Reading this poem felt like a breather in a way. I really enjoyed the feelings it gave me like a peace of mind, an escape from my current life, but also to picture my life in a different way. There was a specific part of the poem that stuck with me, “It has been there since before the beginning of tragedy”. It put into perspective how big, impactful, and strong the Ocean truly is but yet it’s still neglected for what it really is. It made me stop to think what does the Ocean know that humans don’t? What is the Oceans endurance to the damage that is always done to it? From this single stanza I was able to see how my life and what I think are “major” problems are really a speck in comparison to this huge body of water.
Another point in the poem that made me picture life in a different place was, “You can spend your life benthic, or brackish” as it makes me question if life in water is possible? I decided to look up the word benthic which is simply anything that is at the bottom of a body of water and I couldn’t help to think about the mermaid stories we’ve read and how they all take place living at the bottom of the sea. So can this mean that living at the bottom of the Ocean is indeed possible? How would life be down there? Or is there already life right under our noses? This poem brought out so many questions to me as it lets me try to picture things in a different lens as anything was possible instead of being impossible.
I am planning to do a creative-critical essay, with photos I took (attached to this post) and an essay on gender fluidity. I am struggling to make a strong argument so any feedback from fellow students is deeply appreciated. Or any analysis on these photos as I know it is hard for me to objectively see these photos.
Thesis: The image of a mermaid challenges cultural interpretations of gender through the mermaid tail. Lacking genitalia, they symbolize a gender fluid being that we are able to relate to due to their half human nature. This collection of photos presents a gender fluid mermaid that we may be tempted to categorize; but this mermaid is gender fluid, which is captured through posing, model choice, and the mermaid tail. When analyzed in relation to other stories of gender fluid mermaids, like The Deep, we can start to question how we define gender and what value we hold to this idea.
I was thinking to analyze the photos on the tail (lack of two legs), the model (gender fluid model), and the posing (masculine posing), maybe location choice as well. Not sure if I should stick to one photo or if a few would be okay. And then maybe analysis of the passage from The Deep where they talk about the wajinru being male, female, both, or neither and try to tie back to the photos.
There’s something so profound about how the themes of creation and motherhood work within Rivers Solomon’s The Deep. We can see how important motherhood is held through the creation of the womb that protects the wajinru from being preyed on while remembering, the relationship between Yetu and her amaba, and the wanjiru’s origins as the babies of pregnant African women who were thrown overboard during the Atlantic slave trade. Most importantly, we can see it in how the ocean is portrayed as an entity that first taught the wajinru to breathe underwater.
In the last chapter of The Deep, Yetu tells her amaba that she is trying to remember what it was like to be in the womb that carried the very first wajinru, to have a two-legged mother, and to be born to breathe air instead of water. Amaba then tells Yetu that there is little to no difference between the waters of the womb and the ocean water that surrounds them all. In a way, they are all still in the womb, always in a state of growth, change, and potential. They were carried in water and born into water. “It is all waters.” (149)
The centering of motherhood and creation in The Deep centers the stories and experiences of women through the reframing of the ocean as the creator and holder of all life on land and in the sea, more than a womb and more than a home. The ocean serves as a protector for those who seek refuge in its depths and as a teacher for those who are willing to learn. The story allows its female characters–and the ocean itself–to define themselves as more than just mothers or warriors, but as explorers, teachers, and historians as well.
Something that struck me about the portrayal of Omambala is how caring and maternal she and the mermaids she creates are. In a lot of folklore surrounding mermaids and water spirits, these spirits tend to be flighty and capricious, erring on the side of malicious towards humans. You wouldn’t trust these spirits to protect you or your watercraft and you’re probably more likely to believe that they’d drown you if they fell in.
With Omambala, her powers are used to transform the pregnant women tossed overboard from the slave ship into mermaids with the ability to swim and survive in their water, even extending that transformation to their unborn children. She manipulates the weather to stop the slave ships from sailing to their destinations. She watches over the slaves stored at the bottom of the ship when the weather is not enough to stop the traders. This portrayal of an ancestral water spirit reflects not just animistic but ancestral worship, as well. Water as the source of all life makes the ocean everyone’s ancestor. Ancestral worship involves the belief that our ancestors watch over and take care of us.
