RUETE-QUINTIA-GABUA-REYES-SAMORTIN

Answer the questions based on "The Safe House."

1. Is the story told by a child narrator? Or by an objective narrator with a point of view limited to the
child's? What difference does it make to use one kind of point of view over the other in telling this
story?

No the story is centred on the child as they is our lens in the story and everything can only be
seen around them, thus limiting the point of view to just the child and how they might
understand the setting and plot. This works when the author is deliberately hiding something
from the reader to be given much later for more powerful response for the reader, it also allows
the author to add other plot device that works with an objective narrator.

2. Characterize the five-year-old girl who serves as the central consciousness of the story. To her mind,
what is her home like? How does she view the relatives" who are coming in and out of her house?

A five year old girl, witness through her innocent eyes the coming in and out of strangers--
people with faces that differ every night. The safe house, was actually not safe. Years passed
and the house has been catering defectors, relatives that were not actually relatives.

3. Compare and contrast the Camp Crame scenes in "The Safe

House" to that where it overlaps with scenes in "Sa Loob." In your comparison, note how differences in
point of view (child and teen-ager) and genre (fiction and nonfiction) create particular insights about this
real-life experience the author is shaping to make sense of it.

The children can visit and even experience being inside the cell in the camp Crame scenario in
"The Safe House" and the scene in "Sa Loob." But the location was entirely different; the other
(The safe house) was broad, large, and maybe well-kept, but the other (Sa loob) is not as large as
described in the narrative. The child in the story "The safe house" is confused by her
surroundings; she has no idea what is going on. In the other story, the teenager appears to
know all that is going on, even the significance of things that the other does not appear to
comprehend.

4. Toward the end, the narrator tells us about the main character who is now an adult. What is her
attitude toward the "relatives"? What do you think of the ending when she refuses to let in a "relative"
to her family's former safe house?

She is puzzled as to why they keep coming into their house and even more confused because
they appear to be different from the other relatives who should bond. It was a wise decision on
her part not to let that’ relative' into their former safe house, because she should never trust
anybody.

5. In what mode of fiction is the story told? Do you see a realist or romantic paradox at work here?
The mode of fiction used in the story we’ve read is realist. since the story is set in a martial law
era which the Philippines has faced in the past, it tells a story that can other people relate in that
situation. Additionally, It portrays realistic situation that could really happen in real life
situation.
Answer these questions based on "The Man Who Wasn't My Father."

6. Although not written in verse, this is considered a work of poetry.

The author has chosen to see her father's solitary confinement in poetic terms. Cite lines from the poem
that make use of figurative language to convey the depth of experience of being confined in
jail.
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7. The scene drawn in this poem takes off from the scene in "The Safe House" where the father is
arrested and jailed. The author, however, reconstructs her memories but using the father (rather than
the child) as persona. And yet, the title tells us that this is "The Man Who Wasn't My Father." What do
these disparities suggest?

Answer these questions based on "Sa Loob."

8. As a work of nonfiction, this one comes closest to actual experience. Yet to convey the experience
most truthfully, the author has used techniques that engage the elements of fiction- e.g., to recreate the
atmosphere of the jailhouse to the way her teenage self saw it, to characterize Tito Nitz and the
inmates, etc. Analyze this true-to-life story in terms of how it makes use of the various elements of
fiction.
9. There are poetic moments too in this work of nonfiction, e.g., the image of Tito Nitz dancing with his
wife under the chipped mir-for ball hanging from the plywood ceiling. What "flash of insight" does this
image convey? Another example is the use of concrete diction in describing the jailhouse: very detailed
references to food and household objects. What insight about the jailhouse interior does this detailing
create? Identify other poetic moments in the story.