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Phil Lit Shit
Transcript of Phil Lit Shit
NON-FICTION • In Search of the Word (De La Salle University Press, March 15, 1998) • We Filipinos: Our Moral Malaise, Our Heroic Heritage • Soba, Senbei and Shibuya: A Memoir of Post-War Japan • Heroes in the Attic, Termites in the Sala: Why We are Poor (2005) • This I Believe: Gleanings from a Life in Literature (2006) • Literature and Liberation (co-author) (1988) CHILDREN'S BOOK VERSES •The Molave and The Orchid (November 2004) • Questions (1988) IN ANTHOLOGIES IN TRANSLATION IN FILM DOCUMENTARIES • Po-on (Tagalog language, De La Salle University Press, 1998) • Anochecer (Littera) (Spanish language, Maeva, October 2003) • Tong (a short story from Brown River, White Ocean: An Anthology of Twentieth-Century Philippine Literature in English by Luis Francia, Rutgers University Press, August 1993) • Francisco Sionil José - A Filipino Odyssey by Art Makosinski, 1996 • Ramon Magsaysay Award for Journalism, Literature, and Creative Communication Arts (1980) • National Artist Award for Literature (2001) • Pablo Neruda Centennial Award (2004) •Palanca Awards • Conversations with F. Sionil José by Miguel A. Bernard (editor) (Vera-Reyes Publishing Inc., Philippines, 304 pages, 1991 • The Ilocos: A Philippine Discovery by James Fallows, The Atlantic Monthly magazine, Volume 267, No. 5, May 1991 • F. Sionil José and His Fiction by Alfredo T. Morales (Vera-Reyes Publishing Inc., Philippines, 129 pages) • Die Rosales Saga von Francisco Sionil José. Postkoloniale Diskurse in der Romanfolge eines Philippinischen Autors by Hergen Albus (SEACOM Edition, Berlin, 2009) REVIEWS • "Sionil José writes English prose with a passion that, at its best moments, transcends the immediate scene. (He) is a masterful short story writer..." - Christine Chapman, International Herald Tribune, Paris • “..America has no counterpart to José - no one who is simultaneously a prolific novelist, a social and political organizer, and a small scale entrepreneur...José's identity has equipped him to be fully sensitive to the nation's miseries without succumbing, like many of his characters to corruption or despair...- James Fallows, The Atlantic Monthly THE GOD STEALER by F. Sionil Jose INTRODUCTION The beginning of the story where the characters and the setting is revealed. CHARACTERS
The story begins with two young officemates Philip Latakan and Sam Christie on the bus to Baguio. Philip, also known as Ip-pig, is an Ifugao who became a Christian and lived in Manila. By becoming a city dweller, Philip became less sentimental with his cultural identity, beliefs, and customs. On the other hand, Sam Christie was an American traveller working in the Agency who wanted to view the rice terraces of the Cordilleras. They are on their way to Baguio for one purpose: Sam wants to buy a genuine Ifugao god as souvenir and Philip was to help him find an authentic one through his local connections.
The town, along its main street was lined with wooden frame houses. It conformed to the usual small town arrangement and was properly lined with stores, whose fronts were plastered with impieties of soft drink and patent medicine signs. Not far from the town was Philip’s village. The community was no more than ten houses in a valley, which were no different from the other Ifugao homes. They stood on stilts and all their four posts were crowned with circular rat guards. PLOT RISING ACTION Where the events in the story become complicated and the conflict in the story is revealed. After living in Manila for four years, Philip now considers himself a city boy and has no inclination to return to mountain life. His return is disliked by his townsmen and his brother, Sadek, believing Philip shouldn’t have left in the first place. Despite this attitude, his grandfather is pleased to see him and decides to throw a big celebration in his honor.
On the day of the party, Philip asked his grandfather where Sam could get a god and he said he didn’t know and got mad. He never liked strangers believing they took everything away from him. Sam and Philip discover that no Ifugao is willing to sell his god. CLIMAX The highest point of interest and the turning point of the story. The reader wonders what will happen next; will the conflict be resolved or not? Philip realizes Sam must not leave Ifugao without that god. As a last resort, he offers to steal the god of his grandfather because he feels it would be his way of showing his gratitude to Sam for giving him a raise at work. Sam refused the thought but Philip stole the god nevertheless. The next day, his grandfather died discovering his god was stolen. Philip left Sam to attend to his dying grandfather. FALLING ACTION The events and complications begin to resolve themselves. The reader knows what has happened next and if the conflict was resolved or not. The next day, Sadek informs Sam that Philip will no longer be going back to Manila. Curious, Sam looks for Philip and finds him working in his grandfather's hut. Because of his grandfather's passing, he decided not to return to Manila with Sam as a form of repentance. Philip explained his reasons for choosing to stay in the mountains. He could forgive himself for stealing the god but the old man had been wise. He knew that it was Philip who did it from the very start. Philip felt he killed his grandfather because he wanted to be free from the cursed terraces. RESOLUTION The part of the plot that concludes the falling action by revealing or suggesting the outcome of the conflict. Stepping in the hut, Sam noticed in the semi-darkness that Philip is now attired in G-string, the traditional costume of the Ifugao. Philip is busy carving another idol, a new god to replace the old one which Sam will take to America as a souvenir. From that moment, their friendship was broken. Philip did not, even once, face Sam.