Tag Archives: Hiba

Final Essay

Posted on by
7

Hiba Aljawad

Professor Pressman

ECL 305/Final Essay

9 May 2024

Human Rights Through Mermaids

Displacement… a term that always gave me anxiety. To be described as displaced, means you do not belong where you currently are, but you cannot return to your “original” placement either. To be displaced, you (the refugee, the immigrant, the person of color, the marginalized) are a pariah– an outlier that is the mermaid of our time. These mythical creatures offer a sense of hope to individuals that do not simply fit in, feel misunderstood, and/or have a sense of a lost identity. In Rivers Solomon’s “The Deep,” mermaids, through the experiences of the Wajinru, are a symbol and representation of the experiences endured by people of color. Through this representation, mermaids are a metaphorical mythical creature that shed light on issues regarding identity and the concept of belonging in a world where existence and agency is often denied to marginalized communities. Solomon’s portrayal of historical connections of the past and present, with the presence of oceanic mythical creatures, amplifies the sense of belonging drawn from understanding and knowing one’s history. The themes present in this novel are prevalent to many modern marginalized societies. In this essay, I will focus on the themes of generational trauma, painful historical recollections that shape identities, and violence in “The Deep” and how the depiction of these themes through mermaids are a representation of the experiences endured by victims of the Human Rights Violations in Iraq between 1968-1988. I will also explore the violations endured by these victims through examining Dr. Walid Al-Hilli’s “Human Rights In Iraq 1968-1988,” a book that provides evidentiary support to the violent acts committed towards victims during the political presidency of Saddam Hussein, and I will relate how these victims are metaphorical mermaids through their relatability to “The Deep.”

Generational trauma is a major theme in Solomon’s “The Deep,” represented through the weight and distress of Yetu’s collection of historical memories of her ancestors. Since discovering the truth of her lineage, Yetu explores the pains that sometimes blur the lines between reality and her subconscious. In the beginning, Yetu, lost from reality, is scolded by her Amaba for encountering a Shark, and as she slowly came back to reality it was described as “she had to open herself back up, to make her body a wound again… It was a matter of reconnecting her brain to her body and lowering the shields she’d put in place in her mind to protect herself,” highlighting the deep efforts, pain, and stress that comes with carrying painful historical memories (Solomon, pg. 2). These memories are so heavy that Yetu has to have a guard to protect herself from the painful recollections. Generational trauma appears in many forms– it is stored in our bodies like natural memories that our brains do not necessarily need to remember. Solomon highlights this point by emphasizing that “with little memory, Wajinru knew one another… They didn’t remember in pictures nor did they recall exact events, but they knew things in their bodies…” to validate the effects of historical violence on the future generations. Although the generations after have not first handedly experienced the historical events, does not mean that they are not impacted. Dr. Walid Al-Hilli writes that the violation of human rights perpetrated by Saddam Hussain and his regime has “affected every section of the Iraqi population” since 1968– violence that to this day has affected and reshaped the generation born after this time period (Al-Hilli, pg. 6). The parallels drawn between the Wajinru and victims of the human rights violations in Iraq between 1968-1988 indicate inherited trauma is carried through human rights violations. For the Wajinru, this trauma stems from the transatlantic slave trade where Iraqi victims’ trauma stems from the decades of oppression, persecution, and violence under Hussain’s regime.

As evident by the Wajinru, painful historical experiences have a deep impact on shaping identities and offering a sense of belonging. To trace historical narratives or have a historical archive in general, allows individuals that are products of that history to connect to the multifaceted experiences and influences that contribute to who they are. As beautifully put by Amaba, “‘One can only go for so long without asking who am I? Where do I come from? What does all this mean? What came before me, and what might come after?’” in efforts to highlight to Yetu that fulfillment from living in the moment can only last so long without knowing your identity (pg. 8). Eventually, that fulfillment wears off, and bigger questions get asked to understand what brought us here? Similarly, the events occurring in Iraq between 1968-1988 challenged the discourse of historical recollection. Many political leaders or important societal figures were murdered via torture, and the victims that did survive shared the stories of their experiences while in captivation. Unfortunately, records only documented identified bodies and there are thousands of bodies that to this day are missing and have not been found– a historical archive that will only exist through the stories that their respective families would live to tell. Dr. Walid Al-Hilli writes that his book “attempts to convey the degree of human rights abuses… using the following sources (In addition to what I have experienced inside the regime’s prisons…)” and lists the required sources for these experiences to be valid enough and traceable as a history (pg.4). These records are required to communicate that, if met, then the experience can be archived and traced for future generations that want to understand where they came from. These painful histories, formally archived or not, allow future generations to establish a sense of agency in their own journey’s of finding their identities and where they belong. Tracing their roots back to their historical experiences, not only offers a sense of purpose, but also allows them to validate their own experiences that shape their identities. 

