Edna Pontilier: How A Modern Selkie Incarnate Contests Terracentric Epistemology

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Ranya Tobin

Professor Pressman

ECL 305

Final Essay 

05/09/2024

Edna Pontilier: How A Modern Selkie Incarnate Contests Terracentric Epistemology

The land exists at the forefront of our minds as the arbiter of our existence. It is where we stake our claim and build our homes—and the law that governs it, governs us, in turn. That is what makes the myth of the Selkie so alluring. The selkie has both a home on land and within the Ocean, granting it the privilege of fluidity, both in physical form and lifestyle; it has the freedom to exist in its truest state, regardless of what the society on land demands. Societal pressures impose on us land-dwelling humans insecurities, inequities, and systemic oppression that selkies and other sea creatures are immune to. The longing to escape the suffocating reality of these demands is encapsulated by the novel The Awakening (1898), by Kate Chopin, with the protagonist Edna Pontilier desperate to break free of 1800s American gender roles. Edna finds her situation unlivable to the degree that she swims into the Ocean with the plan to never return, which is commonly read as her suicide, however, reading Edna as a selkie, and one robbed of her pelt, offers a different interpretation of the ending. If Edna is a selkie, the Ocean is her home, so instead of a tragic suicide, her choice to enter the water is an escape from the man-made institutions of the land that kept her bound to her husband’s house. Through this lens, the ending becomes a beginning. This alternative way of reading the novel’s ending offers a means of circumventing terracentric epistemology by recharacterizing the Ocean as a transformative place that offers new opportunities for existence, rather than the unsurvivable void Western ideas previously believed it to be (see Vast Expanses). Reading The Awakening as a selkie story awakens readers to the limits a terracentric outlook imposes on their imaginations and invites reading beyond the constructed boundaries this paradigm enforces.

A Selkie is a mythical creature with roots stemming from Viking Ballads of 793 AD to Ancient Ireland and the Northern Isles of Scotland (McEntire). The Selkie is traditionally a woman, and most iconic for her thick, beautiful coat of fur. When hooded, selkies roam the sea freely as seals, but when their coats are removed, they become beautiful humans able to tread upon land. These coats exist as a symbol of the woman’s autonomy, as she decides what form she takes. However, this liberty is too easily usurped; Many Selkie stories follow a similar plotline, where a Selkie’s coat is stolen from her by a pirate or leering land-born man and held ransom against her will. Without the pelt, the Selkie is barred from returning to her natural form and is forced to conform to human life as her assailant’s wife. Her existence on land is in service to her captor, as she is obligated to bear him children and keep his house, however, each retelling of the myth gives the seal woman the chance to make a great escape. Their husband is bound to make a mistake, accidentally revealing the location of where he has hidden the coat through a slip of the tongue or a failed hiding spot, and she seizes the opportunity to steal it back and regain her access to the sea. The selkie will always return to the Ocean at the end of these stories, as she is an animal, not meant to exist within the confines of human constructs. Without looking back, she hastily abandons the life she was made to live on land, including the children she was forced to bear, in exchange for her freedom—which she desires above all else.

The Awakening, by Kate Chopin, written in 1898, coincidentally follows the classic Selkie plotline. The story centers around the character Edna Pontillier, a 28 year old housewife in Louisiana, with two young boys and a husband named Léonce Pontellier who is a forty-year-old, wealthy New Orleans businessman. Edna is a victim of the 1898 status quo, where a woman’s only purpose in life and typically only option is to serve a husband and bare him children. Some women happily take to this role, as observed in her friend Adele Ratignolle, but Edna is not one of these women. Edna is different, and something deep within her violently rejects the role that was forced upon her. She feels “an indescribable oppression, which seemed to generate in some unfamiliar part of her consciousness, [and] filled her whole being with a vague anguish.” (Chopin 16). Nancy Cassle McEntire’s article, “Supernatural Beings in the Far North: Folklore, Folk Belief, and the Selkie.”, explains the emotions of the Selkie housewives, stating that “[The selkie] often longs for the sea, but she resigns herself to her fate and becomes a dutiful wife and mother.” (McEntire 8). Edna and the Irish Seal Women share each other’s anguish, forced to be wives to husbands they do not love and mothers to children they never wanted to have. They live in despair, wishing to escape the oppression keeping them tethered to their husband’s homes. Edna resents her role as a housewife, knowing she cannot fully be herself when acting within the confines of the gender role imposed on her. Despite feeling a natural maternal affection for her children, she is unable to abandon the desire to exist as her truest self, stating, “I would give up the unessential; I would give my money, I would give my life for my children; but I wouldn’t give myself.” (116). The core of Edna’s being longs to be free; she yearns for independence and the opportunity to explore a life beyond the house she was made to keep and the men she is forced to serve. This is very similar to how a Selkie, no matter how long she remains on land or how much she may care for her children, will always long for the sea above all else. The Awakening also features frequent symbolism of the Ocean as a place of freedom and revitalization, and Edna’s draw to it mirrors the connection between Selkies and their home. Edna ponders how, “the voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace.” (39). The novel’s fixation on the Ocean and how it calls to Edna is uncannily similar to what a Selkie would experience in her situation. The Ocean acts as a refuge, warm and inviting like the home Edna did not have on land. It is a space that welcomes her and promises to revitalize her soul. This puts Edna on track to reaching the sea as an inevitable destination.

Understanding Edna’s connection to the mythical Selkie drastically changes the ending of her story. The Awakening ends with Edna deciding to commit suicide by walking into the Ocean and swimming as far as she possibly can until her body eventually gives in to exhaustion—drowning her. By interpreting The Awakening as a selkie story, Edna’s final act is not one of self destruction or a result of an untreated mental health crisis. Instead, if Edna herself is a selkie, this end is not a death, but a return. Before this return, she transforms in a reverse-Selkie fashion; “she cast the unpleasant, pricking garments from her, and for the first time in her life she stood naked in the open air, at the mercy of the sun, the breeze that beat upon her, and the waves that invited her.” (268). Where a selkie would throw on her hood to return to her seal form before diving in, Edna strips off the clothes she is made to wear within the rules of the human world and enters the water in only her natural, naked body. She goes on to describe that “she felt like some new-born creature, opening its eyes in a familiar world it had never known.” (269). The novel takes care to describe that this is an encompassing transformation of self. Edna is no longer existing within the body governed by stringent societal expectations. She shifts much like her Selkie predecessors into a form with which she can enter a new life. The most curious thing about Edna’s “death” however…is the novel never actually states that she passes away. The final sentence of the novel is “there was the hum of bees, and the musky odor of pinks filled the air.” (270). This is the final Earthly sensation Edna experiences, but she does not perish within the water—at least, the text never states so. This ending is left up to interpretation, with readers operating under a terracentric lens assuming she dies. This assumption makes apparent the limitations terracentrism imposes on our imaginations. When knowing nothing other than life on land, we neglect to envision life anywhere else. Observing this conclusion through the lens of a Selkie story opens readers to a new paradigm of thought: looking beyond the constructed reality of land-based society and conceptualizing our own reality.   The ending where Edna transforms and escapes into the sea to live out the free existence she was always meant to achieve invites us to picture our own transformations and self-determined existences outside of what land-based society tells us is acceptable or possible. 

