Marian Educational Center of Malasiqui Inc.

Brgy. Tambac Malasiqui, Pangasinan

LEARNING MODULES
in

21st Century Literature of

the Philippines and the
World

Grade 11 / Quarter 2
Week 6

Prepared by
Joana E. Cayago
SHS Teacher

Name of Student:_______________________________
LESSON 8: African Literature
In this lesson, you are going to:
a. Identify representative texts and authors from Asia, North
America, Europe, Latin America, and 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)

LESSON PROPER:

African literature, literary works of the African continent. African

literature consists of a body of work in different languages and various
genres, ranging from oral literature to literature written in colonial
languages (French, Portuguese, and English).

Oral literature, including stories, dramas, riddles, histories, myths,

songs, proverbs, and other expressions, is frequently employed to
educate and entertain children. Oral histories, myths, and proverbs
additionally serve to remind whole communities of their ancestors' heroic
deeds, their past, and the precedents for their customs and traditions.
Essential to oral literature is a concern for presentation and oratory.
Folktale tellers use call response techniques. A griot (praise singer) will
accompany a narrative with music.

Some of the first African writings to gain attention in the West were
the poignant slave narratives, such as The Interesting Narrative of the
Life and Adventures of Olaudah Equiano or Gustavus Vassa,
the African (1789), which described vividly the horrors of slavery and the
slave trade. As Africans became literate in their own languages, they
often reacted against colonial repression in their writings. Others looked
to their own past for subjects. Thomas Mofolo, for example, wrote Chaka
(tr. 1931), about the famous Zulu military leader, in Susuto.

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.

Since the early 19th century, writers from western Africa have
used newspapers to air their views. Several founded newspapers that
served as vehicles for expressing nascent nationalist feelings. French-
speaking Africans in France, led by Léopold Senghor, were active in the
négritude movement from the 1930s, along with Léon Damas and Aimé
Césaire, French speakers from French Guiana and Martinique.
Their poetry not only denounced colonialism, it proudly asserted the
validity of the cultures that the colonials had tried to crush.

After World War II, as Africans began demanding their independence,

more African writers were published. Such writers as, in western
Africa, Wole Soyinka, Chinua Achebe, Ousmane Sembene, Kofi
Awooner, Agostinho Neto, Tchicaya u tam'si, Camera Laye, Mongo
Beti, Ben Okri, and Ferdinand Oyono and, in eastern Africa, Ngugi
wa Thiong'o, Okot p'Bitek, and Jacques Rabémananjara produced
poetry, short stories, novels, essays, and plays. All were writing in
European languages, and often they shared the same themes: the clash
between indigenous and colonial cultures, condemnation of European
subjugation, pride in the African past, and hope for the continent's
independent future.

In South Africa, the horrors of apartheid have, until the present,

dominated the literature. Es'kia Mphahlele, Nadine Gordimer, Bessie
Head, Dennis Brutus, J. M. Coetzee, and Miriam Tlali all reflect in
varying degrees in their writings the experience of living in a racially
segregated society.

Much of contemporary African literature reveals disillusionment and

dissent with current events. For example, V. Y. Mudimbe in Before the
Birth of the Moon (1989) explores a doomed love affair played out within
a society riddled by deceit and corruption. The Zimbabwean novelist and
poet Chenjerai Hove (1956–2015), wrote vividly in English and his
native Shona of the hardships experienced during the struggle against
British colonial rule, and later of the hopes and disappointments of life
under the rule of Robert Mugabe. In Kenya Ngugi wa Thiong'o was
jailed shortly after he produced a play, in Kikuyu, which was perceived as
highly critical of the country's government. Apparently, what seemed most
offensive about the drama was the use of songs to emphasize its
messages.

The weaving of music into the Kenyan's play points out

another characteristic of African literature. Many writers incorporate other
arts into their work and often weave oral conventions into their writing.
p'Bitek structured Song of Iowino (1966) as an Acholi poem; Achebe's
characters pepper their speech with proverbs in Things Fall Apart
(1958). Others,
such as Senegalese novelist Ousmane Sembene, have moved into
films to take their message to people who cannot read.

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
Tanzania

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
ones 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 killed 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, overcame 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 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.
LESSON 9. Asian Literature: Singaporean
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; (EN12Lit-IIij-31.1)

LESSON PROPER

The literature of Singapore comprises a collection of literary works

by Singaporeans. It is written chiefly in the country's four official
languages: English, Malay, Standard Mandarin and Tamil.