The violence of the memories collected by Yetu, the violence of experience that these memories inflicted upon her, and the violence of the effect that these memories had on the Wajinru reflect the violence endured from the torture/murders experienced by the Iraqi victims as well as the impact it had on the aftermath post-1988. Yetu explains the violent memory of “‘Our mothers… thrown overboard while crossing the ocean on slave ships. We were born breathing water as we did in the womb. We built our home on the seafloor, unaware of the two-legged surface dwellers,’” which intends to allow the Wajinru to understand the history of their creation (pg. 28). This is what birthed the Wajinru. Al-Hilli provides the violent history endured by the Iraqis in prison. He noted that “There are thousands of prisoners in Iraq without any legal reason and without legal rights or the right of defence” and illustrates the various forms of torture endured by those illegally imprisoned “3 times a day” (pgs. 36-44). Remembering the violence endured by our ancestors– or parents, is not promoted with the intention of reliving that pain. Rather, these remembrances are encouraged for healing. “Forgetting was not the same as healing” (pg. 28). The violent themes in “The Deep,” showcase the painful atrocities of the history of the transatlantic slave trade and the heavied-feelings when it was revealed to the Wajinru. The history and its violence has an emotionally-burdening effect– the same way it does experiencing it, reading it, or even sharing stories about it. The violence may not be forgotten, it needs to be healed from. 

Rivers Solomon’s “The Deep,” teaches the audience the important responsibility of understanding history and how through this understanding we are able to learn more about ourselves. By using these mythical creatures as products of a historical atrocity, Solomon allows individuals with complex histories to relate metaphorically to mermaids. Solomon also delivers the sea as a historical archive, promoting the idea that history does not need to be recorded to be legitimized. Though “The Deep” is a metaphorical work for the women who were thrown off the ships during the transatlantic slave trade, its story can be related to not only the human rights violations experienced by Iraqis, but any history that is a basis of human rights violation. This story not only highlights the concept of generational trauma that can be passed down, but encourages the recognition of the root history to promote healing. 

Works Cited

Al-Hilli, Walid. Human Rights In Iraq 1968-1988. , 2008.

Solomon, Rivers. The Deep. , Saga Press, 2019, .

Week 15: Conclusion

Posted on by
1

This class has been mindfully-transformative from the various topics and discussions of how they connect. Discovering the various connections that literature has with the environment through learning about mermaids has been so unique and beautiful. I have learned so much about history, cultures, science, and writing and it has been so inspiring and so fun. My interest has peaked in many different things that we have covered and I love seeing how passionately everything was taught. This will be a class that I will remember forever, and I’m really sad that it has come to an end! I look forward to taking more classes with you in the upcoming semesters 🤍🥹

Final Essay Thesis Proposal

Posted on by
Reply

”People of The Marshes Through ‘The Deep’”

Thesis: In Rivers Solomon’s “The Deep,” mermaids, through the experiences of the Wajinru, are a symbol and representation of the experiences endured by people of color. Through this representation, mermaids are a metaphorical mythical creature that shed light on issues regarding identity and the concept of belonging in a world where existence and agency is often denied to marginalized communities. Solomon’s portrayal of historical connections of the past and present, with the presence of oceanic mythical creatures, amplifies the sense of belonging drawn from understanding and knowing ones history. The themes present in this novel are prevalent to many modern marginalized societies. In this essay, I will focus on the major themes in “The Deep” and how the depiction of these themes through mermaids are a representation of the experiences endured by victims of the Human Rights movement in the village of Chibayish, Iraq between 1968-1988.

Explanation: For our final, I wanted to highlight how themes from Solomon’s “The Deep,” are prevalent today across many different categories. I specifically wanted to focus on how the themes present are symbolic to the experiences of the victims/survivors of the Human Rights movement in Iraq between 1968-1988. I wanted to draw connections between the Wajinru, being descendants of a tragedy, and the aftermath of the Human Rights movement, in which issues of identity, displacement, and a sense of belonging are very much prevalent.

Week 14: Ch. 5

Posted on by
Reply

Chapter 5 really touched me because it showed me how prevalent this book is today. We live in a world with so much going on— wars, ethnic cleansings/genocides, sex trafficking etc etc, and a lot of these things, historical or present, or concealed. History is erased; these experiences are not acknowledged or recognized as significant enough to be more important than certain political agendas, and it is so sad.
Yetu assumes a heavy responsibility. I feel that this is a type of responsibility that many people who have experienced devastating events such as war go through due to attempting preserve history, memories, culture etc. Our identity, or at least what we know of it, is ultimately defined by such devastation and the responsibility of preserving it. I think Yetu wanted to break free from that responsibility and wanted to see herself as Yetu and not just a keeper of memories.