This new lens through which The Awakening may be read contrasts the terracentric beliefs that dominate our social consciousness. Terracentrism, as defined in The Ocean Reader, written by Eric Paul Roorda, “refers to people’s tendency to consider the world and human activity mainly in the context of the land and events that take place on land.” (The Ocean Reader, Roorda). Because humans cannot breathe within the water, nor colonize or terraform it, many European-based cultures have mistakenly believed it to have no history or meaning. It is important to understand that terracentric stems from early European culture, as a vast amount of cultures such as the Inuit or religions such as the Yoruba tradition actually worship the Ocean and intertwine their cultural identity and society with it intimately. The rejection of the Ocean’s worth as an archive and our place in it, persisting from early European colonization of the world, ultimately limits us in what we imagine is capable of our existence. Traditional Terracentric values gravely mischaracterize the Ocean as an arbiter of death—a void unwelcome to human life (see Vast Expanses). In this case, the Ocean is devoid of stories, of history. However, reading The Awakening through an Ocean-centric perspective offers readers a new hope; when met with stories that extend into the water, the restrictions we experience on land become arbitrary.  Life is difficult on land; our constructed, land-based society is corrupted with values that are oppressive to not only women, as experienced by Edna, but also minorities, those whose identities are not deemed acceptable by the status quo, and those without wealth. An Ocean-centric point of view allows us to recognize a world outside of these constructed boundaries—a space where life persists and life forms evolve without regulation. In the Ocean, we could be free to transform into our truest self, just as Edna did…which leads us to question why the same can’t be done on land. Steve Mentz’s “Deterritorializing Preface”, a snippet of his greater work, Ocean, emphasizes the opportunities an Ocean-centric perspective can offer us, claiming that “The great waters open up a dynamic environment, fluid, saline, moving, and moved… Watery transformation deterritorializes.” (Ocean xv). Mentz goes on to explain that the Ocean’s ever-changing nature is conducive to humanity’s ability to change, and scuttles the importance of predetermined, “grounded”  reality. When we take inspiration from the flow state of the Ocean, embracing fluidity, we see that change is not only positive, but occurring continuously, and a rigid state of thought inhibits development. This rigid state is what kept life on land unlivable for Edna and others like her, but instead of retreating to the Ocean, we can bring the acceptance the Ocean offers onto the land. 

The Awakening by Kate Chopin was a monumental text of its time, with its ending leaving a lasting, sorrowful impression on its readers. To end the story with a suicide was a powerful choice, insisting to the novel’s readers that the social norm of a woman’s role being defined for her creates an uninhabitable existence for women who desired more. However, The Awakening as a Selkie story offers a peek into the Ocean’s reality, where there are no institutions to abide by the rules of, allowing us to recognize the obtuse nature of terracentric, stagnant ideologies. Edna’s Selkie ending encourages us to transform as we wish and push for a state of change on land that mirrors that of the Ocean. When reflecting with an Ocean-based ideology, the way in which we govern ourselves on land shifts, and we become free mould our society in a way inclusive to all states of being.

Citations: 

Chopin, Kate. The Awakening. Penguin Classics, 2018.

Cristina Bacchilega and Marie Alohalani Brown, “Introduction: The Stories We Tell about Mermaids and Other Water Spirits” (Penguin, ix-xxii)

Mentz, Steve. Ocean, Bloomsbury Academic & Professional, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/sdsu/detail.action?docID=6036857.

Nancy Cassell McEntire. “Supernatural Beings in the Far North: Folkore, Folk Belief, and the Selkie.” Scottish Studies (Edinburgh), vol. 35, 2010, pp. 120-, https://doi.org/10.2218/ss.v35.2692.

Rozwadowski, Helen M.. Vast Expanses : A History of the Oceans, Reaktion Books, Limited, 2019. ProQuest Ebook Central,

https://ebookcentral.proquest.com/lib/sdsu/detail.action?docID=5631456.

Final Essay

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Elise Darr

J. Pressman

ECL 305

May 9, 2024

“The Universal Language of Art and its Impact on the Natural World”

Our world is filled with a variety of human experiences, each contributing uniquely to our global community. However, this diversity can sometimes lead to conflict as different languages and cultures begin to shape varying ideologies and beliefs. That said, art has the sensational ability to overcome these barriers— serving as a universal language that connects communities across the world. As the state of the natural world worsens due to climate change, the urgency of addressing environmental degradation becomes more apparent. Scholars such as Robert Emmett and David Nye note that art, and the humanities overall, offer a deeper understanding of humanity’s relationship with the natural world. Through an innovative collaboration with sciences and the humanities, these approaches challenge the anthropocentric worldview that often underscores Western society’s environmental perspectives. Historian William Cronon notes that the West has constructed its modern view of the environment. However, photography challenges these perspectives, emphasizing the importance of an interdisciplinary approach to combatting climate change. Photography, in particular, is a powerful tool to show human’s relationship with nature. In his photography series, “Inherit the Dust,” Nick Brandt juxtaposes images of African wildlife against scenes of man-made environmental degradation to highlight the impact of human activity on Africa’s natural environment. Brandt’s black-and-white photos contribute to a broader understanding of environmental issues that challenge the Western-centric narrative. These images illustrate how art fosters a connection between humans and the environment, presenting diverse perspectives of nature that cultivate the empathy necessary to comprehend and revere the natural world.

Photography’s recent recognition as an important aspect of addressing climate is indicative of a broader trend identified by scholars Robert Emmett and David Nye. Academics Emmett and Nye explain in their paper “The Emergence of the Environmental Humanities” that art and literature have entered scientific discussions of environmental issues. The “environmental humanities” emerged as an “interdisciplinary endeavor” (Emmett Nye 1) that aims to create a “creative cooperative between the humanities and the science” that promotes innovative perspectives on the environmental crisis (Emmett Nye 7). In other words, the environmental humanities have the transformative potential to shift perspectives of humanity’s relationship with the natural world, allowing modern society to recognize that human beings are not “firmly at the center” of this planet (Emmett Nye 11). Emmett and Nye’s observations highlight the capacity of the humanities to facilitate a more nuanced understanding of the natural world. Art and literature challenge the anthropocentric worldview, giving the humanities’ “creative cooperation” with science the revolutionary potential to combat climate change through broadening humans’ collective understanding and fostering empathy towards the natural world. 

Creating a relationship between humans and the environment built on empathy challenges the anthropocentric worldview that has influenced Western society’s environmental stance. Western perspectives have created an understanding of the natural that often leads to a neglect of environmental crises beyond their Westerners’ immediate purview. This tendency is particularly evident in the United States, where efforts to address climate change often prioritize self-preservation over global ecological stewardship. In “The Trouble with Wilderness,” environmental historian William Cronon explains that the romanticism movement and “leisure-time frontier fantasies” have created a “wilderness in [Americans’] own image” (Cronon 15). This image establishes the “wild country” as a place “of national renewal,” making it the ‘best’ location “for experiencing what it mean[s] to be an American” (Cronon 13). Additionally, as the “myth of a vanishing frontier” began to emerge in the 1890s, along did the idea of environmental preservation, as Americans wanted to “save [their] last remnants as monuments to American past” (Cronon 13). Cronon’s use of the terms “myth” and “national” highlights the constructed nature of America’s perception of the natural world— a viewpoint that revolves around the idea that humans, particularly Americans, are at the center of the environment. While environmental preservation is important, the only way for this to be effective is by recognizing that the wilderness was here long before humans had risen. Understanding the environment has its own intrinsic identity, independent of human narrative, leads to a preservation approach that prioritizes reverence and respect. 