While Singaporean literary works may be considered as also belonging

to the literature of their specific languages, the literature of Singapore
is viewed as a distinct body of literature portraying various aspects
of Singapore society and forms a significant part of the culture of
Singapore. Literature in all four official languages has been translated
and showcased in publications such as the literary journal Singa, that
was published in the 1980s and 1990s with editors including Edwin
Thumboo and Koh Buck Song, as well as in multilingual anthologies
such as Rhythms: A Singaporean Millennial Anthology Of Poetry
(2000), in which the poems were all translated three times each into the
three languages. A number of Singaporean writers such as Tan Swie
Hian and Kuo Pao Kun have contributed work in more than one
language. However, such cross linguistic fertilisation is becoming
increasingly rare and it is now increasingly thought that Singapore has
four sub-literatures instead of one.

Business Times (Singapore) has written that writers in Singapore can

also be "highly experimental", and quoting the poet, Cyril Wong,
literature in the country "doesn't necessarily mean writing that's on the
page. It can be writing that is performed or even writing that is translated
into video or images or photographs...including writings that are less
tangible. Writings that are expressed through other mediums."
Singaporean literature has even begun to make its mark on the
international stage, with Sonny Liew's graphic novel The Art of Charlie
Chan Hock Chye winning three Eisner Awards and the Pingprisen for
Best International Comic in 2017.

Poetry
Singaporean literature in English started with the Straits-born
Chinese community in the colonial era; it is unclear which was the first
work of literature in English published in Singapore, but there is
evidence of Singapore literature published as early as the 1830s.
The first notable Singaporean work of poetry in English is possibly Teo
Poh Leng's F.M.S.R. This modernist poem was published in 1937 in
London
under the pseudonym of Francis P. Ng. This was followed by
Wang Gungwu's Pulse in 1950.

With the independence of Singapore in 1965, a new wave of

Singapore writing emerged, led by Edwin Thumboo, Arthur Yap,
Robert Yeo, Goh Poh Seng, Lee Tzu Pheng, Chandran Nair and
Kirpal Singh. It is telling that many critical essays on Singapore
literature name Thumboo's generation, rightly or wrongly, as the first
generation of Singapore writers. Poetry 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.

There were varying levels of activity in succeeding decades, with poets

in the late 1980s and early 1990s including Simon Tay, Leong Liew
Geok, Koh Buck Song, Angeline Yap, Heng Siok Tian and Ho Poh
Fun. In the late 1990s, poetry in English in Singapore found a new
momentum with a whole new generation of poets born around or after
1965 now actively writing and publishing, not only in Singapore but also
internationally. Since the late-1990s, local small presses such as
firstfruits, Ethos Books and Math Paper Press have been actively
promoting the works of this new wave of poets. Some of the more notable
include Boey Kim Cheng, Yong Shu Hoong, Alvin Pang, Cyril Wong,
Felix Cheong, Toh Hsien Min, Grace Chia, Topaz Winters, Pooja
Nansi and Alfian bin Sa'at (also a playwright). The poetry of this
younger generation is often politically aware, transnational and
cosmopolitan, yet frequently presents their intensely focused, self-
questioning and highly individualised perspectives of Singaporean life,
society and culture. Some poets have been labeled confessional for their
personalised writing, often dealing with intimate issues such as sexuality.

Verse anthologies have collected and captured various aspects of life

in Singapore, from the 1970s onwards, including a few anthologies under
the ASEAN series for the literature of Southeast Asia. For example,
the coffeetable book Singapore: Places, Poems, Paintings (1993,
edited by Koh Buck Song) featured poems, paintings and reminiscences
about 30 significant places ranging from Chinatown to Bukit Timah Nature
Reserve, and had an exhibition at the National Museum along with
paintings from the book. From Boys To Men: A Literary Anthology Of
National Service In Singapore (2002, edited by Koh Buck Song and Umej
Bhatia) examined the meaning of military duty. Reflecting On The Merlion
(2009, edited by Edwin Thumboo and Yeow Kai Chai) brought together
about 40 poems about the national tourism symbol. The most
authoritative anthology to date is, arguably, Writing Singapore: An
Historical Anthology Of Singapore Literature (2009) edited by Angelia
Poon, Philip Holden and Shirley Geok lin Lim, and published by NUS
Press.
Drama
Drama in English found expression in Goh Poh Seng, who was also
a notable poet and novelist, in Robert Yeo, author of six plays, and in
Kuo Pao Kun, who also wrote in Chinese, sometimes translating his
works into English. The late Kuo was a vital force in the local theatre
renaissance in the 1980s and 1990s. He was the artistic director of The
Substation for many years. Some of his plays, like The Coffin is Too
Big for the Hole (1984) and Lao Jiu (1990), have been now considered
classics. Stella Kon gained international fame with her now-famous play
Emily of Emerald Hill. About an ageing Peranakan matriarch, it has
been produced in Scotland, Malaysia and Australia. The sole character
has been played by men as well as women. More recent plays have
tended to revolve mostly around social issues, especially causes such as
gay rights. A few plays by writers such as Tan Tarn How have ventured
successfully into the realm of political satire, but their audiences and
critical reception remain limited.

