovers a unique heaven for those unable to find
happiness on Earth, challenges conventional notions of success and contentment, prompting
readers to reflect on the diversity of paths individuals take in their search for fulfillment and
belonging.
The Bus Driver Who Wanted to Be God by Keret Etgar
"The Bus Driver Who Wanted to Be God" intricately explores the intersection of personal
principles and acts of compassion in a rigid societal framework. Through the bus driver's
unwavering adherence to his peculiar rule, the story delves into the complexities of fairness
versus individual circumstance. Eddie's poignant struggle with chronic tardiness serves as a
metaphor for the barrier’s life imposes, and his pursuit of happiness becomes a powerful
narrative thread. The pivotal moment at the red traffic light prompts profound reflections on the
delicate balance between personal mercy and societal ideals, challenging the rigidity of rules in
the face of genuine human connection.

What is Third World Literature

Studying third world literature today involves exploring the writings from countries in
Asia, Africa, and Latin America, often characterized by high levels of poverty. While the term
"third world" is debated for its relevance, it emphasizes understanding the historical challenges
of oppression, racism, and colonialism that writers from these regions have faced. Beyond that, it
delves into broader philosophical questions like belief systems, bodies, sexualities, and ethics,
offering a nuanced perspective on the diverse experiences within these global areas.

The African Worldview by K.A. Busia

The description of African religious and social values offers a fascinating glimpse into a
worldview that intertwines the supernatural, nature, and societal dynamics. The acknowledgment
of the Supreme Being as the source of life, alongside various powers and entities, reflects a
complex spiritual landscape. Additionally, the recognition of man as both a physical and spiritual
entity, with life intricately connected to others, underscores the richness and depth of African
perspectives on existence and meaning.

"My Husband's House is a Dark Forest of Books" by Okot p'Bitek

"My Husband's House is a Dark Forest of Books" by Okot p'Bitek encapsulates a
profound metaphorical exploration of a home steeped in the richness of literature. The imagery
of a "dark forest" suggests a sense of depth, mystery, and perhaps, the complexity of the human
experience. In this context, the books symbolize not only a wealth of knowledge but also the
diverse stories and perspectives that collectively shape the household. P'Bitek's choice of
metaphor invites readers to contemplate the immersive and transformative power of literature
within the intimate space of a home.
The Danger of a Single Story by Chimamanda Ngozi Adichie
Chimamanda Ngozi Adichie's "The Danger of a Single Story" talks about how having only
one way of looking at things can be a problem. She shares personal stories to show how
stereotypes and only hearing one side of a story can make us misunderstand others. It's a
reminder that it's important to be open-minded and listen to different perspectives to truly
understand the richness of people's lives.

The Thoughts of Hanoi by Nguyen Thi Vinh

Although "The Thoughts of Hanoi" by Nguyen Thi Vinh may vary in interpretation, the
poem appears to be a contemplative exploration of the city's essence, capturing the interplay of
history, culture, and personal reflection. The poet's words evoke a sense of nostalgia and longing,
as if Hanoi itself is a repository of memories and aspirations. The poem invites readers to delve
into the layers of the city, where everyday scenes become windows into deeper emotions and
connections. Nguyen Thi Vinh's work illustrates the evocative power of poetry in conveying the
intricate tapestry of a city's thoughts and the universal threads that bind people to their homes.
 Ulysses by the Merlion by Edwin Thumboo
Ulysses by the Merlion" by Edwin Thumboo paints a vivid portrait of Singapore by
drawing parallels between the legendary Greek hero Ulysses and the symbolic Merlion. The
poem uses accessible language to convey the city's history, weaving together ancient myths with
modern identity. Thumboo employs strong imagery to showcase the dynamic relationship
between tradition and progress in Singapore's cultural landscape. The Merlion becomes a
powerful metaphor, representing the city's unique blend of Eastern and Western influences.
Overall, the poem offers a contemplative exploration of Singapore's journey, inviting readers to
ponder the intersections of mythology, history, and contemporary life.

The Open Boat by Stephen Crane

"The Open Boat" by Stephen Crane is a story about four guys stuck in a small boat after
their ship sank. The story talks about how tough it is to survive in the open sea and how nature
doesn't really care about them. The author, who went through a similar experience, shows us how
life can be hard and unpredictable. The story makes us think about how small we are compared
to the vastness of the ocean and how life doesn't always make sense. It's a sad but real reminder
of how tough life can be sometimes.