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Week 13: Aganju and Yemaja

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This week I found the story “Aganju and Yemaja” from the Penguin Book of Mermaids particularly interesting. Aganju and Yemaja are deities from the Yoruba religion and mythology of West Africa. Yemaja, the goddess who “presides over ordeals by water,” marries her brother Aganju, a god representative of Land. The couple then have a son named Orugan, whose name references the “apparent space between the sky and earth,” or in other words, Air. Orungan falls in love with Yemaja, eventually leading to the goddesses’ fate of swelling and bursting into water, and the creation of several gods.

I found it interesting that Orungan “stretching his hand out to seize [Yemaja]” is what led to the goddess falling “backward to the ground,” swelling, and then ‘bursting’ into streams of water. Perhaps this is meant to show the dynamic balance present in nature. There is an attraction of opposites in this story as Orungan’s symbolic representation of air can be interpreted as chaos in nature. Air creates the heavy storms associated with destruction. On the other hand, as a female figure, Yemaja embodies nurturing and protective qualities that are aligned with the Yoruba’s beliefs regarding the ocean. In Yoruba mythology, the ocean is thought to provide sustenance for life. Perhaps the relationship between Orungan and Yemaja is meant to symbolize the interplay between destructive and nurturing forces in the natural world. Just as storms can bring forth destruction, they can also create room for new growth and regeneration. Therefore, this story may highlight the importance of balance and reciprocity in maintaining harmony with the natural world.

week thirteen: african water spirits

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we had two different cultures- african and then Afro-caribbean water spirits. while they had their differences, it was very interesting to see how similar they were to one another. Both of the main water spirits were mothers, which I felt could be connected to how water itself is a source of life, and how mothers / the feminine is also connected to life because birth.

and then that leads into a segway about Yemaja being a mother and then giving birth (after being raped) to all sorts of bodies of water, among other things like gods of diseases and iron and war, but also vegetables and lightning. But you could argue that water is necessary for all of these things to thrive (war im not so sure about)… water is necessary for life. water had to be created out of somewhere, much like how women bear children (which one could argue is like making something out of nothing), so there’s that parallel. to be honest (and sorry another tangent) there’s something kinda fucked up about how “woman suffers at the hands of a man and gives birth to a bunch of interesting demigods” because we see a similar parallel with medusa being decapitated and giving birth to pegasus and someone else.

weird how mermaid stories are so quick to go to women suffering for the sake of others… then again i think that’s more tied to how femininity is viewed in the lens of the patriarchy? its a little different because you have maman dlo, who seems to thrive in spite of her femininity (but then also takes pretty young women to become pretty mermaids…) interesting bits of folklore this week.

The Fisherman and the Siren-Inescapable Temptation as a Religious Rebellion

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Literature extends far beyond hardcover books and represents itself across multiple media including artwork. Artwork has been used for centuries to communicate and share messages of the time and additionally serves as a timestamp of opinions, teachings, and knowledge. Knut Ekwall’s, “The Fisherman and the Siren,” 1858, extends a compelling story that demonstrates the intensity of male desire and the inescapable consequences of yielding to temptation through a religious lens. During this time Luthern was the key religion in Sweden, where they believed that God would not allow his people to be tempted, and if he did he would save them, although God does not save the man in the painting. Ekwall utilizes the circle as a focal point, where everything from the water currents, the clouds, and even the figures themselves are based on a circular and revolving motion. These circular-based composition and imagery techniques used in the painting serve to demonstrate his cautionary lesson about the continuous loop of dangers involved in succumbing to the allure of forbidden desires. This painting is a religious rebellion that focuses on circularity and showcases the inevitable repetitive nature of desire/ temptation and the consequences that even God cannot save you from. 

In this painting, the fisherman is facing a moral dilemma as he fails to avoid the temptation of the Siren and succumbs to the power of her knowledge and voice. This failure to disregard temptation and the soon-to-be failure to survive is underlined with defiance towards the religion at the time, as Ekwall projects the anti-Luteran belief that God will not always provide a savior. Knut Ekwall depicts the exact moment after temptation strikes as the man is unwillingly being dragged beneath the water, reaching for an opportunity to save himself from his mistake. His hope for refuge is demonstrated in the straining of his arms which form a half circle on the outer layers of the whirlpool, that seeks to overtake him. With his arms in a half-circle shape and the position of his body, as being partially consumed by the Ocean, the painting showcases that he has not reached the totality of the endless temptation cycle. He reaches out but there is nothing to hold onto; at this moment his faith has left him, and powers that want to take him down are the only things left for him to reach for. This is Knut Ekwall’s rebellion in the form of circularity, the depiction of an endless cycle with vanishing hope for a man and his desires, circling one another down into death.  

