Republic of the Philippines

WESTERN MINDANAO STATE UNIVERSITY

Pagadian Campus
Pagadian City

AS21 ENG 119

Contemporary, Popular & Emergent Literature

Reporters:
Lycah Jane N. Monge
Jaymar Pedrajas

INTERPRETING AND EVALUATING FICTION

Fiction: The Story and the Moral

Fiction is subjective and evocative. It is "made up," and indirect in its communication. A
work of fiction may evoke:
 the thrill of imagining impossible or unavailable experiences
 intrigue with playing out "what if" or" if only" scenarios
 feelings and perceptions of another historical period, or simply observations on the
human

We thus read fiction not to gain new information so much as to experience the ideas and
feelings a story inspires within us. Readers have different expectations from fiction and
nonfiction. Proof is a major issue with nonfiction; emotional involvement is a major issue with
fiction. We expect a story (fiction) to grab us, an essay (nonfiction) to convince us. We will
suspend belief when reading a romance novel or science fiction, but demand reason and evidence
from nonfiction. For passing time or sheer enjoyment, of course, simply reading the story can be
satisfaction and reward enough. We do not have to analyze everything we read. The point is to be
able to interpret when we want to—or must.

Both fiction and nonfiction can be subjected to analysis and interpretation. These two
forms of expression are, however, examined somewhat differently. One analyzes a nonfiction
text:

 to discover underlying themes and perspectives, as well as

  to realize how choices of content and language shape the reader's perception and
encourage the reader's acceptance.

Analyzing Lincoln's Gettysburg Address, for instance, we can recognize not only remarks
on the dedication of a cemetery, but comparisons between images of the living and dead,
between what has been done and what must be done. We analyze fictional works for recurring
themes that reflect on the broader human experience. People do not really tell nursery rhymes so
that children will know about a girl named Cinderella or about pigs who built houses. The
stories have deeper, unstated meanings: virtue rewarded (Cinderella) or the folly of a lack of
industry (The Three Little Pigs). We respond to both the story and an underlying message.

On the surface, Melville's Moby Dick, for instance, might be seen as an adventure story
about a man hunting a whale. On closer analysis and interpretation, the novel might be seen as a
depiction of man's battle to subdue nature or of a battle between good and evil. Since fiction is
indirect, fiction can require a significant degree of analysis and interpretation if one is to
get beyond simply following the story.

Fiction is Subjective
Fiction is, by definition, subjective. A novel, story, drama, or poem is the expression of an
author's imagination. The characters and situations are "made up." Readers expect fiction to
reflect the real world; they do not expect it to portray the real world. And yet fiction can seem
very real without being factual. Poems can capture feelings or images to perfection. Events
depicted in movies such as Schindler's List , Amistad , or Titanic can appear just as they might
have in real life.
Fiction can be true, however, only in the sense that the actions or behaviors "ring true"
with what we know of the world. The sentiment may be real, but the characters and incidents are
the fruits of the author's imagination. And author and directors—as in the movies referred to
above —often use "dramatic license" to distort history for dramatic effect.
Fiction is Evocative: Images and Symbols
Fiction conveys meaning indirectly (other than, of course, through morals at the ends of
fables). The specifics are not significant. We draw meaning from the types of actions. This
principle lies behind the fact that television crime series follow essentially the same plot line,
week after week. It does not matter whether a crime victim is a socialite, a prostitute, a
drug dealer, or politician, whether the crime is murder, extortion, or robbery. The message that
the police always catch the criminal remains the same.
Fiction evokes ideas and feelings indirectly by triggering emotional responses and mental
pictures. Fiction commonly communicates through images and symbols. Color is often
symbolic, as with the red passion of the Scarlet Letter in the novel of that title. Sunlight
often conveys truth or reason. In Willa Cather's short story "Death Comes to the Archbishop" the
development of the Bishop's garden is a metaphor for the expansion of Catholicism in the New
World. And then there is the politically incorrect use of white and black for good and bad, as in
old Western movies
 Readers must be open to associations and reflection, creative in their understanding
and interpretation. They must recognize a richness of figurative language and concomitant
element of ambiguity. The more evocative a text, the more the reader must do the work of
finding meaning within the text.
Interpretation: A Personal Understanding
The meaning of fictional works is more personal than that of nonfiction texts. With
nonfiction texts, we assume any two readers will come away with pretty much the same
understanding of what the text states. While we may not agree with someone else's
interpretation, we should be able to follow their analysis. And in both cases, part of
understanding is understanding one's own interests, values, and desires and how they affect what
one looks for and how one thinks about what one finds.
Analyzing and Interpreting Fiction: Perspectives
The discussion of nonfiction texts focused on the analysis of choices of content,
language, and structure. The same focus is useful for the analysis of fiction--with some
adjustments. The discussion examines:
 the general perspective on each of the three major genres: novels (stories), drama, and
poetry
 the application of the notions of content, language, and structure for each genre
Fiction, we saw above, is mostly about telling stories and expressing feelings. The content of
fiction may take the form of the events of a story, especially in novels and short stories, spoken
remarks, especially in drama, or images and symbols, especially in poetry. All three
elements appear to varying degrees in all forms of fiction
Commercial Fiction
Intended solely to entertain
Legal thrillers, romance novels
Escapist
Formulaic
Literary Fiction
Written with serious artistic intentions by someone who hopes to enable readers to
broaden understanding of life and to empathize with others
Literary writers are more like explorers who take us out into the midst of life, show us the
props and mirrors and seek to dispel the illusions.
Provides keener awareness of our humanity in a friendly and hostile world.
Usually need to read twice.
Plot: the sequence of events through which an author constructs a story.
Structure: usually chronological or cause/effect, however, a complex structure is often
required to convey complex meanings, so it may be more experimental and unpredictable
 TYPES AND ELEMENTS OF FICTION