As an American, navigating the ideologies shaped by the Western-centric narrative can be challenging. This is where the environmental humanities’ interdisciplinary approach to nature preservation proves invaluable. While America tends to focus on preserving its own landscape, this focus can lead to an oversight of the environmental crisis in other parts of the world. Art, particularly photography offers insight into these global perspectives. For example, Nick Brandt’s photography series, “Inherit the Dust,” shows the environmental crisis from East Africa’s standpoint. In this series, Brandt juxtaposes images of African wildlife with scenes of man-made environmental destruction. For example, the photo “Quarry with Lion” showcases a lion looking over the construction site of a quarry, reminiscent of the way a lion looks over its pride. Brandt’s decision to use photography as his medium to share his message is especially impactful as photography is a great means of documentation. Unlike other forms of art, photography has the capacity to provide visual evidence of environmental degradation in real-time. These photos immortalize moments of destruction, allowing viewers to witness the direct consequences of human activity on the natural world. “Inherit the Dust” is especially impactful to Western society, where representations of Africa are neglected in mainstream media. By showcasing communities from around the world, photography creates a sense of interconnectedness among humans. This relationship is necessary for understanding the environment as a unified entity and recognizing the collective responsibility humans have to respect it. 

As an art form, photography holds many unique elements that contribute to the impact of the photo. Coloring is among the most important aspects of creating a meaningful photo. One photography workshop notes that “careful use of color can provide a shortcut” in establishing a connection with viewers as “different colors evoke different emotions” (“Why is Color”). “Inherit the Dust” only contains photographs in black and white. While color photography allows for a vivid representation of reality, black and white images eliminate the distraction of color, encouraging viewers to focus on contrast within the scene. Without color, the juxtaposition of the wildlife and degradation becomes more apparent. The images carry a rawness that demands the viewer’s attention, stripping away aesthetics and emphasizing the direness of the environmental crisis. Moreover, the black and white quality imbues the photographs with a timeless quality, as early photography was only offered in this quality. This timelessness reinforces the notion that environmental degradation is not confined to a specific moment in time, rather it is an ongoing universal concern. Therefore, the coloring of “Inherit the Dust” not only expresses the urgency of protecting the natural world but also takes away aesthetic distractions, allowing the viewer to connect deeply with the subject matter. 

As stated earlier, Brandt’s photo titled “Quarry with Lion” juxtaposes a lion with a quarry construction site. The decision to use a lion as the central subject is significant, as lions are commonly regarded as apex predators that symbolize strength and dominance in the natural world. Physically, a lion has the capability to overpower a human. However, this photo portrays the lion in a vulnerable position as they feel powerless in the face of the quarry construction site. In essence, the photograph serves as a reminder of humanity’s capacity to assert dominance over nature at the expense of ecological integrity. The quarry represents human inflation in the lion’s habitat, symbolizing the relentless pursuit of economic gain at the expense of the wild. In other words, this image highlights the inherent vulnerability of nature in the face of human exploitation. Through this juxtaposition, Brandt challenges viewers to confront the consequences of human actions and consider the implications of our relentless pursuit of conquering the natural world. To put it simply, Brandt’s photography establishes a sense of interconnectedness between human and the environment, while also demonstrating that this is a global crisis. Perhaps the realization will encourage others to consider the consequences of humans’ behavior on the environment and recognize that this is an issue that must be addressed collectively. Such a nuanced understating of this planet may lead to a society that focuses on living in balance with nature rather than attempting to conquer it. 

The recognition of photography as a vital tool in addressing climate change emphasizes how the interdisciplinary approach of the environmental humanities is invaluable when discussing the complexities of global environmental challenges. Art provides diverse perspectives of the natural world, serving as a powerful medium for raising awareness, fostering empathy, and inspiring action. The works from Emmett, Nye, Cronon, and Brandt work together to emphasize how interdisciplinary collaboration establishes a deep understanding of the interconnectedness of all living things. All in all, this highlights how Western society must focus on collaboration with the arts, science, and diverse world views to combat environmental degradation. 

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Naomi Mireles

Professor Pressman

ECL 305

May 9, 2024

Ocean-Centric Maternal Identities

The Deep by Rivers Solomon is a thought-provoking fiction novel published in 2019. Drawing inspiration from the song of the same name by the group Clipping, Solomon crafts a novel that explores the lives of the Wajinru, descendants of African slave women thrown overboard during the Middle Passage, who then adapted to living underwater as Mermaids. The Deep presents a transformative narrative that illuminates and challenges Western, terra-centric paradigms of motherhood by incorporating a diverse array of maternal identities, including the Ocean itself, whales, and pivotal characters like Amaba and Yetu. Through this rich combination of maternal figures, the novel challenges narrow perceptions of motherhood as exclusively human or tied to terrestrial realms.  

The novel follows the Historian of the wajinru: Yetu who holds the memories of her ancestors for her community. Yetu embodies a profound form of motherhood as the keeper of memories for the wajinru. Yetu carries the collective history of both joys and sorrows of all the people before her. Yetu ensures that these memories are never forgotten, while her role also serves as a connection between past and present as she holds the heritage of her people. Maternal love manifests in Yetu’s deep empathy for the wajinru, specifically in her decision to return and save her people from the overwhelming burden of their memories. As the keeper of the memories, she intimately understands the pain that comes with carrying these memories. “The wajinru were her people, and for now they were held captive by the History, living lives of the ancestors from beginning to end.” (Solomon, 39). Yetus’s act of returning to her people showcases her deep sense of responsibility and love, as she prioritizes the health of herself and her people as a collective. Her selfless actions exemplify a form of maternal care, as she momentarily shoulders the weight of the memories, and in turn, the memories are shared as a collective, challenging the terra-centric idea that maternity is synonymous with sacrifice without personal gain, “They were two, Historian and her subjects. It was time for the two to be merged.” (Solomon, 148).  In Western narratives, motherhood is often depicted as a selfless act of giving, with no emphasis on agency or empowerment. However, Yetus’s journey subverts this notion by showcasing that after all she endured while being the Historian, she gained something much greater, her own identity and personal growth. Rather than perpetuating the idea that benefits after sacrifice is one-sided, the narrative challenges the terracentric idea that motherhood, while encompassing sacrifice can also be a source of personal fulfillment, growth, and empowerment. 

The Ocean serves as a central maternal figure in The Deep, though not explicitly mentioned until the end of the novel, “ In this remembering, there is a lone wajinru pup floating, alive and content. It was the ocean who was their first Amaba,” (Solomon, 149).  Solomon highlights the Oceans nurturing role as the first Amaba for the pup, which emphasizes that maternal care and protection can transcend human boundaries. The pup floating happily in the Ocean’s embrace presents a deep sense of security, belonging, and nurturance, one that is not seen in Western perceptions of the Ocean. The wajinru people, being born to African slave women thrown overboard, were born to dead mothers, the society and culture of the wajinru shifted so that anyone and anything could be their mother and share a deep sense of caring and joy for one another. Before the eighteenth century, if the perspective of the Ocean as a safe place of comfort and nurture was mentioned, it would have been surprising and disagreeable news. But, the Ocean was and had always been a constant for the wajinru, a place of safety and care, the way one misses a mother, Yetu often missed the deep Ocean when in the shallow water with the two legs, “..coveting the deep sea, its blanket of cold and dark.” (Solomon,71). The idea of the Ocean’s cold and darkness being comforting is a newer perspective, and one not seen too often in Western depictions of the Ocean. As seen in John Gillis’ The Blue Humanities, published in 2013, “The sea was portrayed as dangerous and repellant, ugly and unfit for literary or artistic representation.” (The Blue Humanities, n.d.). The lack of difference between the womb and the Ocean is shown throughout the novel, “..there is very little difference between a bornt pup and one still encased in the womb.” (Solomon, 150). The emphasis on this idea, that the womb and the Ocean are the same, breaks the barrier that the womb is strictly tied to individual human birth. The Ocean taught the wajinru how to breathe, and how to survive, the portrayal of the Ocean as mother serves as a reminder of the wajinrus interconnectedness of all life forms and shows why they share this idea of collectivity and community. The Ocean does not go through painful transformations or sacrifices to nurture the pups, nor does it struggle or lose anything by doing so. Terracentric views (and I must admit my own) on motherhood, tend to believe the idea that motherhood comes with the pain of losing a past self, and the struggle to become someone new. The Ocean remains the same before and after birthing and raising the wajinru, not having to lose their identity while being a mother, it remains constant regardless. Focusing on the Ocean as a mother challenges key factors seen in terracentric views on motherhood while simultaneously showing that motherhood can look different in different cultures, races, and ethnicities. 