In terms of positionality, the two figures’ bodies are wrapped around one another, as the Siren’s arms wrap around his underarms and her body swirls around him, where he is trapped underneath her. The concept of his body not just being within the water but being underneath her provides him no escape, where his only choice is to fall into the endless circle and into the depths of the ocean. Her hair becomes the water and begins its circulation of his body in movement with the water that seeks to overtake him. The swirling of the water begins to turn into a dangerous whirlpool that is unavoidable for the fisherman. She remains in control and floats gracefully above the water, luring him further and further into his death, where she grabs at his body as if she is attempting to release him from his grasp for safety. The position of their bodies in this encapsulating motion is critical to the argument which demonstrates the repetitive nature of desire and how powerless one is in the face of “successful” temptation. There is a contrast in how the beings connect to one another; the fisherman avoids her gaze as he is still attempting to find hope and the Siren fixes her eyes onto him showcasing her dominance and power, as she has won. 

The color choices in the artwork add additional evidence to highlight the rebellious argument of the circulatory-based behavior of temptation. The color of the fisherman’s shirt blends into the deep blue/grey colors of the water and the viewer is unable to see his lower half, as it has been submerged. The water slowly owns him and becomes a relic of its possession, as his body loses its separation from the dangerous ocean. This is highly contrasted in the way the Siren is depicted with her idyllic beauty and pale skin color, separating her from the water, and placing it above its grasp. Due to the contrasting colors, the Siren immediately becomes the main focus, which then leads the eye to the circular patterns in the water, then continuously wields the fisherman to his death. Her vibrant hair follows this circular pattern demonstrating the power she possesses within the water and her ability to control it, in contrast to the fisherman’s inability to avoid it. Her nude body alludes even more to the idea of temptation and the power of a woman to tempt a man, even to the extent of his death. By creating a juxtaposition between the idyllic beauty of the siren with the eery landscape, Ekwall develops an inescapable environment of danger that warns viewers that God may not save them from the tempting dangers within the Ocean. 

Ekwall’s painting holds a central claim that warns viewers that the pursuit of forbidden desires leads to inevitable destruction, and further cautions that God is incapable of saving one from such temptations. Ultimately, Ekwall’s “The Fisherman and the Siren”, 1858,  is a religious rebellion against the Luthern church and a defiance of the idea of God as a savior. Through his portrayal of the fisherman’s inner and physical struggle cast against the backdrop of the seas and Sirens, Ekwall highlights the destructive nature of succumbing to desires that have the potential to lead individuals to their deaths. This painting is a timeless reminder and warning of the importance of exercising restraint and resistance in the face of forbidden temptations.

DISCOVERY

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Giselle Lee Hosler

4/14/24

ECL 305

Professor Pressman

Most mermaid stories tell of the “maids”, female monsters appealing to male heroes. However, The Pisces subverts this expectation, with the main character Lucy encountering merman Theo, who subverts the expectation of the standard mermaid-human man tropes- the merman is the one who seduces Lucy, he is the one who tempts her, and he is the one that enlightens her to parts about herself that she didn’t know about. This subversion of the tropes breaks many of the normal mermaid conventions and allows for people to move away from them while embracing newer and more positive (in some ways) stories. 

Our protagonist, Lucy, is a 38 year old woman who is having her midlife crisis early. While housesitting for her sister, she discovers Theo, a swimmer she eventually discovers is a bonafide merman. In the midst, she’s been going on unsuccessful dates with other men and grappling with a support group for single women, so she’s unsure of what she wants. The Pisces is an unconventional love story unlike many of the other mermaid tales before it, like the Little Mermaid and Melusina, who have the mermaid, the female figure, suffer for love and eventually die in some cases. 

When Lucy discovers Theo, she regains some more zest for life, though she still struggles with some parts of herself. Through many encounters with him, Lucy comes to grips about aspects of her life, and how she can move forward from having a break up, going to a weird support group for desolate women, and ultimately her attitude and approach to life in general. 