By: Vergie Jabagat

Jessa Pejaner

FICTION

The word is from the Latin fictiō, “the act of making, fashioning, or molding.” Literature created
from the imagination, not presented as fact, though it may be based on a true story or situation.

What does fiction really mean?

Fiction describes something that is imaginary or invented. The term fiction is generally used in
reference to creative works written in prose, or ordinary language which does not follow a meter,
as in poetry. Fiction can refer to written works, plays, and cinema, but is most strongly associated
with written creative works.

What Is a Fiction Book?

A fiction book, usually called a novel, is just one of the many forms of fiction writing. Works of
fiction do not claim that a story is true. Nevertheless, these works can significantly impact their
audience and, more broadly, society.

Types of Fiction

There are three main types of fiction: the short story, the novella and the novel. Let's explore
each of these.

First, we have the short story. According to the famous short story writer Edgar Allan Poe, a
short story is a piece of fiction that can be read in one sitting of about a half hour to about two
hours. Short stories contain between 1,000 and 20,000 words and typically run no more than 25
or 30 pages. Because of their limited length, short stories generally focus on one major plot or
storyline and a few characters.

Next up, we have the novella. Novellas are longer than short stories and tend to run about 20,000
to 50,000 words, usually between 60 and 120 pages. Because novellas have more room to work
with, they typically have a more complex plot or storyline and more characters than short stories.
Famous novellas include Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde
and Jack London's The Call of the Wild.

Finally, a novel is a work of fiction that contains over 50,000 words or 120 pages. Novels are
even more complex than novellas, and they usually have more than one plot or storyline and
many well-developed characters. Novels can be as long as their authors want them to be. There is
no outer limit to their length. In fact, the longest novel ever written is a 17th century work that
contains over two million words and more than 13,000 pages. Believe it or not, the book was
very popular with the readers of its day.

Examples of Fiction

Thousands of works of fiction have been produced throughout time, including the examples
named in the sections above. A brief review of some of the most notable works of the English
literary canon over the last two centuries follows.

Notable fictional works of the 19th century include:

 The Scarlett Letter (1850) by Nathaniel Hawthorne,

 Wuthering Heights (1847) by Emily Brontë
 Little Women (1869) by Louisa May Alcott
 Heart of Darkness (1899) by Joseph Conrad

The first half of the 20th century saw works such as:

 A Passage to India (1924) by E.M. Forster

 The Great Gatsby (1925) by F. Scott Fitzgerald
 The Sun Also Rises (1926) by Ernest Hemingway
 The Sound and the Fury (1929) by William Faulkner

The latter half of the 20th century ushered in works such as:

 Things Fall Apart (1958) by Chinua Achebe

 The Bell Jar (1963) by Sylvia Plath
 The Outsiders (1967) by S.E. Hinton
  The Color Purple (1982) by Alice Walker
 The Things They Carried (1990) by Tim O'Brien

Literary Fiction vs. Genre Fiction

Literary fiction is a complex type of fiction that has subtext within the plot that alludes to a
greater theme that ties into society, social or human conditions. Literary fiction is character-
driven, while Genre fiction is plot-driven.