This class taught us to view the ocean not just as a lifeless road for ships or a blacktop for watersports, but as a living being with a history of its own. This stop-motion animation short invites us to not only see the ocean as a living being but as a family member or a common ancestor that connects and takes care of us all.
anyways it was really uncanny, with all of those shots from under the surface of the water. And then the mermaid(?) swimming amongst the human structures, and then later in the middle of the ocean… it felt so out of place and yet so natural..
I think it speaks to how humans are somewhat out of place in nature, just as the mermaid was out of place amongst the structures. All of the shots of the quiet stillness in the ocean and in that tundra area sort of spoke to how nature sort of coexists with itself. That mermaids are a sort of extension of nature in a way, because we see the mermaid in the water almost all the time (naturally). the film kind of implies that mermaids are indeed the link between humans and the ocean because the mermaid interacts with bare, isolated nature and the equally empty human structures. There’s also a bit of curiosity as the mermaid explores the structures, it could be a nod to how humans are curious about the ocean and explore it slowly.
Watching this video reminded me of one of the terms we discussed last week, distortion. This ocean centric language proposal in Deterritorializing: Preface mentioned switching from clarity to distortion, as many things underwater are distorted and how this distortion should be a baseline condition. I saw this distortion in the video we watched this week, as there were both visual and auditory distortions when the camera was underwater. Looking up at the land, one could not see as clearly as one should be able to, and there were light distortions through the water. When an audio clip of someone talking played, it was muffled and incomprehensible. It was interesting to see the world from what a mermaid’s perspective might be, and how separated from the human world this perspective is. When the camera was underwater and pointed up at the surface, the land beyond seemed so far away. If we did switch our language from clarity to distortion, it would allow us to consider other perspectives, and perhaps understand that our personal perspective is not truly clear; rather that it is distorted, as is everyone else’s.
I also thought the locations chosen by the director were interesting. There was a sharp contrast between the snowy land, that was just nature for miles and miles, untouched by man. Then, where the mermaid was swimming, there was concrete and industrialization. As it states in the description, the mermaid is exploring an old, decommissioned NATO base, which also goes to show that even when humans think they need land, they are willing to just abandon it after it has served its purpose. Perhaps this contrast is making commentary on mankind’s effects on the environment. While some parts are unscathed, others are dominated by the effects of industrialization and humans’ need for land. And by changing the raw environment, it makes it more difficult for the natural world to navigate. Instead of this mermaid having the ability to roam in an open space (as shown in the video at 4:53), the mermaid is confined to tunnels and canals. As humans, we are able to manipulate the world in a way that affects many more species than just our own.
During the latter half of the 19th century, Japan made the transition from a feudal military country to a colonial power under the Meiji Era. Along with the adoption of Western ideas came the industrialization of the country (“A Brief History”). The Meiji Era ushered in coal and chemical plants, mills, refineries, copper mines, and pollutants (Seagrove 2). These new technologies brought new language too–the coining of the word “kogai” which Seagrove (1) describes as “industrial pollution that damages human health and the environment” (p.1). Despite the awareness of the negative environmental costs of industrialization, Japan continued to prioritize economic development as they gained global power. In the Japanese tale The Mermaid, the middle-aged man’s decision to release the mermaid reflects this human-first attitude adopted during the industrial revolution in the 1890s.
The Mermaid follows the story of a middle-aged man who lives by himself, having never married. When fishing one day, the man catches a mermaid. On page 206 of The Penguin Book of Mermaids, the passage reads: “ ‘Desinit in piscem mulier formosa superne.’ The mermaid’s face was tearful, for the hook was in her cheek, and there was also the shame of being forcibly dragged out of her native element; and the angler was a man of tender heart” (p. 206). The strong use of imagery in this quote, of the hook in the cheek and forcible dragging, represents the strong hand of the Japanese in trying to conquer the environment through technological advances. The usage of the phrase “native element” also reveals the use of a mermaid as a symbol for the environment, and the relationship between this man and mermaid represents interactions between Japanese and the environment. The Latin words, at the beginning of this quote, and presumably stated by the man, loosely translates to ‘the beautiful woman ends in a fish’s tail’. The structure of this sentence (and in the quotation) reveals how he sees the mermaid as a human first, and then secondly an element of nature, reflecting the human-first frame of mind this story was written in.