It is relevant that Theo is a merman because not only does it subvert the trope, it also exposes the truth that women are not always the seducers- Theo is the one who tempts Lucy to be curious about him and discover what he can offer her. In other mermaid and mermaid-adjacent mythology, it is the female figure that seduces, who offers the knowledge to the curious male figure. In this way, the sexuality of men is explored much more. And it is often the female figure that gets neglected in the process. 

Not to mention, that the being of nature is a man, not a woman. Nature is often feminized, and the mermaid is no exception. But in The Pisces, Theo is a merman, the being of nature is masculine. Instead of being the conquerer, as the human men in mermaid tales are often portrayed, he is the conquered. He is not the taught, he is the teacher. We don’t see that often in mermaid tales, especially ones written in the past. 

Of course, The Pisces is not the only merman-centered merstory out there. We have much older examples, such as Oannes, a merman-like figure who also brought enlightenment. Having these examples allows for us to see and understand that our preconceived notions about mermaids and merpeople in general are not the end-all be-all. It also helps us acknowledge that many of the stereotypes of the mermaid are merely just constructs of a patriarchal society, meant to keep women in a box. 

While Lucy struggles with herself and with others, she eventually comes to realize some of her wants. While she is tempted by Theo, she ultimately manages to pull away from him and prevent herself from meeting the same fate as other women before her- and the fates of other mermaids in previous folklore- dying for her male love interest. In that she shows that women do not have to suffer or put themselves at risk for the sake of what men want. 

Within the deviation of The Pisces, there are still some parts that are continuous with regular mermaid stories- that is, that the merperson attempts to cross the boundary between land and sea in order to be with their partner. His otherness is apparent, and it becomes something of a reoccurring thing between him and Lucy, but really it is to be expected from a mermaid tale. These elements of the story keep it from escaping the true mermaid tale and becoming something else entirely. 

The merperson is a monster, regardless of gender. The way that gender roles interact with one another, between monster and human, between earth and sea, impacts the lessons they teach to the readers of the present and the future. Male monsters in a female dominated genre, meant to be a sort of warning to female readers… that sort of deviance from the norm does so much for breaking established gender roles within the merperson as a concept. 

Having stories like the Pisces, stories that are unconventional and turn tropes on their head, allows for a better look at the societies and cultures who tell these stories. The Little Mermaid, Melusina, and other similar tales are a product of their times and standards. The Pisces, while more modern, has some elements of those stories while deviating from the stereotypes that make mermaid tales so iconic. It, like the many different tales before it, is a product of its time and has much to teach its readers. 

Unveiling Terracentric Language Through Ocean by Steve Mentz

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Naomi Mireles

Professor Pressman 

ECL 305

14 April 2024

Unveiling Terracentric Vocabulary and Its Relevance in Contemporary Marketing

Advertisement for Meditation Practice class by TotallyMeditation

The deterritorializing preface in Ocean by Steve Mentz reveals how common word associations are deliberate choices and prioritize land over the ocean. Attention is brought to linguistic biases that favor terrestrial environments and overlook the importance of the sea. Steve Mentz’s Ocean teaches readers to recognize terracentric vocabulary and its influence. This insight can be applied to the contemporary marketing and selling of universal happiness, meditation, and spirituality, as showcased in my object of study. Analyzing the specific language of “grounding” as good and spiritually centered favors an individual way of viewing and being. This language also excludes a large non-western demographic and their practices of well-being and values. 

Terracentric vocabulary is a term used to describe language and cultural attitudes that center on land-based perspectives at the expense of the Ocean. This includes languages that emphasize the importance of stability and the centrality of land-based environments. The commonness of this language allows for neglect of the Ocean and how it shapes human roles, identity, and history. Some other examples of terracentric vocabulary often used in messages of spirituality and well-being that associate positive attributes with the land environment are grounding, rootedness, and stability. Terracentric vocabulary also reinforces cultural narratives and biases that favor land-based lifestyles over maritime and submarine cultures and industries.