Genre Fiction!
Horror
Mystery
Romance
Sci-Fi
Thriller
Historical
Fantasy

Contemporary Literary Fiction deals with timely social issues or political moments. In
Giovanni’s Room (1956), James Baldwin introduces readers to two men as they begin an affair,
and their struggles to understand their sexual identities\

Realistic Literary Fiction includes coming-of-age stories and biographical novels. In J. D.

Salinger’s classic coming-of-age novel, The Catcher in the Rye (1951), young Holden Caulfield
grows wise to the hypocrisy of his prep-school life and chases authenticity in the streets of New
York City.

Experimental Literary Fiction challenges storytelling conventions. Novels can be a mix of

visual art, poetry, and stream-of-consciousness prose. Sometimes, the act of reading itself is a
part of the story, making the reader self-conscious of what they’re bringing to the text. David
Foster Wallace’s Infinite Jest (1996) is essentially a comedic study of what entertains us, but the
structure winds through hundreds of sub-plots and even more footnotes, all while never reaching
a conclusion.

Fyodor Dostoevsky tackles the idea of Goodness in The Idiot (1869).

Prince Myshkin is described as a “positively good and beautiful man” who is exposed to some
of society’s greediest, most deceitful characters with horrible consequences.
Elements of Fiction

 Plot
 Setting
 Characters
 Point of View
 Theme
 Conflict
 Tone
1. Plot
 Plot is the author’s arrangement of events in the story. It has a beginning, middle and an
end. More specifically, the plot follows the Freytag Pyramid.

Narrative Stages of Plot

 Exposition
 Rising Action
 Climax / Turning Point
 Denouement (Resolution)

2. Setting
 The setting is the place and time of the story. It also includes the circumstances of the
story, like the weather conditions, social class etc.
3. Characters
 The people (or animals, things, etc. presented as people) in a literary work.
TYPES OF CHARACTERS
 Major and Minor Characters
 Round and Flat Characters
 Dynamic and Static Characters
 Protagonist and Antagonist Characters
4. Point of View
  The angle or perspective from which the story is told (Who tells the story).

The point of view is divided into two main types

First Person Point of View

 The story is told from the viewpoint of one characters, using the first person pronoun “I”.

Third Person Point of View

 The story is told using a narrator who uses third person pronouns such as “he”, “she”,
“her”, “they” etc.

5. Theme
 A theme is the inferred stance taken on the central topic or message of a story. Themes
are used to communicate important ideas and messages about issues that face the
characters and the setting of a narrative.
6. Conflict
 Conflict is the struggle between two forces in a story. The plot revolves around the
conflict.

TYPES OF CONFLICT
 Physical Conflict
 Social Conflict
 Internal Conflict (Psychological Conflict)
7. Tone
- Tone refers to the author's emotional attitude toward the story and characters. The
reader's expression of tone identifies the reader's reaction to the outcome of the story, not
the character's reaction. A story's tone should be expressed as an adjective. For example,
"The tone of the story is sad."
Dromer Paul Superales
Jocebe B. Aganos

Introduction to Contemporary Literature: Stories

Contemporary literature is a dynamic and diverse field that captures the essence of the modern
world through various mediums, with stories being one of its central components. This report delves into
the multifaceted nature of contemporary literature, focusing on the role and significance of stories
within this literary landscape.

Contemporary literature encompasses works produced in the late 20th and early 21st centuries,
reflecting the ever-evolving cultural, social, and technological landscapes. This genre is marked by its
diversity, experimentation with form and style, and a keen observation of contemporary society.

III. The Evolution of Storytelling:

1. Traditional vs. Contemporary Narratives

Traditional Storytelling

 In the past, stories were often told straightforwardly. There was a clear beginning,
middle, and end.
 Think of classic fairy tales or old adventure stories where events happen in a logical
order, one after the other.

Contemporary Storytelling

 Nowadays, stories have become more creative and less predictable.

 Writers are experimenting with different ways to tell a story, like jumping around in
time, using multiple perspectives, or even leaving parts open to interpretation.
 This modern style can be more complex and may not follow a traditional structure.

Influence of Postmodernism

 Postmodernism is like a mindset that challenges traditional ideas. It's like saying, "Hey, let's
break the rules and try something new!"