Aside from the Ocean and Yetu as a mother, The Deep holds significance as it challenges anthropocentric ideologies by acknowledging maternal qualities inherent in non-human entities, in this case, whales. Whales are more than just marine creatures but as nurturing, protective, and essential maternal figures within the wajinru community, “We live only by the graciousness of the second mothers, the giant water beats… who feed us, bond with us and drag us down to the deepest depths were we are safe.” (Solomon 42). Whales are seen as, “second mothers,” which carries layers of meaning, considering that their first mothers died tragically. The first mother’s physical presence was lost to the Ocean, but the spirit and resilience live on through the wajinru and their connection to the whales. In Western perspectives, motherhood is equated with biological mother-child relationships that emphasize genetics and reproduction. The connection with whales as the mother goes beyond biological ties. The idea that whales nurture and protect not through genetic connection but through emotional bonds, guidance, and communal care. The whales in their guidance challenge the idea that motherhood is only defined by genetic lineage. Whales mother as a community, in contrast to Western views that motherhood is individualistic, the wajinru have an array of mothers and share a communal approach to maternity. 

Yetu and Amaba share a complex relationship characterized by an interplay of love, and tension. Their initial bond is displayed with a lack of understanding while they navigate their roles within the wajinru community. They constantly find themselves at odds because of their differing perspectives and experiences.  When Yetu returns to the deep, their relationship is shifted as Yetu is determined to save Amaba. There is Yetu’s willingness to challenge roles of dependence and protection, where mothers are seen as the central roles of protectors and saviors. Amaba’s response reflects her shift in perspective and a recognition of Yetu’s strength that she had before undermined or overlooked. Amaba stands by Yetu and reassures her that this is not something she can do alone, “I would sooner die than let you suffer this alone.” (Solomon, 147). After having lived through the rememberings, Amaba is now more understanding than ever of all her daughter endured. Rather than a one-sided dynamic of protection and sacrifice, this mother-daughter relationship evolves to showcase mutual support and understanding. They share their burdens and sorrows, challenging the notion that mothers must bear the weight of caregiving alone. Rivers Solomon’s The Deep presents an exploration of motherhood that challenges traditional Western paradigms and anthropocentric ideologies. Through the several identities of the Ocean, whales, Amaba, and Yetu, the novel illuminates a transformative perspective that expands our understanding of maternal roles beyond terracentric customs. The Deep contradicts that motherhood is solely defined by sacrifice, pain, and genetic ties. It does so by recognizing the diversity and complexity of maternal experiences. The Ocean as the first mother, showcases a nurturing role that transcends human boundaries while also contradicting the Western perspective of the Ocean as devoid and dangerous. Yetu’s role as Historian embodies a deep form of motherhood that pushes the idea that maternity is not synonymous with sacrifice without personal gain. The significance of whales as maternal figures allows us to recognize maternal qualities in nonhuman entities. Motherhood is much more than biological ties, motherhood transcends a multitude of human standards to encompass a complex web of emotions and connection. Motherhood is not just pain, guilt, trauma, and sacrifice as seen in a terracentric human perspective. Motherhood is a multifaceted experience that encompasses love, resilience, and a shared journey of mutually shaping and guiding each other’s lives and futures.

Citations

Solomon, R., Diggs, D., Hutson, W., & Snipes, J. (2019). The deep. Hachette UK.

The Blue Humanities. (n.d.). The National Endowment for the Humanities. https://www.neh.gov/humanities/2013/mayjune/feature/the-blue-humanities

Final Essay

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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, .

Final Essay

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Lixia Pena

Professor Jessica Pressman

ECL 305

9 May 2024

Final Essay

            This semester we have been studying the path of mermaid folklore across time. As we are introduced into the mermaid mythology of the 19th century there is an interesting duality that is occurring. The mermaid becomes the most humanized that we have ever experienced by way of Hans Christian Andersen’s fairy tale The Little mermaid; She also becomes the most monstrous that she has ever been by way of P.T Barnum’s Feejee Mermaid Hoax. It is interesting that we get these vastly differing versions both within the same century during a time that is moving the west into the future of industrialization and capitalism whilst the romantic movement is being developed and actively rejects these systems. If we are to view stories as being archives of a point in history, then comparing and contrasting these two different mermaids can give us a better understanding of the people of this time.

We begin with an examination of Hans Christian Andersen’s The Little Mermaid. As mentioned previously, in this story we see the mermaid be more humanized than ever. Andersen starts his story by painting a portrait of what this underwater world looks like. Contrary to the common idea of the time that the ocean was a barren place, Anderson posits the idea that the underwater world is much like the human world. It is ruled by a monarchist society, not unlike the governments of the human world. Even the architecture underwater resembles the structures of our own world. By making the underwater environment parallel the human world, the reader is able to identify the little mermaid less as a monster and in closer proximity to humans. Another example of this humanization can be found in the text, “So do they rise to unknown and favoured regions that we shall never be privileged to see” (118) This is part of the grandmother’s explanation of what makes humans and mermaids different. Contrary to the differences the narrative highlights we must consider the trope of promised knowledge that constantly appears through the mermaid mythos. The earliest stories we have of mer-people is from the Babylonian god Oannes. They are positioned as holders of knowledge unknown to humans. It is this promised knowledge that is used by the sirens to tempt Odysseus. Within Andersen’s story it is the humans who are possessors of knowledge that the Little Mermaid longs and bargains for. It is interesting that this trope is inverted at this point in time when the development of the study of science is in full force and society is shifting away from the church into a more secularist education. Humanity has apparently evolved past the need for the mythic to impart knowledge to them. At the same time, placing the little mermaid as desiring access to this knowledge humanizes her by giving her the same wants that humans can identify and sympathize with. While the humanization makes her more sympathetic to the reader, it is important that she is not fully humanized. The romantic period after all, strives to define what makes us human and so the mermaid continues to walk that fine line between the other and the human.

So let’s consider the differences which her grandmother reveals to her, “-the term of their life is even shorter than ours. We can live to be three hundred years old; but when we cease to be here, we shall only be changed into foam and are not even buried below amongst those we love. Our souls are not immortal. We shall never enter upon a new life… human beings, on the contrary, have a soul that lives eternally – and that rises up through the clear pure air to the bright stars above” (118). At this point the story highlights the key difference between the other and humans; It lies within the possession of a human soul. Where the mermaids only become an organic part of the natural world, humans have a soul with which they can ascend to heaven. We have previously discussed in class how western thought, shaped largely by Christianity, places emphasis on up v. down. Up being considered more favorable as it is in closer proximity to God whereas down is considered to be a realm much closer to hell. Humans live their mortal lives in a place already closer in proximity to heaven but their immortal soul is granted the “privilege” of ascending further. Mermaids, by living in a realm below humans, are not even given permanence through remembrance, they are not memorialized with a burial. The reader, so far, can surmise that being human is a far more privileged position than to be a being that would eventually just form part of nature. If we understand the mermaid to be a representation of nature then we have to surmise that under western ideas the natural world is not as important as the human world. Here then the story exposes the western views of a social hierarchy in which humans are at the top. And so under this frame of thinking it must be decided who gets to be human or how a being can attain humanity.