Fiction
Fiction writing in English did not start in earnest until after
independence. Short stories flourished as a literary form, the novel arrived
much later. Goh Poh Seng remains a pioneer in writing novels well before
many of the later
generation, with titles like If We Dream Too Long (1972) –
widely recognised as the first true Singaporean novel – and A Dance
of Moths (1995).

Beginning as a short story writer, Penang-born Catherine Lim has

been Singapore's most widely read author, thanks partly to her first two
books of short stories, Little Ironies: Stories of Singapore (1978)
and Or Else, The Lightning God and Other Stories (1980). These two
books were incorporated as texts for the GCE 'O' Levels. Lim's themes
of Asian male chauvinistic gender-dominance mark her as a distant
cousin to Asian American writers such as Amy Tan. She has also been
writing novels, such as The Bondmaid (1998) and Following the Wrong
God Home (2001), and publishing them to an international audience
since the late 1990s.

Han May is the pseudonym of Joan Hon who is better known for her
non fiction books. Her science-fiction romance Star Sapphire (1985)
won a High Commendation Award from the Book Development Council
of Singapore in 1986, the same year when she was also awarded
a Commendation prize for her better-known book relatively speaking on
her family and childhood memories.

Rex Shelley hails from an earlier colonial generation, although he

began publishing only in the early 1990s. A Eurasian, his first novel The
Shrimp People (1991) examines the regional Eurasian community and
their experience in Singapore. The book won a National Book Prize. His
three other novels, People of the Pear Tree (1993), Island in the
Centre (1995) and River of Roses (1998) all examine similar themes of
the Eurasian
community in the Southeast Asia region. He has won the S.E.A.
Write Award in 2007.

Haresh Sharma is a playwright who has written more than fifty plays
that have been staged all over the world, including Singapore,
Melbourne, Glasgow, Birmingham, Cairo and London. In May 2010, his
highly acclaimed play Those Who Can't, Teach was published in book
form by the independent publisher Epigram Books.

Su-Chen Christine Lim's works consider varied themes

surrounding issues of gender, immigration and orthodoxy. In 1993, her
novel, Fistful of Colours, was awarded the first Singapore Literature
Prize. Her other novels take up the relationship between the Malays and
Chinese immigrants in colonial Malaya, and the issue of land (A Bit of
Earth).

Gopal Baratham, a neurosurgeon, started as a short story writer and

later wrote politically charged works like A Candle or the Sun (1991)
and Sayang (1991), which courted some controversy when they were
first published.

Jean Tay is an economist-turned-playwright. Her play Everything but

the Brain won the Best Original Script at The Straits Times' Life!
Theatre Awards in 2006. Two of her plays, Everything but the Brain
and Boom, were published in book form by the Singapore-based
independent publisher Epigram Books.

Augustine Goh Sin Tub who began his writing career writing in
Malay, burst on the literary scene after his retirement with more than a
dozen books of short stories, most of which were founded on his own
personal history, thus making them part fiction and part non-fiction.
Works like One Singapore and its two sequels One Singapore 2 and
One Singapore 3 have found fans among the different strata of
Singapore society and well acclaimed by all.

Around this time, younger writers emerged. Claire Tham and Ovidia Yu
wrote short stories, while playwright Stella Kon put forth her lesser-
known science-fiction novel, Eston (1995). Of the younger generation,
Philip Jeyaretnam has shown promise but has not published a new
novel since Abraham's Promise (1995). His first two books, First
Loves (1987) and Raffles Place Ragtime (1988), were bestsellers in
Singapore.
Kelvin Tan, a musician and playwright, has been sporadically in
sight, publishing the works All Broken Up and Dancing (1992) and
the Nethe(r);R (2001). Colin Cheong can perhaps lay claim to being
one of Singapore's most prolific contemporary authors, releasing three
novels, one novella, two short story collections, and dozens of non-
fictional works thus far. He won the Singapore Literature Prize in 1996 for
his travel diary like novel Tangerine. Daren Shiau's Heartland (1999)
traces an eighteen-year-old's rites of passage from junior college
through to
enlistment and thereafter. The novel has been selected to be a set text
at secondary school level.