 In literature, this means authors are playing with how stories are told. They might mix genres,
blur the line between reality and fiction, or question the idea of a single, fixed truth.

 This shift in thinking has influenced writers to get more creative with storytelling techniques.
So, in simple terms, storytelling has evolved from clear and predictable structures to more experimental
and creative forms influenced by the postmodern mindset. It's like going from a straight road to a
winding path with unexpected twists and turns.

1. Diversity of Voices
 Diverse storytelling ensures that individuals from various backgrounds can see
themselves reflected in the narratives they consume. When people encounter
characters and stories that resonate with their own experiences, it fosters a sense of
belonging and validation. It also helps to break down stereotypes and challenge
preconceived notions about different groups.
2. Breaking Stereotypes
 Traditional storytelling often perpetuated stereotypes, reinforcing societal biases. By
incorporating diverse perspectives, storytellers have the power to challenge and break
these stereotypes. This allows for a more nuanced understanding of different
communities and promotes empathy and understanding among audiences.
3. Cultural Enrichment
 Embracing diversity in storytelling allows for the exploration and celebration of different
cultures, traditions, and histories. This not only promotes cultural exchange but also
helps combat cultural appropriation by ensuring that narratives are presented
authentically.
4. Empowering Marginalized Voices
 Diverse storytelling provides a platform for voices that have been historically
marginalized or silenced. It empowers individuals from underrepresented groups to
share their stories, fostering a sense of agency and contributing to a more inclusive
cultural narrative.

IV. Themes in Contemporary Stories

1. Identity and Self-Discovery

 Cultural and Ethnic Identity:
 Many contemporary works delve into the complexities of cultural and ethnic identity,
exploring the challenges of navigating between different cultural worlds. Authors often
highlight the tension between preserving cultural heritage and adapting to the changing
dynamics of a globalized world.
 Fluidity and Hybridity:
The fluidity of identity is a recurring theme in contemporary literature. Characters
grapple with the idea that identity is not static but can evolve and shift over time. The
blending of cultural, social, and personal elements contributes to a sense of hybrid
identity, challenging fixed categories and embracing diversity.
 Memory and Trauma:
The exploration of identity often involves a reflection on personal history and traumatic
experiences. Contemporary literature may delve into how memories shape one's
identity and how individuals navigate the impact of trauma on their sense of self.
  Quest for Authenticity:
Many characters in contemporary literature embark on a quest for authenticity, seeking
to understand and embrace their true selves. This journey may involve breaking free
from societal expectations, confronting internal conflicts, and discovering a sense of
purpose.
2. Technology and Society
Technology can bring your brand story to life.
 Stories are fundamental to human experience.
 Connections with customers must leverage storytelling in meaningful ways.
The AV Technology to Use for Remarkable Experiences
 Transparent LEDs and MicroLEDs that deliver vivid and vibrant images.
 Interactive displays and touchscreens to amplify experiences and engagement.
 Extended reality (XR) and virtual reality (VR).
 Projection mapping to make any surface a screen.
 Triggering technology such as LIDAR, which cues content in response to movements.
 Beam-foaming to create realistic soundscapes.
3. Globalization
 Digital Connectivity and Accessibility:
The internet and digital media platforms have made it easier for stories to reach global
audiences. Books, movies, TV shows, and online content can be accessed by people
around the world, breaking down geographical barriers to storytelling.
 Diverse Representation:
Contemporary stories often feature diverse characters and perspectives, representing a
variety of cultures, ethnicities, and backgrounds. This diversity helps audiences connect
with characters from different parts of the world, fostering empathy and understanding.
 Global Themes and Issues
Many contemporary stories tackle universal themes and global issues, such as climate
change, migration, human rights, and social justice. By addressing these issues, stories
resonate with audiences worldwide and promote a shared understanding of common
challenges.
 Education and Empathy:
Stories have the power to educate and build empathy. By exposing audiences to
different cultural perspectives and experiences, contemporary storytelling can break
down stereotypes, challenge biases, and promote a more inclusive and tolerant global
society.

V. Major Literary Movements and Authors

1. Postmodernism- Modernist literature, which came before postmodern literature, focused on finding
meaning and portrayed authors as creators bringing order to a chaotic world. Prominent modernist
writers include James Joyce, T.S. Eliot, and Virginia Woolf. However, after the human rights violations in
and after World War II, such as the Holocaust and atomic bombings, writers felt that searching for
meaning was futile. They believed the only way forward was to accept a world without clear meaning.