The man then contemplates what to do with the mermaid. The way that he ponders about what to do with her represents the commercialization of the environment that Japan was undergoing: “Gently extracting the hook from her jaws, he held her in his hands and meditatively speculated on the money which he could gain by selling her to an itinerant exhibition, or the long life which he might obtain by eating her flesh” (p.206) Many new technologies, such as power plants and mines were sources of economic gain from the environment in Japan. Not only does this quote represent commercialization and the commodification of nature, but it also illustrates the tensions in the transitional period that the Meiji Era brought. Choosing to sell the mermaid to an exhibition may have resulted from the newfound international trade brought in by the new era, while eating the mermaid comes from a Japanese belief involving immortality, and is more connected to the traditional eras of Japan. The man’s struggle between this choice represents the economic tug of war between an isolated, feudal Japan and the new, colonial Japan that was developing. In addition, the imagery of the man holding her in his hands contributes to the idea of Japan dominating and controlling nature, through how small and powerless it makes her appear.
Despite the two initial choices presented, the man decides to release the mermaid back into the water. However, his reasoning behind the release is not of respect for nature, or pity. The author states: “But his soul revolted at the thought of eating this fair creature, that whimpered and cried like a human being, and so after another long gaze he threw it back into the waves, when the mermaid, waving its grateful adieux, speedily dived out of sight” (p.206). The man does not choose to release the mermaid for any reason but that it reminds him of himself. This reflects the human-first attitude that the Meiji Era brought as it prioritized human advancement over preservation and respect for the environment. Had the mermaid not “whimpered and cried like a human being”, the man would not have returned her to the water, and would have made the choice between selling or eating her. Although the text describes the man as “a man of tender heart”, it seems his tenderness only extended to those who look and act like himself, not to all living beings in the world. This description of the mermaid also reflects how nature is at the mercy of the industrialization of Japan, since the man is the one in control. The mermaid’s gratefulness also contributes to this power dynamic.
Interestingly enough, this tale was published in English in a magazine in Tokyo. This decision to use the English language, as opposed to Japanese, may be another hint toward the Westernization of Japan at this time–as many citizens were sent to Europe to learn about how their country operated. Whether this story can be considered propaganda for the government and modernization, or perhaps a tale created from integration of European ideas and the story of Melusine, is unknown, but it does comment on many concepts of the Meiji Era–of modernization, power, transition. This developmental era in Japan’s history brought about much change for all of Japan, and this tale is an important representation of the attitudes toward nature in Japan during the Meiji Era.
Works Cited
Bacchilega, Cristina. Penguin Book of Mermaids. Penguin Publishing Group, 2019.
Japan, Heartland. “A Brief History of Japan from the Late 19th Century to the Early 20th
Century. – Heartland Japan.” Heartland Japan – Your Gateway to the Heartland of Japan.
Heartland Japan Offers Unforgettable Experiences for Walking, Cycling, Hiking, and
There were many ideas I was interested in in The Little Mermaid–Christianity, coming of age, familial love versus romantic love, Sirens, deformed monsters, beauty standards, the color red, ‘dumb’–but I was most intrigued by the symbolism of the pearls. It was not explained in this story beyond noble lines and status (unless I greatly missed something), so I decided to do a bit of research on the meaning behind pearls and how it may tie into this week’s reading. When the little mermaid’s grandmother is described, she is described as having the most pearls: “The sea-king had been a widower for many years, so his aged mother kept house for him. She was a very wise woman, but extremely proud of her noble birth, which entitled her to wear twelve oyster shells on her tail, while other well-born persons might only wear six” (p.108). One part I found noteworthy in this description was the number–is this related to the 12 disciples of Christ? Later, the little mermaid is given half pearls in her wreath when she comes of age.