Week 13: Aganju and Yemaja

Posted on by
2

This week’s reading was enlightening due to the fact that even though both Yemaja and Aganju are “gods”, Aganju’s role has fallen into “disuse”.
First and foremost, Yemaja being raped by her son was very unexpected. I found that her body “exploding” the birth of other gods was a symbol of the children that replace the pain she endured from her son. It was nature’s way of compensating her for her son ruining her life. I found this article that briefly summarizes the story of Yemaja, and I like how the author mentions that her ‘waters protect her children from a predatory world.” This story is inspiring because it shifts the idea of victimized women being broken and vulnerable, and instead paints them to be hero’s of their own narratives. Rather than being depicted as a pained and emotionally devastated women, her rage turned her into a powerful protector of the sea.

https://mythopedia.com/topics/yemaja

Close Reading: The Blue Humanities

Posted on by
Reply

Art and literature harness a transformative power that shapes perceptions, provokes emotions, and ignites revolutions by standing as catalysts for change. By challenging norms such as the land being the center of human discovery, art and literature shift thoughts and cultural stigmas by offering glimpses of human experiences through visual and vicarious depths to explore alternate possibilities of what we deem to be reality. John Gillis, in “The Blue Humanities”, an article that explores the conceptual emergence of the sea in human lives and sciences, argues that art and literature have inspired the birth of oceanic curiosity and culture in post-eighteenth-century Western society. Through literature and art, oceanic creativity has inspired exploration of sea-oriented thought which has created a shift in the cultural dynamics and attitudes towards the ocean.  

Although discovery surrounding the ocean is limited, art and literature have constructed a reality of the undersea world that has not been explored. The cultural shift from land to sea has influenced various avenues to explore further oceanic curiosities. John Gillis reveals that Archaeology, Anthropology, Maritime history, and environmental history are beginning to focus on the history of the ocean and how it is indistinguishable from historical phenomena on land. To be specific, bodies of water began merging into sciences when scholars examined how life on land and other factors such as the weather is impacted by the sea (par. 3). Considering the ocean in account of various scientific histories, has led to productive discoveries such as “the damage that invasive species of plants and animals could do on small islands…” (par. 3). The scientific shift in focus from land to sea was pioneered through literature and art, and will continue to open the doors to further discoveries. 

Sea stories and art are not new to literature; however, Gillis points out a shift in attitude following the eighteenth century, within artists depicting the sea as a utilitarian source of life to “a space within to imagine modernity” (par. 4). To be more specific, Gillis provides examples from the works of Robinson Crusoe, Moby-Dick, and Jules Verne, who have created modern novels that reached new heights of “metaphysical sophistcation” oriented around the sea (par. 4). Through what is now known as ecoliterature, various scientific angles have been discovered from classic writers such as John Steinbeck. 

Prior to the ocean being a popular topic, early modern science did not explore the depths of the ocean. In fact, as Gillis points out, “The Deep– was thought to be an unfathomable abyss… a dark dead zone… never revealing its secrets” (par. 6). Following the second discovery of the sea, the ocean became entangled with history and geography. The ocean was revealed to have a life of its own. Unexpectedly, when the use of the ocean by different nations was minimized, writers and painters gained a vast interest in creatively exploring the endless depths of the sea. This “spiritual and physical recreation” of the sea created a romanticized oceanic aesthetic amongst Western culture (par. 7). For example, Gillis provides Thomas Cole’s four-part painting The Voyage of Life as an example of how art has influenced and shaped cultural thought around the sea. Gillis expands on this by highlighting that the ocean is a metaphor for hope that people like to use. Cole’s painting inspired people to look at life beyond the limitations of the land. Furthermore, Gillis notes how the Industrial Revolution inspired different aquatic activities to take form– how the water is now being used in ways it never was before. This is significant because it demonstrates how water was once feared and is now used as a means of entertainment. 

Oceanic attitudes have shifted in Western culture following the eighteenth century, and Gillis points out the fascination and excitement centered around the sea by illustrating how people who have no physical touch or access to the sea embrace this oceanic-hype by dressing their children in sailor suits or incorporating sea-oriented details, such as aquariums or wall talismans, in their homes (par. 10). Moreover, the ocean has inspired a shift of fear from the supernatural to the sea considering its endless depths that have not been explored or discovered. Gillis emphasizes that the endless limits of the sea introduce boundless limits of creation, such as supernatural creatures. These endless boundaries in the sea inspire unlimited creations of literature and art. This allows artists and writers to not only explore endless possibilities when it comes to creativity but also allows them to consider the sea as a malleable creative entity to take any form necessary for thought. This became prevalent during the industrialization when sea was projected and intertwined into the lives of people as a result of events occurring during that period. As Gillis notes “the sea became a mirror that landlubbers used to reflect their own condition”; this concept highlights that attitudes towards the ocean not only shifted, but they became a metaphorical escape for struggles during those times. 