As a result, postmodern literature departed from or expanded upon modernism. It rejected the
emphasis on meaning, embraced and celebrated chaos and fragmentation, and brought about a
significant change in literary traditions.

4 Characteristics of Postmodern Literature (DROMER)

Postmodern literature builds on the following core ideas:

 Embrace of randomness. Postmodern works reject the idea of absolute meaning and
instead embrace randomness and disorder. Postmodern novels often employ unreliable
narrators to further muddy the waters with extreme subjectivity and prevent readers
from finding meaning during the story.
 Playfulness. While modernist writers mourned the loss of order, postmodern writers
revel in it, often using tools like black humor, wordplay, irony, and other techniques of
playfulness to dizzy readers and muddle the story.
 Fragmentation. Postmodernist literature took modernism’s fragmentation and
expanded on it, moving literary works more toward collage-style forms, temporal
distortion, and significant jumps in character and place.
 Intertextuality. As a form of collage-style writing, many postmodern authors wrote their
work overtly in dialogue with other texts. The techniques they employed included
pastiche (or imitating other authors’ styles) and the combination of high and low culture
(writing that tackles subjects that were previously considered inappropriate for
literature).
2. Magical Realism. Magical realism is a literary genre that blends magical or fantastical elements
with realistic settings, characters, and events. It emerged predominantly in Latin American
literature in the mid-20th century but has since expanded to encompass works from various
cultural backgrounds. Authors like Gabriel Garcia Marquez and Salman Rushdie have made
significant contributions to the genre, each incorporating magical realism in their unique ways.
Gabriel Garcia Marquez: Often regarded as one of the pioneers of magical realism, Marquez's
masterpiece "One Hundred Years of Solitude" exemplifies the genre. Set in the fictional town of
Macondo, the novel weaves together generations of the Buendia family's history, blending
magical elements seamlessly into everyday life.
Salman Rushdie: Rushdie's novel "Midnight's Children" showcases magical realism against the
backdrop of Indian history and politics. The story follows Saleem Sinai, a boy born at the exact
moment of India's independence, who discovers he has telepathic powers connecting him to
other children born at the same time. Through fantastical elements like telepathy and
shapeshifting, Rushdie explores themes of identity, nationalism, and the legacy of colonialism in
India.
 3. Minimalism. The minimalist movement in literature started in the late 20th century as a
response to wordiness and fancy writing in modern and postmodern literature. Minimalist
literature is known for being short, simple, and focusing on everyday life. Authors like Raymond
Carver, Ann Beattie, and Amy Hempel are key figures in this movement. They emphasize brevity
and capturing the basic truths of human life.
Raymond Carver: Often hailed as the master of minimalist fiction, Carver's short stories are
renowned for their spare prose, understated emotion, and focus on ordinary people grappling
with issues of love, loss, and loneliness. His writing style, marked by short sentences, minimal
description, and realistic dialogue, captures moments of quiet revelation and human connection
amidst the banality of everyday life. Works like "Cathedral" and "What We Talk About When We
Talk About Love" exemplify Carver's minimalist aesthetic, showcasing his ability to convey
profound meaning through simplicity.

VI. Notable Works

1. Short Story Collection-

"Interpreter of Maladies" by Jhumpa Lahiri: This collection won the Pulitzer Prize for Fiction in
2000. Lahiri's stories delicately explore the lives of Indian immigrants and their struggles with
cultural identity, displacement, and the complexities of human relationships. Each story offers a
poignant glimpse into the immigrant experience, showcasing Lahiri's exquisite prose and keen
insight into the human condition.
"Tenth of December" by George Saunders: George Saunders is celebrated for his inventive and
thought-provoking stories that blend dark humor with poignant observations about
contemporary society. "Tenth of December" features a diverse array of characters grappling
with issues of morality, isolation, and the search for connection. Saunders' unique narrative
voice and imaginative storytelling make this collection a standout in contemporary literature.

