Philippine Literature

Prepared by : Tranate,Charie R.
 N.V.M. Gonzalez
• Know as N.V.M. Gonzalez.
• A teacher , author, journalist and
essayist.
• Born in September 8, 1915 in Romblon
and move to Mindoro at the age of five.
• He passed away on November 28,1999
• Studied at National University in Manila ,
but he never obtained a degree.
• In 1950 he began a long teaching career
at the University of Santo Tomas. He also
Taught at the Philippine Women’s
University.
• Given a Trophy from A Jokarts company (1997-1998)

• Regents Professor at the University of California at Los Angeles, 1998–1999

• Philippines Centennial Award for Literature, 1998

• National Artist Award for Literature, 1997

• Oriental Mindoro Sangguniang Panlalawigan Resolution "extending due recognition to Nestor V.

M. González... the commendation he well deserves..." 1996

• City of Manila Diwa ng Lahi award "for his service and contribution to Philippine national
Literature," 1996

• City of Los Angeles resolution declaring October 11, 1996 "N.V.M. González Day, 1996

• The Asian Catholic Publishers Award, 1993

• The Filipino Community of California Proclamation "honoring N.V.M. González for seventy-eight
years of achievements," 1993

• Ninoy Aquino Movement for Social and Economic Reconstruction through Volunteer
Service award, 1991

• City and County of San Francisco proclamation of March 7, 1990 "Professor N.V.M. González Day
in San Francisco," 1990

• Cultural Center of the Philippines award, Gawad Para sa Sining, 1990

• Writers Union of the Philippines award, Gawad Pambansang Alagad ni Balagtás, 1989

• University of the Philippines International Writer-in-Residence, 1988

Novels
• The Winds of April (1941)
• A Season of Grace (1956)
• The Bamboo Dancers (1988)
• The Land And The Rain
• The Happiest Boy in The World
• Bread of Salt
• A Warm Hand
 Short fiction
• "The Tomato Game".1992
• A Grammar of Dreams and Other Stories. University of the
Philippines Press, 1997
• The Bread of Salt and Other Stories. Seattle: University of
WashingtonPress, 1993; University of the Philippines Press,
1993
• Mindoro and Beyond: Twenty-one Stories. Quezon City:
University of the Philippines Press, 1981; New Day, 1989
• Selected Stories. Denver, Colorado: Alan Swallow, 1964
• Look, Stranger, on this Island Now. Manila: Benipayo, 1963
• Children of the Ash-Covered Loam and Other Stories. Manila:
Benipayo, 1954; Bookmark Filipino Literary Classic, 1992
• Seven Hills Away. Denver, Colorado: Alan Swallow, 1947
 “Bread of Salt”
By N.V.M. Gonzales
Analysis of the Story:

• General Classification:
• Fiction

• Kind of story development:

• Short Story
Vocabulary Build up
• Jostled – to push against someone while moving forward in a
crowd
• Assent – to agree/approve of something, esp. after carefully
thinking about it.
• Ostensibly – seeming/ said to be true but possibly not so.
• Buxom – a healthy/attractive woman.
• Spinsters – an unmarried woman past the usual age for marrying/
unlikely to marry
• Solfeggio – a singing exercise esp. using the Sol and Fa syllables.
Setting:

• Bakeshop
• Buenavista’s house for the party
• School
• 1930’s in the Philippines
Characterization:
• Boy
• Grandfather
• Aida
• Pete Saez
• Other Bandmates
• Josefina and Alicia
• Don Esteban
• Mr. Custodio
Plot
Rising Action:
• When the fourteen year old boy started to learn and master
playing violin.
Conflict:
• When his aunt doesn’t support him to perform in the public or
parties because the musicians are the last to eat during parties
Climax:
• When Aida caught him packing some food in the party.
Falling Action:
• When the fourteen year old throw away the food that he packed.
Resolution:
• The boy realized that like a pan de sal he is still not yet ready to
face reality.
 Summary
The story is about a teenage boy who buys pandesal or ‘bread of salt”
because of its wonderful flavor. Every day he walks by the house of the old
Spaniard’s niece Aida whom the boy liked.
He could follow her everyday to school. He would also think about how
he would confess his feelings for her during classes. He joins Pete Saez’
private band Minviluz orchestra. One of the reason he joined was to save
money to buy a brooch for Aida. Also it was his dream to be a violinist. Though
his aunt didn’t want him to pursue his passion.
One night when the band was performing the boy did something
embarrassing that Aida saw. Embarrassed he walked out in shame. He was
probably thinking that because of what he had done. There is no chance for
Aida to like him back. Pete led him home and passes by baker’s on the way.
They ordered pan de sal but the bread was still not ready.
Theme of the “Bread of Salt”

Rite of passage
Comprehensive Questions:

1. “Bread of Salt” is a story of initiation, a rite-of-passage narrative.

Explain how this initiation happened to the protagonist of the story.
Compare the use of rite-of-passage motif with other local and
foreign narratives you have read so far?

2. The protagonist’s love for Aida is sweet and romantic, but class
difference gets in the way. Why does he throw away the “egg yolk
things” after leaving the Buenavista house?
Comprehensive Questions:

3. Explain the symbolic significance of the bread of salt in intimating

the issue of class difference in the story?

4. When Gonzalez says toward the end that “ It was not quite five,
and the bread was not yet ready”, how does this represents the rite-
of-passage theme of the story?
Comprehensive Questions:
5. It is hinted in the story that the Buenavistas are landed and our
musician-protagonist belongs to a family of tenants. Why do certain
labor relations in the country remain feudal to this day?

6. Why does Gonzalez use the “bildungsroman” (a story of personal

development/growth) to mirror social inequities?

7. Why does he utilizes references to neo-romantic literature (Sire de

Maletroit’s Door) and neo-romantic music? (Poet and Peasant) as
springboards to illumine Philippine realities?