The little mermaid’s grandmother informs the little mermaid and the reader that there are conditions under which they can earn the privilege of a soul, “Unless a human being loved you so dearly that you were more to him that either father of mother; if all his thoughts and his love were centred in you, and he allowed the priest to lay his right hand in yours…then would his soul glide into your body…he would give you a soul without forfeiting his own. But this will never happen!” (119). We are no strangers to the presence of the contract of marriage in mermaid folklore. This text emphasizes that marriage, a Christian marriage specifically, is necessary for the mermaid to have a hope of sharing a soul with her partner. Given that the intended audience of this story is most likely going to be Christian we can safely infer that it is the Christian religion that the text is referring to. This quote then establishes that to obtain a human soul the little mermaid has to marry into what they would consider to be the right kind of religion. The only other option proposed by the text is something akin to martyrdom. So our heroine embarks on this journey for everlasting life. Ultimately she is unsuccessful in getting the prince, for even if she now physically resembles a human, the prince still considers and treats her as little more than a slave. We can certainly make the claim that within human society there are borders that cannot be crossed but the little mermaid still circumvents this by becoming an air spirit. We have to wonder if this mermaid is given another chance simply because she is so humanized within the story. It is certainly a version of this particular mermaid that the modern world most often thinks of when the topic of mermaids arises. In a very

The story of the Feejee Mermaid hoax is a much lesser known figure in mermaid history which is ironic since this story takes place within real life. If the little mermaid depicts the mythical creature as more human than ever, then the Feejee Mermaid acts as an antithesis to the fairytale as she is presented as the most un-human like and therefore more monstrous. Very early on in the article “The Mermaid” This creature is established to be an animal not unlike the recently discovered platypus. The hoax of the mermaid lies not only within the fact that it is a fake specimen made of two completely different animals but it also dismantles the idea of the fair beautiful temptress that is the mythological mermaid. Within the same article that constantly attributes the title of animal to this specimen it also provides descriptions of its human features “It was a female, with ugly negro features. The skin was harsh, the ears very large.” (243) The language implies that the mermaid is ugly due to its “African” features.  And further down it describes a second mummified mermaid, “It’s face is like that of a young female- its eyes are a fine light blue- its nose is small and handsome- it’s mouth small- its lips thin…but its chief ornament is a beautiful membrane or fin rising from the temples,” (243) Here the writer is describing a “Asiatic mermaid” the description focuses on the features that would be more pleasing to the western audiences. And so we can deduce that even amongst the “exotic” there is a hierarchy and it heavily relies on how close it comes to the western ideals of beauty. But even this “Asiatic” mermaid’s “human” half is less beautiful than the fins atop her head.

If the story of the little mermaid reveals the Romantic movements quest for understanding what makes us human, then the Feejee Mermaid reveals the racist history within the development of science. In treating both mermaid stories as archives that reveal western culture of the time we can get a better sense of how we end up recognizing the fairytale more readily than the hoax. That the Little Mermaid lives in our collective mind more presently the Feejee Mermaid demonstrates how erasure and re-writing a narrative operates within society.

Works Cited

Andersen, Hans-Christian. The Little Mermaid. Bacchilega, Cristina, and Marie Alohalani Brown. The Penguin Book of Mermaids Penguin Books, 2019.

The New York Herald. “The Mermaid.” Bacchilega, Cristina, and Marie Alohalani Brown. The Penguin Book of Mermaids Penguin Books, 2019.

Final Essay

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Thavanh Pais

ECL 305

Professor Pressman

9 May, 2024

“Wild” at Heart: Embracing Emotion in Conservation

In the face of escalating environmental challenges, particularly the looming threat of climate change, William Cronon’s, “The Trouble with Wilderness: Or, Getting Back to the Wrong Nature,” critiques towards traditional wilderness preservation strategies serves as a timely call to action. Cronon’s research calls for a rethinking of our conservation methods, pushing for adaptive management approaches that prioritize resilience and ecological integrity. However, in the thick of the discussion about ecological sustainability, we must not lose sight of the deep emotional connection to nature that drives conservation efforts. Cronon’s investigation into wilderness preservation reveals the inherent emotional resonance of these principles, presenting them as powerful motivators for conservation action. This awareness indicates a more profound knowledge of human-nature relationships—one that goes beyond scientific discourse. As we confront the pressing need to address climate change and protect biodiversity, it becomes evident that effective conservation measures must use the emotional power of wilderness values. As a result, the aim is to implement adaptive management systems that promote ecological resilience while simultaneously using wildness’ emotional resonance. By combining emotional connections with conservation techniques, we can inspire meaningful action and mobilize communities to mitigate the effects of climate change. We not only protect the planet’s biodiversity, but we also build a stronger and more sustainable interaction between humanity and the natural world.

In William Cronon’s work, he delivers a strong critique of traditional wilderness preservation tactics while advocating for a paradigm shift toward adaptive management alternatives. Cronon maintains that the popular image of wilderness as a pristine and unspoiled domain is both glorified and problematic. He claims that this idealistic picture of wilderness frequently excludes human presence and activity from conservation initiatives, hence impeding effective management tactics. Cronon elaborates on this notion by saying, “If nature dies because we enter it, then the only way to save nature is to kill ourselves.”(Cronon, 19) This controversial comment demonstrates his conviction that the separation of human society and wildness is artificial and counterproductive. 

Cronon also emphasizes the limitations of typical wilderness preservation efforts that emphasize the isolation of human activity. He claims that this method fails to account for ecosystems’ dynamic and interrelated nature, as well as the importance of human activity in creating landscapes. Furthermore, Cronon criticizes the romanticization of wilderness as a clean and unspoiled setting, claiming that such tales frequently obscure the complicated histories of human contact with the environment. He states, “This, then, is the central paradox: wilderness embodies a dualistic vision in which the human is entirely outside the natural.” According to Cronon, this dualistic vision maintains an artificial division between mankind and nature, hiding the subtle relationships that connect them.

The need to include human values and emotions in conservation discussions, noting that emotional connections to nature can promote a deeper awareness and commitment to environmental stewardship. The notion of biophilia, coined by biologist E.O. Wilson, holds that people have an inbuilt love for nature and living beings. Various studies have shown that exposure to nature has positive psychological and physiological impacts. For example, studies have found that spending time in natural settings helps reduce stress, anxiety, and depression while also improving cognitive performance and overall well-being. Furthermore, emotional connections to nature might motivate people to participate in conservation initiatives and practice sustainable practices. 

Personal experiences in nature, such as breathtaking landscapes or interactions with wildlife, can elicit strong emotions, motivating people to protect and preserve natural settings. For example, the iconic image of Earthrise recorded by the Apollo 8 astronauts raised global environmental awareness and fueled support for conservation efforts. In addition to personal experiences, storytelling and media representation play an important role in fostering emotional relationships with nature. Narratives that elicit empathy and compassion for the natural world, such as “The Lorax” by Dr. Seuss or “The Very Hungry Caterpillar” by Eric Carle, can motivate people to take action and advocate for environmental conservation. Conservation organizations can use storytelling to emphasize the importance of environmental issues and rally public support for conservation efforts.