2. Experimental Narratives
"House of Leaves" by Mark Z. Danielewski: This novel is renowned for its unconventional
structure and innovative use of typography. The story revolves around a young family who
discovers that their house is larger on the inside than it is on the outside, leading to a
labyrinthine exploration of space, time, and identity. Danielewski employs a variety of narrative
techniques, including footnotes, multiple narrators, and typographical tricks, to create a
disorienting and immersive reading experience. "House of Leaves" is celebrated for its ambitious
storytelling and its ability to push the boundaries of the novel form.
"If on a winter's night a traveler" by Italo Calvino: Calvino's novel is a playful and metafictional
exploration of the act of reading itself. The book begins with the reader picking up a new novel,
only to discover that the book is incomplete. As the reader embarks on a quest to find the
missing chapters, they encounter a series of interconnected narratives, each with its own
distinct style and genre. Calvino blurs the lines between fiction and reality, inviting readers to
reflect on the nature of storytelling and the role of the reader in shaping the narrative. "If on a
winter's night a traveler" is celebrated for its inventive structure, wit, and intellectual depth.
VII. Challenges and Criticisms

1. Accessibility and Commercialization: Some worry that contemporary literature may become less
accessible due to factors like high prices, limited distribution, or a focus on profit over artistic merit.
Commercialization can lead to the prioritization of marketable stories over diverse and innovative voices.
This can result in a narrower range of stories being published and promoted, limiting readers' exposure
to different perspectives and experiences. Additionally, commercial pressures may influence authors to
conform to mainstream trends rather than take creative risks. Overall, there's concern that
commercialization could homogenize literature and limit its ability to reflect the complexity of human
experience.

2. Cultural Appropriation: Cultural appropriation refers to the inappropriate adoption or use of elements
from one culture by members of another, often without understanding or respect for the original
culture. In contemporary storytelling, there's a debate about the responsibility of authors to represent
diverse cultures authentically. Critics argue that cultural appropriation can perpetuate harmful
stereotypes, erase marginalized voices, and exploit cultural heritage for profit. Authors have a
responsibility to approach cultural material with sensitivity, research, and respect, avoiding stereotypes
and consulting with members of the culture they're representing. Authentic representation involves
acknowledging and honoring the lived experiences of marginalized communities, rather than
appropriating them for entertainment or commercial gain.

VIII. Future Trends

1. Virtual Reality and Literature: With the advancement of technology, there's a growing trend of
integrating virtual reality (VR) and other immersive technologies into storytelling. VR allows readers to
step into the world of a story, experiencing it firsthand through immersive visuals, sounds, and
interactions. This technology can enhance the reading experience by creating

a sense of presence and immersion, blurring the line between fiction and reality. Authors and publishers
are experimenting with VR to create interactive narratives, virtual book clubs, and immersive storytelling
experiences. While still in its early stages, the integration of VR into literature has the potential to
revolutionize how stories are told and experienced in the digital age.

2.Environmental Consciousness: Contemporary literature is increasingly responding to the growing

awareness of environmental issues, such as climate change, pollution, and biodiversity loss. This trend is
evident in the rise of eco-fiction and climate fiction, genres that explore the relationship between
humans and the natural world. Eco-fiction and climate fiction often feature protagonists who grapple
with environmental challenges, dystopian futures, or the consequences of human-induced
environmental degradation. These stories serve as a call to action, raising awareness about
environmental issues and inspiring readers to reflect on their impact on the planet. By weaving
environmental themes into their narratives, authors are contributing to a broader cultural conversation
about sustainability, conservation, and the need for collective action to protect the planet for future
generations.

IX. Conclusion

In conclusion, the world of contemporary literature is a vibrant tapestry of diverse voices,

narrative experimentation, and a reflection of the complexities of the modern world. Stories, as a
fundamental element, play a crucial role in shaping the literary landscape and providing a lens through
which we can understand and navigate the contemporary human experience.

X. Recommendations

1. Encourage readers to explore a wide range of contemporary short story collections by highlighting
diverse authors, themes, and styles, and recommending curated reading lists.

2. Advocate for the support of diverse voices and perspectives in contemporary literature by actively
seeking out and promoting works by authors from marginalized communities, participating in discussions
and initiatives focused on diversity and inclusion, and supporting diverse literary organizations and
events.

3. Emphasize the importance of literary education to foster a deeper appreciation and understanding of
contemporary storytelling by incorporating diverse voices and perspectives into school curricula,
promoting critical thinking skills through analysis and discussion of literature, and providing access to
resources and opportunities for lifelong learning.