The Deterritorializing Preface by Mentz gives an overview of terracentric vocabulary and how we recognize land as familiar, and ocean as alien. In this preface, there is a portrayal of the Ocean as dynamic and ever-changing which is characterized by its vastness and responsiveness to external features. My object of study: an ad for a meditation class where grounding and centering techniques are taught, is a perfect example of how Mentz’s insight is applied to contemporary marketing practices. Spirituality has been around for a fairly long time, this is an ideology that to many is synonymous with well-being, and mental and emotional health. From our terra-centric standpoint, this has led to various forms of thinking that only favor Western practices and tie together land-based ways of thinking as the only correct form of being

In this advertisement, grounding is explained as an act or technique in which you will “feel unshakeable in the face of controversy and release negative emotions.” There is comfort established in feeling “stable” and “grounded,” both terracentric terms. Being grounded alludes to a state in which you are rooted. The act of being rooted confines you to one place, there is no going forward or backward, only linear progression. In a state of not going backward or forward, I question: is there room for genuine spiritual well-being and growth? Success in the Western world is measured in linear progress. Contrary to success in the Western world, emotional and spiritual growth is not always linear progress.

Ocean by Mentz offers the readers a paradigm, both metaphorically and literally, “nothing stays on the surface forever.”  If focusing on terra-centric language as “ground,” were to shift to ocean-centric language, what would happen to what we know about being grounded and rooted? Like our metaphors, we must be flexible and adaptable to ever-changing circumstances, instead of firmly grounded. Not one thing will remain stable or fixed for its entirety. Embracing fluidity and change rather than rigid structures invites us to shift from terra to Oceanus. The unfamiliarity of shifting from terra to Oceanus would not be a bad thing, on the contrary, it may expand our thinking and perspectives of how we view Western and non-Western values and practices. The featured article, The Blue Humanities by John R. Gillis, shares with us that in the Western world, the Ocean was always viewed as a means of transport, “they used the sea merely as a highway to get to the next landfall.” (Gillis) The rise of the blue humanities is a late recognition of this prolonged attitude towards the Ocean by Western Culture. For centuries, even Western explorers on the Ocean were learning more about land than the Ocean, it “was a discovery more by sea than of the sea.” (Gillis). This perspective of the Ocean was not a global one, many cultures and societies, mainly coastal ones have always recognized the Ocean as more than just a passage or an abyss. 

Analyzing the advertisement by Totally Meditation allows us to recognize the marketing patterns used for advertising spirituality in Western society as land-based. Everything in this ad is heavily terracentric, from the language to the green color, even the water pictured is green. Extreme land-based marketing excludes cultures and practices that are ocean-centric. Cultures such as the previously mentioned island and coastal communities have always had strong ties to the ocean in their everyday lives and cultural practices and traditions. In these cultures, the Ocean provides sustenance, connects people with their past, and inspires cultural values and traditions. These groups are widely indigenous communities and many of their origin stories begin in the ocean, which guides the harmonious relationship between humans and the Ocean. Unlike Western society, these indigenous communities, such as native Hawaiians, Samoans, and other Indigenous Islander cultures view themselves as stewards of the Ocean. People residing in these communities and cultures would not relate to these terra-centric forms of happiness and well-being. 

The terracentric marketing approach shares broader implications for how our Western society has developed and remains in a terracentric environment. An environment that excludes and is hostile towards non-western, ocean-centric ideologies and cultures. There is not only one correct or positive practice of spirituality and well-being, as our terracentric language and this advertisement suggest. Ocean by Mentz allows us to recognize how land-based language has narrowed our perspective and influenced many factors in our everyday lives, such as self-help and spirituality. Recognizing the use of terracentric language in our everyday lives, such as in marketing approaches, is the beginning of reframing our current terracentrism to non-western, ocean-centric. The unfamiliarity of ocean-centric culture and perspective would allow us to reimagine how we see spirituality and being “grounded,” to something more fluctuating and ever-changing, inclusive and welcoming to non-terracentric thinking.

Works Cited

John Gillis, “The Blue Humanities” (Humanities: The Journal of the National Endowment for the Humanities. Web. 2013)

“Live Event Aug 23: Centering & Grounding.” Totally Meditation, www.totallymeditation.com/live-event-aug-23-centering-grounding/.

Steve Mentz, Ocean (Bloomsbury, 2020): “Deterritorializing Preface” (pgs. xv-xviii). 