As we work to address environmental concerns, it is critical to combine emotional resonance with adaptive management strategies. Cronon emphasizes the necessity for a paradigm shift in conservation techniques, one that recognizes the intricacies of human-nature relationships. He states, “If we allow ourselves to believe that nature, to be true, must also be wild, then our very presence in nature represents its fall.”(Cronon, 17.) Cronon’s comment emphasizes the inherent tension between human civilization and wilderness preservation, as well as the significance of implementing adaptive management measures that take into consideration human presence and activities within ecosystems. Community-based conservation programs are one way to integrate emotional connections with adaptive management measures. 

Conservation organizations can develop emotional connections to nature at the grassroots level by involving local people in conservation initiatives and instilling a sense of ownership and stewardship in them. Community-based conservation projects, such as community-managed reserves or participatory monitoring programs, not only encourage local communities to take an active role in conservation, but they also build a greater appreciation for the natural resources on which they rely.However, including emotional resonance into conservation initiatives poses difficulties and complexity. One problem is the subjective nature of emotional relationships, which can differ greatly between individuals and societies. Additionally, reconciling emotive appeals with scientific rigor and evidence-based decision-making is a challenge for conservation practitioners. Striking a balance between passion and reason is critical to ensuring that conservation efforts are effective and informed.

In his essay, William Cronon draws on John Muir’s profound writings about Yosemite to demonstrate the integration of emotional resonance with conservation initiatives. Muir’s beautiful depiction of Yosemite as a sanctuary free of suffering, fear, and personal hope captures the emotional impact of wilderness encounters and their importance in developing a stronger connection to nature. Muir writes, “These blessed mountains are so compactly filled with God’s beauty, no petty personal hope or experience has room to be.”(Cronon, 12.) This sentiment exemplifies the transforming effect of wilderness encounters in transcending personal worries and instilling awe, veneration, and humility in the natural world. Muir’s depiction emphasizes the emotional resonance of wilderness landscapes and their ability to elicit a deep sense of connection and belonging. 

The incorporation of Muir’s teachings into conservation efforts emphasizes the significance of emotional connection in cultivating a greater respect for the natural world. Conservation organizations can foster emotional connections to the environment and inspire stewardship and activism by immersing people in wilderness experiences and allowing them to ponder and contemplate. Muir’s words are a sobering reminder of the intrinsic worth of wilderness and the importance of preserving and protecting it for future generations.

By recognizing the emotional aspects of environmental protection, we may foster a more holistic and inclusive approach to addressing important environmental issues. Emotional connections to nature can be important motivators for conservation action, pushing individuals and communities to advocate for environmentally friendly practices and laws. Furthermore, including emotional resonance into conservation initiatives can build a sense of shared responsibility and unity as we fight climate change and biodiversity loss. Looking ahead, there are various potential study and practice avenues in conservation psychology and environmental communication. One line of investigation is the creation of novel ways for establishing emotional ties to nature across varied populations. This could include the use of immersive technology, such as virtual reality experiences, to imitate wilderness situations and elicit emotional reactions. Furthermore, research on the impact of storytelling and narrative in changing environmental attitudes and behaviors can help to develop more successful conservation outreach and education communication tactics.

Furthermore, addressing the planet’s complex socio-ecological concerns will require interdisciplinary collaboration and knowledge exchange. Conservation psychologists, environmental scientists, legislators, and community stakeholders must collaborate to create comprehensive solutions that draw on both scientific knowledge and emotional engagement. By transcending disciplinary barriers and encouraging debate and collaboration, we can improve our understanding of human-nature linkages and build more effective environmental protection policies.

To conclude, William Cronon’s investigation of the complexity of wilderness preservation and the incorporation of emotional resonance into conservation efforts provides vital insights for solving today’s severe environmental concerns. His critique of traditional conservation methods highlights the importance of adaptive management options that prioritize resilience and ecological integrity. In addition to scholarly discourse, Cronon highlights the necessity of identifying and fostering an emotional connection to nature as a significant incentive for conservation action. As we face the pressing need to address climate change and protect biodiversity, it is obvious that effective conservation policies must combine scientific rigor with emotional engagement. By incorporating emotional resonance into conservation efforts, we may motivate meaningful action and engage communities to combat the effects of environmental deterioration. 

Moving forward, interdisciplinary collaboration and novel techniques will be required to advance conservation psychology and environmental communication. By encouraging debate and collaboration among all stakeholders, we can create comprehensive answers to the planet’s complex socio-ecological concerns. Moving forward, interdisciplinary collaboration and novel techniques will be required to advance conservation psychology and environmental communication. By encouraging debate and collaboration among all stakeholders, we can create comprehensive answers to the planet’s complex socio-ecological concerns. Finally, Cronon’s work highlights the tremendous interdependence between mankind and the natural world. As Earth stewards, it is our obligation to foster a greater appreciation for nature’s beauty and complexity, as well as to work toward a more sustainable and harmonious connection with the environment.

Works Cited

Cronon, William. “The Trouble with Wilderness: Or, Getting Back to the Wrong Nature.” The Trouble with Wilderness: Or, Getting Back to the Wrong Nature, Forest History Society and American Society for Environmental History, January 1996, https://faculty.washington.edu/timbillo/Readings%20and%20documents/Wilderness/Cronon%20The%20trouble%20with%20Wilderness.pdf. Accessed 9 May 2024.

Leppig, Jason. “The Biophilia Hypothesis.” Island Press |, 30 November 2016, https://islandpress.org/books/biophilia-hypothesis#desc. Accessed 9 May 2024.

Human Sadness due to a Loss of Identity Through Tradition

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Rigo De Leon

Professor Pressman

ECL 305

April 7, 2024

Human Sadness

The Voidz are an American band comprised of six members: Julian Casablancas (vocals), Beardo (lead guitar), Amir Yaghmai (lead guitar), Jake Bercovichi (bass/keys), Alex Carapetis (drums), and Jeff Kite (keys). They are known for their experimental and long songs, which they’ve created with the expectation that their music will be appreciated far into the future. The song that prompted the creation of the band is the first single off their first album called “Tyranny”. The song is called “Human Sadness”, which was released in 2014. It was originally going to be released as a solo project for Julian Casablancas, but he enlisted the help of the band he toured with to make the song greater. Their love for the song they created inspired them to create an album. The name “The Voidz” was picked because the effects that they primarily used for their music sounded like what they believed a black hole, or void, would sound like. Both Julian Casablancas and Stephanie Burt challenge the idea of cultural and societal traditions by prompting readers/listeners to consider how and why we conform to societal norms as a result of trying to survive in the culture we have inherited, and how that affects personal identity and the need to be useful. Julian Casablancas uses metaphors and symbolism in the song “Human Sadness”, as well as vivid sounds throughout the song to emphasize the experiences that traditions have created in order to make people question how they conform. Stephanie Burt, on the other hand, uses contemporary poetry, specifically the second and sixth stanza of her poem “We Are Mermaids” to portray that people do not need to be useful to survive.

Throughout the song, “Human Sadness” simplifies basic concepts that are normal in everyday life, but in a way that truly shows the struggle of external pressures conflicting with personal identity. For example, the song begins with the singer whispering the line “Put money in my hand, and I will do the things you want me to” (Casablancas 1). The way Casablancas presents this line is almost degrading. He is willing to sacrifice his own morality and time for the sake of receiving currency that will help sustain him in the society that he was born into. Assuming he has enough to sustain himself, this line could also be seen as an example of blatant greed. Sacrificing morality still applies, yet this time it’s for the sake of wanting more than needed. Casablancas implies that the separation of the natural world has only caused people to be dehumanized. In the natural world, actions are not governed by monetary values. Casablancas’ implication of dehumanization is complimented by Stephanie Burt’s use of mermaids in her poem. Burt writes, “when what would become, us was just trying to get through the day” (Burt 2). Societal norms have conditioned humans to live in routines that can feel meaningless. Wake up, go to work, run errands, go home, sleep, repeat. While there can be variation, society has developed in a way that prioritizes order over individuality and identity. People are expected to be useful and are unable to just exist.