Reporters:
Melyn D. Lagos
Mae-Ann R. Sarol

Topic: The Contemporary Literature (POETRY)

Contemporary poetry is a poetry which was written after the 1920s. During this period there
was a lot of experiment and innovation in poetic genre. Contemporary poetry broked the
traditional rules associated with poetry. It exercised a great freedom to the Root in the choice
of themes. This genre of poetry was associated with various literary

Some of the Features of contemporary poetry

 Traditional "poetic diction" and regular metre have been discarded.
 A language with the flow and turns of common speech is mostly exposed.
 Free verse is mostly used.
 Borrowings from other culture.
 Unconventional use of metaphors

1 History of Contemporary Poetry

 Background
Before the so-called contemporary poetry appeared, there were several avant-garde
movements that broke with the writing that had been done until the time.
This renewal, both in the stylistic form and in the contents, had a great influence on
contemporary authors. Among these currents are Cubism, Surrealism and Expressionism,
each with its particularities, but united in the search for a new artistic language
 Origins
Although there are regional differences, the second half of the 20th century appears as the
period in which this poetry begins.
The years after the Second World War they are marked by the tragic consequences of it, and
art also responds to this context.
Thus, poetry in these early years acquires an existential theme, giving priority to a feeling of
emptiness and thinking that life is absurd.
As for the authors, many scholars consider that it is the modernist Rubén Darío who acts as a
frontier towards contemporary poetry, given the changes he introduced with respect to what
was done in the 19th century.
Similarly, the Chilean Vicente Huidobro is another reference to indicate the arrival of the
contemporary age of this art.
 1960s
After the 50s the theme of contemporary poetry is changing with the emergence of new
authors and the remoteness of the global conflict.
A part of the authors begins to write a socially committed poetry. Among them, Gabriel
Celaya and Blas de Otero stand out.
Meanwhile there is another current that tries to write about the human being, about their
concerns and values, but without any kind of relationship with politics.

 Newest and stylistic break

Already in a third stage, close to the new century, appears a group of writers who are
called"new."
These authors are quite close to Surrealism and, although its theme is very focused on the
human being, the forms are totally disruptive, with the abandonment of the norms that had
characterized poetry for centuries.

2 Main characteristics
2.1 Structure
One of the aspects in which this type of poetry changes is in its stylistic structure. As in the
rest of the aspects, the absolute freedom of the artist is imposed.
While traditionally a very rational internal structure was respected, contemporaries begin to
experiment.
In this way, the times mix freely, and it is not obligatory to maintain a chronological order of
what is related.
Everything is left to the imagination of the author, although it is true that this causes the
reader greater difficulty in understanding the text.
That freedom does not mean that contemporary poetry does not attach importance to form;
On the contrary, this apparent lack of coherence is sought to achieve an effect on the reader.
2.2 Metrics
Another aspect in which classicism is abandoned is in the metric. Traditional poetry
maintained codes that marked the meter of each verse. It was even one of the ways to
distinguish between one type of poem or another.
The contemporary abandons all rule in this aspect. The verses do not maintain any rigidity in
their length, nor the number of syllables.
It is each author who decides how each verse will be, losing the old division between, for
example, alexandrines or hendecasyllables, which helped to identify what kind of poem the
reader was in.

2.3 Rhymes
With the rhymes exactly the same happens with the structure and the metric. Despite having
been for centuries one of the distinctive elements of poetry, contemporary authors no longer
feel compelled to appear.
In this way, in many cases the resulting verses do not have any type of rhyme and, when they
do, they do not respect the old rules about them.
Some prominent types of Contemporary poetry includes:
1. Free Verse: The dominant form, characterized by lack of fixed rhyme scheme or meter,
focusing on natural rhythm and imagery.
2. Confessional Poetry: Explores personal experiences and emotions with rawness and
vulnerability (e.g., Sylvia Plath).
3. Spoken Word Poetry: Blurs the line between poetry and performance, often delivered
with rhythmic intensity and audience engagement (e.g., Amanda Gorman).
4. Language Poetry: Experiments with language itself, focusing on sound, wordplay, and
unconventional syntax (e.g., Charles Bernstein).
5. Prose Poetry: Blends elements of poetry and prose, blurring traditional line breaks and
focusing on narrative or lyrical imagery (e.g., Mary Oliver).
6. Visual Poetry: Incorporates visual elements like typography, layout, and images to create
meaning alongside words (e.g., E.E. Cummings).
7. Identity Poetry: Explores themes of race, ethnicity, gender, sexuality, and cultural
background (e.g., Ocean Vuong).
Featured authors and their works
 Ocean Vuong: Vietnamese-American poet known for his raw and vulnerable
explorations of identity, family, trauma, and queerness. His debut collection, "On Earth
We're Briefly Gorgeous," won the T.S. Eliot Prize and became a national bestseller.
  Amanda Gorman: Youngest inaugural poet in U.S. history, known for her powerful and
uplifting poems addressing social justice, hope, and activism. Her poem "The Hill We
Climb" captivated millions around the world.
 Kaveh Akbar: Award-winning poet exploring illness, family, faith, and desire through
intricate narratives and powerful language. His works, including "Pilgrim Bell" and "Calling
a Wolf a Dog," tackle complex emotions with honesty and depth.