Essay 2: Hylas and the Nymphs Painting Essay (Discovery)

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Emmanuel Alvarez

Jessica Pressman

ECL 305:Literature in the Environment

14 April 2024

Hylas and the Nymphs Painting

The representation of mermaids in visual and narrative media, particularly exemplified by John William Waterhouse’s “Hylas and the Nymphs (1896),” display the women (mermaids) are the ones with the clear gaze on the man and are the individuals holding and asserting the power in this piece of art. This piece of art surely explores the male gaze, emphasizing the desires of a heterosexual male perspective, often objectifying and sexualizing women. In the male gaze, women are typically presented as passive objects to be looked at and desired, rather than active subjects. This piece of art was created during a period where women were beginning to gain more freedom and the power and importance of women was coming to light; this painting shows the complicated nature of the gaze and gender politics at a moment when contemporary feminism is just emerging from the depths

Prior to exploring the complexities of gaze and power in Waterhouse’s “Hylas and the Nymphs,” it is essential to comprehend the historical and cultural context in which the painting was created. The late nineteenth century, which saw the rise of the Victorian era in England, was marked by a combination of rigid social morals and a growing movement in favor of women’s rights. When the picture was completed, struggles for women’s suffrage and more autonomy were taking center stage in the first wave of feminism. John William Waterhouse, a member of the Pre-Raphaelite Brotherhood, was well-known for his idealized portrayals of female figures from literature and mythology. His paintings were full of rich symbolism and strong emotional currents, and they frequently embodied the Pre-Raphaelite ideal of complexity and beauty. “Hylas and the Nymphs” is no different, presenting a story from Greek mythology where Hylas, a companion of Hercules, is seduced and abducted by nymphs—mermaid-like creatures—resulting in his disappearance.

In art history, the male gaze has typically taken the form of women shown via intrusive or fetishistic lenses for the enjoyment of a male audience. But in “Hylas and the Nymphs,” a number of things challenge and question this sight. First of all, although being unquestionably sexualized in their portrayal—naked and ethereal in a lush with life dreamlike setting—the nymphs in the painting are not helpless. With expressions that suggest not only seduction but also power and domination, they look straight at Hylas and, consequently, at the observer. Their physical location in the water encircling Hylas, combined with their unwavering confidence and unflinching eyes, suggest a role reversal. In this scene, Hylas becomes the object of desire and is submissive due to the nymphs’ persuasive seduction. This inversion in the painting is important because it shifts the female figure from object to subject and questions the conventional dynamic of the heterosexual masculine gaze. The nymphs are more than just ornaments in this narrative of the painting; they are essential to its development, propelling the action toward Hylas’s unavoidable demise. Their assertiveness in the water, which is often associated with mystery and depth, enhances the impression that they are strong, independent individuals as opposed to being objects of lustful enjoyment.

John William Waterhouse’s use of water as a setting is filled with purpose.  The nymphs live in the world of water, which is frequently connected to femininity because of its depth and fluidity; here they are endowed with unquestioned power. Hylas emphasizes the change in power dynamics by being both literally and figuratively out of his element, standing dangerously in theirs. The nymphs’ submersion in the sea, in contrast to Hylas’ partial absence from it, represents their ease and domination in this world, emphasizing the concept of feminine empowerment even further. In addition, the painting’s rich, green background and the water’s reflective clarity allude to themes of thought and introspection. The observer is challenged to reevaluate who actually has the upper hand in the visual exchange and is invited to investigate the nature of gazing itself. 

“Hylas and the Nymphs” can be viewed as a predecessor to more recent conversations on gender, power, and representation from the standpoint of a modern feminist. Through empowering the female characters, John William Waterhouse unintentionally or intentionally adds to the conversation on female agency. The picture confronts the traditional standard of female passivity in art history and raises issues regarding the roles of spectator and observer, as well as seducer and seduced.

In conclusion, “Hylas and the Nymphs” by John William Waterhouse offers a fascinating analysis of how the masculine gaze has reversed conventional power relations. In addition to challenging social standards, John William Waterhouse captures the emerging undercurrents of feminist ideology in the late 19th century by portraying the nymphs as the bearers of gaze and control. Viewers of this piece of art are prompted to reconsider conventional depictions of gender and power in art by this artwork, which emphasizes the complexity and evolving paradigms of the time. In addition to being fantastical creatures, the mermaids in John William Waterhouse’s artwork also serve as potent symbols of the new modern feminism that is redefining and challenging the gaze in ways that are still relevant in issues about gender and representation today.

Works Cited

Waterhouse, J. W. (2024, April 10). Hylas and the nymphs (painting). Wikipedia. https://en.wikipedia.org/wiki/Hylas_and_the_Nymphs_%28painting%29 

Week 12.5 – The Ocean Contains True History

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I was working on my discovery assignment and thinking about yesterday’s in-class discussion when a realization dawned on me.