Casablancas uses his desire of existential freedom throughout the song further his criticism of societal norms. A reoccuring line throughout the song is “Beyond all ideas of right and wrong, there is a field. I will be meeting you there” (Casablancas 3). This line is an altered version of a quote by the philosopher known as Rumi, who believed that the soul should be nurtured in order to live a happy life. Casablancas wishes to transcend beyond the concepts of good and bad that society has trained people to conform to, and reconnect with nature. Artificial constructs such as right and wrong are ideas that put pressure on people to be useful. The field itself can be seen as symbolism, a representation of the natural world, a place untouched by humanity. A field is a natural part of the world that just exists. Therefore, there can be no right or wrong, a field is a place where anything can just be. The field that Casablancas wishes to visit is a place where people can choose to have an identity however they would like, or it can be a place where people just exist. Stephanie Burt’s poem touches on a similar idea, by having mermaids be the main focus. Mermaids are creatures that are forced to exist between the ocean and land. The ocean represents the natural world, while land represents living among a society that follows traditions. Burt’s ideas add depth to Casablancas’ ideas in the way that Burt is a lot more realistic and blatant with her message. By analyzing “We Are Mermaids” before “Human Sadness”, you get a much more literal sense of what Casablancas intends to portray about identity and traditions. The Voidz’s song can be interpreted to be about corruption within the system that has been established, but with the frame of Stephanie Burt’s poem, it grounds the song by helping observers interpret the lyrics and music about human fundamentals.

Throughout the song, symbolism is used in order to further the message about societal traditions consuming the identities of people. A notable use of symbolism in “Human Sadness” is in the fourth verse, where Casablancas states “The moon’s a skull, I think it’s grinnin’” (Casablancas 4). This symbolism can have many different meanings, but in the sense of identity and societal norms, it can be interpreted as a reflection of mortality. Skulls are symbols of death. They are a reminder of the fate that all of humanity shares. The personification of the skull that is grinning gives it a sinister twist. A grinning skull could almost be a form of mockery, as the moon that hangs over the entire world every night is not only a reminder of death, but also a reminder that people are wasting their precious time by blindly following along with the traditions they’ve inherited. This idea is built upon by Stephanie Burt’s use of symbolism through mermaids. Mermaids are symbols of duality. They are half human and half fish. It is hard for mermaids to exist on land without there being trouble that prevents them from being authentic. The only true safe place for mermaids is in the ocean, which reflects Casablancas idea about the only safe place where humans can be their authentic selves is in a field beyond right and wrong. Another key use of symbolism that relates to authenticity in “Human Sadness” is the use of the word “tie” later in the same verse. Casablancas sings “And I don’t need your tie, I don’t need to, tired of saying it” (Casablancas 4). Much later in the song he also sings “Hits you on the head when nobody’s there, Then he says, ‘Come here, can you fix my tie?’” (Casablancas 10). The use of the word “tie” adds to the concept of identity in multiple different ways. For one, a tie is a direct connection to societal norms that have been created by our ancestors. Ties are professional attire, things that need to be worn when proving worthiness to traditions. They are worn at job interviews, weddings, courtrooms, and any other place that may need to be seen as professional. Casablancas directly rejects the tie in his first use of the word. He even mentions that he is tired of saying he doesn’t want it. The tie not only takes away from his ability to be himself, but wearing it is also a submission to the constructs he desires to escape. In his second use of the word, he uses it as a quote within the song itself of one person asking another to fix his tie. To fix another person’s tie is an intimate thing, usually done by fathers to sons. This could be an anecdote to fathers passing down the system that has plagued people to conform to it. This brilliant use of the tie alone can summarize the problems that traditions create against identity. By observing the song this way, people can reflect on whether or not they are okay with living without a sense of personal identity. 

One aspect about “Human Sadness” that is important to consider when analyzing the song is the actual music itself. The band samples Mozart’s “Requiem in D Minor”, which is a song that was written during the late 18th century. It is fascinating to think that a song about breaking traditions is sampling a song that was written during the early stages of the civilization that has been built to tear down individuality. It provides a sense of irony to Casablancas’ message but also goes to show how hard it is to actually break free from the societal norms we have built. One key difference that can be obtained by listening to the song rather than just reading it is the breakdown at the bridge. There is a guitar solo that begins exactly at the 7 minute mark. The Voidz has two lead guitarists rather than a lead guitarist and a rhythm guitarist, which is what is normal in bands. The bridge has both guitars play conflicting melodies at the same time, and it can almost be interpreted as if the guitars themselves are having a conversation. Because the guitars align with the melody of Casablancas’ singing, it can be inferred that the solo is actually a “conversation” between both lead guitars. Perhaps the guitars are pleading to break away from the social norms and traditions that people face, but without actual words it is almost like the pleading is hopeless because it is unable to be understood. Observing the music adds to Casablancas’ message significantly as it amplifies how hopeless it can feel to think this way but have no solution at all.

Casablancas presents a double meaning later in the song in which readers can interpret the same sentence in polar opposite ways. He states “Soft skin, weak chin, Just walk me through it, tell me what to do, I’ll do it, Hurry, hurry, that my baby, do what you can” (Casablancas 10). Casablancas uses “soft skin” and “weak chin” to display the innocence and wonder of his newborn child. By asking to be told what to do and promising that he will do it, it can be interpreted in two ways. Either Casablancas is asking how to change the system in order for his child to grow up in a better situation than he did, or he is a brainwashed version of himself asking how to make sure the baby conforms the way he did. If it is the former option, it can be furthered by the following line where he asks whoever he is speaking with to do what they can for his child. Considering this line happens near the climax of the song, it can be a line of hope that is offered in order to leave the audience with hope that there can be a solution to the problem of conforming to societal norms by sacrificing identity. Judging by the title of the song, it is likely the ladder option. Casablancas is asking whoever he is speaking to to do what they can and teach him how to raise the baby in a way where they will fit in with the rest of society. Regardless of the meaning, these lines provide similar outcomes for the listener. They either feel a glimmer of hope that they can break free from the system if they question it the way Casablancas implies he is doing, or they see Casablancas conforming in the end and see it as a cautionary tale that should be worked towards being avoided. Burt has a similar line at the end of her poem, where she states, “Some of us are going to be okay” (Burt 10). By stating that specifically some people are going to be okay but not necessarily stating who, readers are likely to question it deeper in order to find out if they themselves will be okay. Lines like these are sometimes vital to literature as they provide much deeper thought that is triggered by a semi-selfish form of thinking. 

Overall, “Human Sadness” is a song that pushes people to question the state of living they are in. The song can be analyzed in multiple different ways, but when reading with a certain frame in mind, people can find meaning that they never would have thought to look for. By reading this with Stephanie Burt’s poem “We Are Mermaids” as a frame, dissecting the idea that Casablancas and Burt emphasize the experiences that traditions have created in order to make people question how they conform. People do not need to be useful, and should celebrate having their own identity. Just because this world and its systems were inherited, it does not mean change cannot occur. By analyzing “Human Sadness” and “We Are Mermaids”, people can question for themselves whether or not they are okay living the way they are, and potentially changing the norms and traditions as they see fit.