Amanda S. C. Gorman (born March 7, 1998) is an American poet and activist. Her work focuses on issues of
oppression, feminism, race and marginalization, as well as the African diaspora. Gorman was the first person
to be named National Youth Poet Laureate. She published the poetry book The One for Whom Food Is Not
Enough in 2015. She rose to fame in 2021 for writing and delivering her poem "The Hill We Climb" at the
inauguration of Joe Biden.

THE HILL WE CLIMB by Amanda Gorman

When day comes we ask ourselves,

‘where can we find light in this never-ending shade,’
the loss we carry,
a sea we must wade?
We’ve braved the belly of the beast.
We’ve learned that quiet isn’t always peace,
and the norms and notions
of what just is
isn’t always just-ice.
And yet the dawn is ours
before we knew it,
somehow we do it.
 Somehow we’ve weathered and witnessed
a nation that isn’t broken
but simply unfinished.
We, the successors of a country and a time
where a skinny Black girl
descended from slaves and raised by a single mother
can dream of becoming president
only to find herself reciting for one.
And yes, we are far from polished,
far from pristine,
but that doesn’t mean we are
striving to form a union that is perfect.
We are striving to forge a union with purpose,
to compose a country committed to all cultures, colors, characters, and
conditions of man.
And so we lift our gazes not to what stands between us
but what stands before us.
We close the divide because we know, to put our future first,
we must first put our differences aside.
We lay down our arms
so we can reach out our arms
to one another.
We seek harm to none and harmony for all.
Let the globe, if nothing else, say this is true:
That even as we grieved, we grew;
that even as we hurt, we hoped;
that even as we tired, we tried;
that we’ll forever be tied together, victorious,
not because we will never again know defeat
but because we will never again sow division.
Scripture tells us to envision
that everyone shall sit under their own vine and fig tree
and no one shall make them afraid.
If we’re to live up to our own time
then victory won’t lie in the blade
but in all the bridges we’ve made.
That is the promise to glade,
the hill we climb
if only we dare it,
because being American is more than a pride we inherit —
it’s the past we step into
and how we repair it.
We’ve seen a force that would shatter our nation
rather than share it
would destroy our country if it meant delaying democracy.
And this effort very nearly succeeded.
But while democracy can be periodically delayed,
it can never be permanently defeated.
 In this truth,
in this faith we trust,
for while we have our eyes on the future,
history has its eyes on us.
This is the era of just redemption
we feared at its inception.
We did not feel prepared to be the heirs
of such a terrifying hour
but within it we found the power
to author a new chapter,
to offer hope and laughter to ourselves.
So while once we asked,
‘how could we possibly prevail over catastrophe,’
now we assert,
‘how could catastrophe possibly prevail over us?’
We will not march back to what was
but move to what shall be:
a country that is bruised but whole,
benevolent but bold,
fierce, and free.
We will not be turned around
or interrupted by intimidation
because we know our inaction and inertia
will be the inheritance of the next generation.
Our blunders become their burdens.
But one thing is certain:
If we merge mercy with might,
and might with right,
then love becomes our legacy
and change our children’s birthright.
So let us leave behind a country
better than the one we were left with.
Every breath from my bronze-pounded chest,
we will raise this wounded world into a wondrous one.
We will rise from the gold-limned hills of the west,
we will rise from the windswept northeast
where our forefathers first realized revolution,
we will rise from the lake-rimmed cities of the midwestern states,
we will rise from the sunbaked south.
We will rebuild, reconcile, and recover
in every known nook of our nation and
every corner called our country,
our people diverse and beautiful will emerge,
battered and beautiful.
When day comes we step out of the shade,
aflame and unafraid.
The new dawn blooms as we free it.
For there is always light,
if only we’re brave enough to see it,
if only we’re brave enough to be it