When talking about The Sea Is History we talked a lot about how the ocean preserves what’s lost in it. We talked about Moby Dick and its last line and how it gives the impression that the ocean is (literally) filled with stories and artifacts of events that we can’t memorialize by building a statue in its place.

To try to illustrate why I think this reality is so significant, consider a battle at sea versus a battle on land for a moment. Both fights share a few characteristics: each will result in a massive expenditure of money, resources, and troops, and each will have a winner and a loser. Beyond that, the two are completely independent. The winner of a land battle is entitled to the territory on which they fought. They get to change the way the area is governed and build monuments and museums filled with art and propaganda sympathetic to their cause. They are free to discard any proof that their acquisition of the land was any more violent or hateful than was necessary in order to remain benevolent to its governed peoples.

At sea, we are more than likely left to take the winner’s word on how their victory is achieved. You can’t claim the water, really – you definitely can’t build memorials to commemorate it. And while, yes, there is no presentable evidence to show malice or the true moral ambiguity of the conflict – the evidence DOES exist. Its under the water, untouched by men – resulting in what I would safely refer to as TRUE history.

It’s history without a consciousness; ultimately, it’s a dead history – having avoided the post-mortem manipulation that events on land face to keep the propaganda alive. But personally, I don’t want history to have a narrative. I do not want there to be good guys and bad guys, and I don’t believe in generational hate. I value the ocean for its ability to be honest with us and hold a mirror to our shitty behavior because the first step to improving at anything is to take accountability for the fact that you need to improve to begin with.

Sorry if I essentially reworded the conclusion we came to in class, I just felt like this was a revelation for me. I definitely dabble in true crime and conspiracy thought a bit too much and I totally could be predisposed to this line of thinking – but I do think that the history books we are all made to read growing up were largely dishonest promotions of “*Insert Country Name* Values and Reasons For Being Superior”, so I enjoy getting the chance to take a more critical look at human history.

The Water Will Carry Us Home

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Getting to this analysis fairly late, but wanted to make sure I had watched the film before class discussion. What I wanted to touch on mostly was the ability to tell a story with no words, but still have a clear picture of what is meant to be understood. Although this is the sad reality of the first examples of exploration, including slavery and segregation the ability for us to gain this understanding without speaking through the film is powerful. The way that it switches between real people to art to demonstrate a story makes for an interesting interpretation. There is layers to this film, and how it starts by showing important parts of African American culture, but then the history of the passage, and then how this connects to water spirits. I think this is one of the more fascinating visuals we have seen just because of the connections it makes throughout various parts of our studies. We can gather snippiest of true history, spiritual history, and the connection to water while having cool aspects of art throughout.

The Sea is History

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This week, I wanted to focus more on the poem, “The Sea is History”, by Dereck Walcott. This is by far one of the most interesting poems I have ever read. It focused mostly on the transportation of the slaves during the slave trade. This poem made me realize how heavy words can be when used properly. This poem almost seems like an act of rebellion to the way history is normally told. History is generally taught through the perspective of Christianity, more specifically in Europe. This poem constantly references the Bible. Stories like Exodus, the Ark of the Covenant, and Genesis are talked about, which are stories about great migrations. I think that talking about these stories with the slave trade amplifies the importance of the already heavy topic in a tasteful way.

The brutality of the wording is absolutely necessary in order to induce empathy in the reader. One of the lines that I found to be extremely interesting was when the narrator comments on the “men with eyes heavy as anchors, who sank without tombs” (Walcott 8). This line implies that suicide is much more preferable than living as a slave, and comparing eyes to anchors is a beautiful yet heartbreaking use of a simile. The idea that there is no tomb, just the ocean, implies that life is not the only thing being taken, but culture is being taken as well. Almost every culture has some type of ritual for death. The slave trade took that away for Africans, just as they stripped them of their entire culture. I thought this was a heavy line but it was extremely interesting to think about.

I also wanted to comment on how interesting it was to consider the ocean the “grey vault” that holds African history. The ocean is almost like an omnipotent being in this poem, the way it has so much power and history. I believe that this is a prime example of why history should be taught more through world literature. The way history is taught is extremely biased, but through world literature we can learn to gather information and truly learn from the past.