So after looking online, I found this website that talked about symbolism of pearls https://www.gemsociety.org/article/history-legend-pearls-gems-yore/ (if anyone is inclined to read it). There are a few relevant points on this website, one of which is that pearls come from natural origins (formed in mollusks), which sets them apart from other precious gems (which are formed as minerals under the earth). As we have discussed in class, mermaids have a strong connection to the environment and often represent historical perspectives toward the environment. If pearls are a symbol of mermaids in this story, then we might assume that Anderson is stating that mermaids are part of nature/environment (also supported by the lack of soul), which also follows along with influence from Undine. Pearls and mermaids both have natural origins from nature.
There are also lunar associations with pearls, due to their shape, which is circular when in salt water. This may represent the little mermaid’s obsession with the human world and the sun. Since the sun and moon are opposite, and she doesn’t like wearing the pearls, and is constantly thinking of the sun, then these pearls may represent the moon and everything opposing her. When describing the little mermaid’s plot of ground for gardening, Anderson states: “the youngest planted hers in a circle to imitate the sun, and chose flowers as red as the fun appeared to her” (p.109). Later, when she turns 15 and adorned with pearls and other accessories, she thinks: “how gladly would she have shaken off all this pomp and laid aside her heavy wreath–the red flowers in her garden adorned her far better” (p.113).
Interestingly enough, the website also says that in Western culture pearls are often used as gifts for brides, and can keep newly wed brides from crying. One trait that stays consistent with the little mermaid in water and on land is that she cannot cry. “When the sisters rose up arm-in-arm through the water, the youngest would stand alone, looking after them, and felt ready to cry; only mermaids have no tears, and therefore suffer all the more” (p.113). This is when the little mermaid is still underwater. Later, when she is living among humans, she also cannot cry: “And the mermaid heaved a deep sigh, for tears she had none to shed” (p.125). If we continue to see pearls as a symbol for mermaids, then we can also see how pearls preventing brides from crying may also prevent mermaids from crying. It also gives a limited display of emotion for these merpeople, which makes them seem less human, even though they feel just as much.
The importance and significance of beauty, attraction, and femininity are all things I have seen and observed in this class. The Faery at the Fountain engraves this in me even deeper, while these things were of importance in this tale, there were also other obvious aspects that I have not seen in stories before. I would like to say this story reminds me a lot of the damsel in distress trope, but the roles are reversed. Raymondin is on the run and seemingly lost when the faery Melusine comes to what seems to be his rescue. While the roles are reversed from what a typical story usually shares, Melusine did not emasculate Raymondin, at least not in my eyes but I am not exactly sure why. “It was always she, indeed, who led.” (p29). Since it is their first time meeting, it leads me to think that Raymondin is not the first nor last man with whom Melusine shares this type of encounter. In the lens mermaids, they both share this sort of enchanting and hypnotic entity, where the men simply cannot resist their beauty and in return the woman, in this case Melusine gives them some sort of knowledge or information. This is what we have seen in the case of mermaids and sirens, it’s interesting to see that faeries also carry this sort of captivating power. Another thing I noticed was the femininity of Melusine and how much of her hair is emphasized, “Then she began to comb it, and as he admired the fine silky, deep tresses he saw the wooden comb that had ran through them..” This was one of the similarities I noticed between the way both Melusine and mermaids have been depicted.
I had read that first two chunks of reading last week so I decided to do the third chunk of reading. It opens up with the Renaissance and how discovering the New World had influenced how the Old World saw and interacted with mermaids. Somewhere in the beginning there was a tidbit about how Old Worlders were interacting with the New World environments and how they found opossums. “Though hindsight relegates these creatures to fantasy, other animals proved very real and just as terrifying to early modern Europeans. The female opossum, for instance, was a strange New World ‘composite creature’, combining parts from Old World animals and humans to create ‘an inorganic multiplicity’.” (page 61, ch 2) I think it really feels like grappling with the strange creatures bolstered the otherness of the mermaid. Especially given what their modern society was, and their modern ideas.
It also, weirdly enough, makes the mermaid feel more natural. When you have creatures like the opposum and maybe even the platypus (dont know if it was named in this portion specifically but it is a mishmash creature), then mermaids by proxy are natural- a mishmash creature. Funnily enough there was also a mention that Old Worlders expected to see mermaids and tritons everywhere (its early in the chapter), I thought that was really interesting. They were going off the opposum and whatever other animals they had found, or maybe perhaps their perception of the New World.