Hwee Hwee Tan graduated with a First Class Honours from the
University of East Anglia, and a Masters from Oxford University. She
grew up in Singapore and in the Netherlands, and her cosmopolitan
experience can be readily seen in her novels. Her snazzy, humorous
prose can be read in Foreign Bodies (1997) and Mammon Inc. (2001),
both published by Penguin Books. Simon Tay, currently the chairperson
of Singapore Institute of International Affairs and a former nominated
Member of Parliament, has a short story collection and a novel under his
belt. These are Stand Alone (1991) and City of Small Blessings
(2009).

A newer wave of playwrights have emerged included Faith Ng, Joel

Tan, Lucas Ho, Nabilah Said, Helmi Yusof and Nur Sabrina Dzulkifli.

Sonny Liew, a comic artist/illustrator, won three Eisner Awards in 2017

for Best Writer/Artist, Best U.S. Edition of International Material - Asia,
and Best Publication Design, for his graphic novel "The Art of Charlie
Chan Hock Chye", which also won the Singapore Literature Prize in
2016. "The Art of Charlie Chan Hock Chye’’.

The late 2010s saw a trend of young Singaporean female novelists

bringing out novels with international publishing houses based in London
and New York. These novelists include Sharlene Teo, Kirstin Chen, Balli
Kaur Jaswal, Clarissa Goenawan, Rachel Heng, Thea Lim, Amanda Lee
Koe, and Jing-Jing Lee.
ASYNCHRONOUS READING

Below is the text “The Taximan’s Story.” Read the text and identify the
points in which Singaporean literature is similar with Philippine literature
and the points in which they differ.

The Taximan’s Story

By Catherine Lim “Little Ironies” : Stories of Singapore

Take me to National University of Singapore, please make it fast cause I

got a meeting to attend and I need to be there on time. Very good, Madam. Sure
I will take you there in plenty good time for your meeting, Madam. This way better,
less traffic, less car jams. Half hour should make it, Madam, so not to worry.
Have you been taxi man for a long time? What did you say, Madam? I said
have you been taxi man for a long time? Ha, ha, Yes, yes. I’ve been taxi man for
20 years now, Madam. A long time ago, Singapore not like this – so crowded, so
busy. Last time, more peace ful, not so much taxi men or so much cars and
buses.
Oh, you must been working so hard! Yes,Madam, I can make a living. So
so. What to do? I must work hard if wants to success in Singapore. People like
us, no education, no capital for business, we must sweat to earn money for wife
and children.

Do you have a big family? Yes, Madam,quite big family–eight children,six

sons,two daughters.Big family! Ha!ha! No good, Madam. In those days, where
got Family Planning in Singapore? People born many, many children, every year,
one childs.Is no good at all. Two children, three children, enough, stop. Our
goverment say stop.

Lucky for me, all my children big now. Four of my sons working–one
a businessman, two clerks, one a teacher in Primary school, one in
National Service, one still schooling. My eldest daughter, she is twenty plus, stay
at home, help the mother.
Is your daughter already married? No,not married yet–very shy, and her
health not so good, but a good, obedient girl. My other girl– Oh, Madam! Very
hard for father when daughter is no good and go against her parents. Very sad,
like punishment from God
Today, young people not like us when we are young. We obey. Our parents
say don’t do this, we never do. Otherwise, the cane. My father cane me, I was
big enough to be married, and still got caning. My father he was very strict, and
that is good thing for parents to be strict. If not, young boys and girls become very
useless. Do not want to study, but run away, and go to night clubs and take drugs
and make love. You agree with me, Madam?

Yes! I absolutely agree with you. Today, young people they are very trouble
to their parents. Madam, you see this young girl over there, outside the coffee
house? See what I mean, Madam? Yes. they are only schoolboys and
schoolgirls, but they act as big shots, spending money, smoking, wearing latest
fashion, and making love. Yes, that’s true. Even though you’re just a taxi man
you are aware about the behaviour of the teenagers today. Ah, madam, I know!
As taxi man, I know them and their habits.
 Madam, you are a teacher, you say? Yes. You know or not that
young schoolgirls, fifteen, sixteen year old, they go to school in the morning in
their uniforms and then afterschool, they don’t go home, they have clothes in
their schoolbag, and they go to public lavatory or hotel and change into
these clothes, and they put make-up on their face. Their parents never know.
They tell their Mom go school meeting, got sports and games, this, that, but
they really come out and play the fool.