Rising interests in the oceans and seas are intertwined within the lives of people who have and have not experienced the endless boundaries of the seas. The vast creative exploration of the ocean has ignited a shift in Western cultural thoughts and discovery. Through the use of art and literature, writers and artists have made it possible to not only impact change, but also lead to discoveries in various scientific avenues. This goes to show the immense impact that literature has on the environment. 

Week 12: The Water Will Carry Us Home

Posted on by
Reply

The film “The Water Will Carry Us Home”, starts off with Gabrielle Tesfaye in her element– writing, burning incense, embracing her cultural attributes etc. The first minute and a half of the film evokes feelings of healing and harmony through depicting Tesfaye’s performance of what seems to be her natural routine. Her cultural preservation offers a sense of comfort to immigrants/refugees who have endured historical or present traumas as a result of Colonialism, Imperialism, war, and/or slavery. Her performance offers hope that indigenous cultural practices are not extinct in the face of colonialism and/or immigration from one continent/country to another. 

In the next segment of the film (after the first 1.30s), Tesfaye exhibits a paper-made short film illustrating the shipment process of captured individuals being shipped off to another country as slaves. In the beginning, the water is presented with fish swimming in the ocean and very calming music is playing in the background. A ship emerges and the music becomes slightly more abrupt. Once the individuals are captured, some have fallen into the sea– including pregnant women. This part of the film shows how destructive humans are not only to the environment but to each other. We have a lifelong history of not only disrupting the environment but also of distructing each other by territorial, cultural, and religious invasion.  Further into the film, we see the women that fell into the ocean become mermaids and birth sea-children. This part was powerful because it illustrates the courage that transcended from a devastating event in time. This part of the film also demonstrates how beyond devastation and attempts of destroying nature, life transcends and continues to flourish. Nature cannot be destroyed because it adapts and evolves. Tesfaye is an embodiment of this lesson. The film ends the same way it started– with Tesfaye interacting with nature, her natural routine, as she listens to the ocean’s sands and the music it plays. 

Sirenomelia

Posted on by
Reply

Sirenomelia left me with many questions.
The video was a bit strange, but the first things that came to mind were the following:

What does NATO do? Why is that operation “decommissioned”? What were they doing there? Is this video real or staged?

So according to google, NATO’s purpose is to guarantee the freedom and security of its members through political and military means. Security in the ocean… from what??

This video made it more apparent to me that we really don’t know what’s going on in the ocean , but also politically. Politics are also part of the environment, but our access to information is very limited. There are many classified things that isn’t revealed to the public and this video is sending me down a conspiracy rabbit-hole. 😭

Mermaids are probably real and the government probably knows this too…

The Ocean Reader History

Posted on by
1

There is so much to the ocean that is undiscovered. We only know life on land, but there is an entire ecosystem that is undiscovered in the ocean. Eric Roorda makes this apparent in his “The Ocean Reader…”, by pointing out that 71% of the world is water, meaning, that there is more life in the water than on earth. The discoveries that we have made on land— on 29% of this world, have been phenomenal. Roorda highlights how little us humans know compared to the world as a whole. The Ocean has been a feared concept because as humans we fear the unknown. We don’t know if the unknown exists to hurt us or benefit us. Reading Roorda’s introduction made me think of the Bermuda Triangle because yes there are many things for us to learn, but when you think of the risks that accompany discovery it makes you question whether or not it is worth it. We don’t know much about the Bermud, but we know airplanes and ships have disappeared. Our curiosity is peaked, but would we risk flying or sailing across the Bermuda Triangle to learn? I’m not agreeing or disagreeing, it’s just something that Roorda had me questioning especially when he noted that the pacific is the largest (64 million miles) and deepest body of ocean. I can’t even fathom the depth of that.

Week 9: Blue Humanities

Posted on by
1

“Early modern science knew much more about the heavens than about the oceans; and more attention was paid to extracting the wealth of the seas, namely fish, than to the waters themselves. All that lay beneath the surface—The Deep—was thought to be an unfathomable abyss, impenetrable and unknowable, a dark dead zone that trapped all that sank below the surface, never revealing its secrets.”

Reading Blue Humanities this week reaffirmed the idea that we really don’t know anything about the ocean. Most of what we know is either what we have explored (which is so minor compared to the percentage of the ocean that is undiscovered), or what we have created through our imagination. Similar to last week’s reading, we created an “aesthetic” of the ocean. What was once considered a scary unknown, is now an element of nature that brings serenity and peace to people. This shift in mindset and attitude towards the ocean and the wilderness in a way is kind of refreshing because I think it encourages us to be more protective over earth. Although preservation tactics and human consumption have been an ailment to nature, viewing natural elements in a humanly-beneficial way can motivate politicians and people in general to shift towards saving the planet.