Ah, Madam, I see you surprise but I know, I know all their tricks a lot. as I
take them in my taxi. they usual is wait in bowling alley or coffee house or hotel,
and they walk up, and friend, the European and American tourists, and this is
how they make fun and also extra money.
Madam, you believe or not when I tell you how much money they got? I
say! Last night, Madam, this young girl, very pretty and make-up and wear sexy
dress. She told me take her to orchid mansions – this place famous,
Madam, fourth floor flat – and she open her purse to pay me, and I say!
All American notes – ten dollar notes all, and she pull one out and say
keep change! As she has no time already.

Madam, I tell you this, every month, I got more money from these young
girls and their American and European boyfriends in my taxi, more than I get from
other people who bargain and say don’t want go by meter and wait even for ten
cents change. Phui!! Some of them really make me mad. But these young girls
and their boyfriends don’t bargain, they just pay, pay, and they make love in taxi
so much they don’t know if you go round and round and charge them by meter!

I tell you, Madam, some of them don’t care how much they spend on taxi.
It is like this: after 1 a.m. taxi fare double, and I prefer working this time, because
naturally, much more money. I go and wait outside Elroy Hotel or Tung Court or
Orchid Mansions, and such enough, Madam, will have plenty business. Last
Saturday, Madam, no joking, on one day alone I make nearly one hundred and
fifty dollars! Some of it for services. Some of tourists don’t know where, so I tell
them and take them there, and that’s extra money.

You surely know a lot of things. Ah Madam, if I tell you all, no end to the
story. But I will tell you this, Madam. If you have young daughter and she say
Mummy I got meeting today in school and will not come home, you must not say,
Yes, yes, but you must go and ask her where and why and who, and you find
out. Today young people not to trust, like young people in many years ago.

Why are you telling this? Oh, Madam, I tell you because I myself have a
daughter – oh, Madam, a daughter I love very much, and she is so good and
study hard. And I see her report cards and her teacher write ‘Good work’ and
‘Excellent’ so on, so on. Oh, Madam, she my favourite child, and I ask her what
she want to be after left school, and she says go to University.

None of my other children could go to University, but this one, she is very
smart and intelligent – no boasting, Madam – her teachers write ‘Good’ and
‘Excellent, and so on, so on, in her report cards. She study at home, and help the
mother, but sometimes a little lazy, and she say teacher want her to go back to
school to do extra work, extra coaching, in her weak subject, which is math,
Madam.
 So I let her stay back in school and day after day she come home
in evening, then she do her studies and go to sleep. Then one day, oh Madam, it
makes me so angry even now – one day, I in my taxi driving, driving along and
hey! I see a girl looking like my Lay Choo, with other girls and some Europeans
outside a coffee-house but I think, it cannot be Lay Choo, how can, Lay Choo is
in school, and this girl is all dressed up and mak-up, and very bold in her
behaviour, and this is not like my daughter at all.
Then they go inside the coffee-house, and my heart is very, very – how you
describe it, Madam, my heart is very susah hati’ and I say to myself, I will watch
that Lay Choo and see her monkey tricks. The very next day she is there again I
stop my taxi, Madam, and I am so angry. I rush up to this wicked daughter and I
catch her by the shoulders and neck, and slap her and she scream, but I don’t
care. Then I drag her to my taxi and drive all the way home, and at home I thrash
the stupid food and I
beat her and slap her till like hell. My wife and some neighbors they pull
me away, and I think they not pull me away, I sure to kill that girl.

I lock her up in her room for three days, and I ashamed to tell her teacher,
so I just tell the teacher that Lay Choo is sick, so please to excuse her. Oh,
Madam, how you feel in my place? Make herself so cheap, when her father drive
taxi all day to save money for her University.

Is everything between you and your daughter okay now? What is

it, Madam? I said is everything between you and your daughter okay now?
Yes, yes, everything okay now, thank you. she cannot leave the house except
to go to school, and I tell her mother always check, check in everything she
do, and her friends – what sort of people they are…
Can you wait for me until my meeting is done? What, Madam? Oh, so sorry,
Madam, cannot wait for you to finish your meeting. Must go off, please to excuse
me. In a hurry, Madam. Must go off to Hotel Elroy –there plenty people to pick
up. So very sorry, Madam, and thank you very much. Oh, that’s ok. Here’s the
payment. Thank you for sharing your story to me.

My youngest daughter have a similar behavior. Similar like the

other schoolgirls that act like gangster since you’re a teacher, did you
know something strange about the girls? After school time, they don’t really
go home but they go to hotels and other places for sure.

If you have a daughter, don’t accept her trust. But you only do that when she
wants to go out just like my naughty daughter who really got caught. For that, I
scolded her so loud that I don’t even care so I just shout. ----end----
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-
Philippines-and of-the-World-1)