Final Essay

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Myles Wright

Professor Pressman

ECL 305

9 May 2024

A New Kind of Mermaid: Melusine

The Romance of the Faery Melusine, written by Andre Lebey, retells the medieval France legend of the Faery Melusine. The legend follows Raymondin after accidentally killing his uncle during a hunt. Fleeing deep into the forest, Raymondin encounters Melusine, who promises to help him evade his fate by marrying him, making him the greatest and wealthiest lord of his time. However, Raymondin must swear to Melusine that on “each Saturday, from sundown to dawn on the following day, never must (he) try to see (Melusine) in any way whatever” (Lebey, 27). Eventually, Raymondin is driven to break his sacred promise to Melusine, resulting in her leaving him with no promise of return. The legend is originally dated back to 1393, and many variations of the story have been told. Melusine is a major figure in European folklore, and legend of France’s prosperity stems from Melusine. Despite the name of the novel, the tale is not necessarily a romantic one. Particular scenes carry a rather sexual overtone, revealing much about rape, martital or otherwise, and the long ignored topic of female sexuality. The Romance of the Faery Melusine,  divulges the ways in which women were taken advantage of sexually, and conversely, challenges the notion that men are the sole keepers of sexuality, emphasizing the importance of female sexuality. 

Chapter 14, “Betrayal”, reveals how even in marriages built on trust, women were abused and taken advantage of sexually during this time. The particular tone and detailed descriptions in the chapter serves as an allegory for marital rape. Throughout the chapter, Raymondin, ridden with both guilt and an insatiable desire to know what Melusine does on Saturdays, forces his way into her chambers. As Raymondin first makes his way towards Melusine “The little door violently broke down…He climbed quickly in his eagerness to strike” (Lebey, 121). This is not a scene of discovery, it is a scene of violence, first setting the tone as he breaks down the door, Raymondin violating his wife’s privacy and trust. The use of the word “strike” further implicates the use of violence in his planned encounter with Melusine. The path to Melusine’s chamber is not an easy one, he must climb “the narrow winding stair, steeper and steeper, to the very top. There where he had never been before. Neither he, nor anyone else, except her” (Lebey, 121). The steep winding stair, to a place only Melusine has access to, enforces the notion that this is a private place of hers. This is “no man’s land”, which is reinforced in later scenes. Upon finding the final obstacle to Melusines chambers, it is described as an “almost imperceptible line between two of the thick polished planks of which the door was made. Even though they were mortised into one another to make one seen like all the rest, there was a tiny space visible at the point of joining” (Lebey, 122). Oxford English Dictionary defines mortise as “a cavity, hole, or recess into which the end of some other part of a framework or structure is fitted so as to form a joint”. These planks, which Raymondin must break through, serve as a symbol for the female genitalia. Later, his knife as a symbol for the male counterpart. Forcing his way into the planks, “He pulled out his flat knife… held his breath as he started to slide in the blade and push it slowly, leaning on it with all his strength and weight. The blade entered a little, so slowly that he almost began to despair” (Lebey, 122). The next few pages of the novel center around Raymondin breaking through the planks, though not innately sexual, the word choice and imagery contribute to the sexual overtones. “As he inserted a little more of the thin blade to enlarge the space he had with such difficulty obtained, it snapped with a dry, clear, crystal sound” (Lebey, 123). The word choice of “inserted” and “enlarge” emphasizes the sexual tone. The planks finally begin to give way with a sharp, violent sound. Raymondin’s efforts, and the sexual connotations continue, “his efforts against the wood… feeling the sweat on his brow and down the length of his body” (Lebey, 123). Raymondin feels that he has “struggled well”, again adding to the sense that this is a struggle, he is unwelcome, and violating privacy (Lebey, 123). The descriptions further: “The blade entered better, and engaged the length of three angles already. He had raised it, and putting it back he leaned against it with all his might. Then, wedged against it to get more leverage, he felt the wall suddenly give, heavily and slowly behind him” (Lebey, 123). Finally, Raymondin breaks through, the wall giving with heavy, slow reluctance. This, despite what the title of the novel suggests, is not a romantic scene. 

As Raymondin creeps towards Melusine,  “in the moonlight that made his coat of mail glisten, he had the appearance of a strange serpent with iron scales” (Lebey, 124). This hints that he himself is in the wrong, rather than Melusine who, even in concealing her identity, provided for Raymondin. “He slid”, as a serpent, as he violated Melusine’s promise. As he recognizes the wrong he has committed against Melusine, he reflects on the life that has been given to him, “it shone sweetly, polished like a mysterious otherworld fruit. But then the fruit disappeared, as if it had ever been only a dream” (Lebey, 125). The symbol of the fruit stands out. The religious connotation is relevant during this time in medieval France, and the characters of the novel hold Christians beliefs. In this case Raymondin beholds the fruit, but instead of Eve or Melusine, it is him who takes a bite of the apple. His promise to her broken, her trust violated, forcing her to leave him forever. 

Rather than just focusing on the violation Melusine endures, the novel provides a different perspective and challenges common beliefs surrounding female sexuality during this time. When Raymondin first views Melusine in her natural form, she is described as holding “a mirror, its crystal reflecting the moonlight on her face, which despite the life that animated it as she slowly smiled to herself, gave it an almost lifeless quality” (Lebey, 125).  Melusine “smiled to herself”, taking pleasure in viewing herself in her moment alone. The belief that women were not sexual beings stood firm for many centuries. Female sexuality was ignored or simply denied as possible. Sex was solely for the man, women serving as an accessory in the act. It is undeniable that mermaids of Western heritage were often used as a symbol of sexuality, but sexuality from the perspective of the patriarchy, or for men alone. Instead of serving just as a symbol of temptation, it is important to note the anatomical fact that mermaids were rarely pictured with a vagina. Mermaids could be used by men without consequence. Mermaids, without the ability to reproduce, could not produce bastards. This single, yet powerful scene challenges these ideas. Melusine offers an alternative perspective. A perspective that emphasizes the importance of recognizing female sexuality. Instead of just viewing this as the moment Raymondin discovers Melusine in her natural form, this is a female, self pleasure moment. Melusine asks for a single day alone, and when Raymondin cannot respect or understand her needs, his life explodes. His life and success was contingent on a day of pleasure for Melusine. She provided him with wealth and an empire, as long as she was provided her day of pleasure alone. The legend of Melusine was often used as the founding folktale, attributing France’s prosperity and success to Melusine. Ruling houses even claimed to be descendants of the faery Melusine. This is a success that Melusine was responsible for, and based upon her day of pleasure. Without Melusine, a woman, faery, and mermaid combined into one, Raymondin, and France’s, success would not have been possible. 

Stories, legend, and folklore are important conduits for challenging common ideas, offering alternative perspectives of what we previously believed to be true. The Romance of the Faery Melusine, turns out to not be a romantic tale between a man and a woman. Instead, a tale of violence enacted upon a woman, and a story challenging long standing beliefs surrounding female sexuality and pleasure. In recent years, we more often see mermaids as a symbol of feminism, empowerment, and female sexuality. This was not the case during the origins of the legend of Melusine. Though not recognized as such during her time, Melusine stood at the forefront of the feminist movement. Female pleasure is real, and as important as male pleasure. Melusine alone offered a new kind of mermaid. A mermaid, hybrid, and woman, who found pleasure in herself.

Final Essay: Western World Separation From Nature

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River McCaughey

Professor Jessica Pressman

ECL 305

9 May, 2024

Melusine (Pages 11 &12) and “Natives of Yosemite”

In this essay, I will be exploring the connection between the fictional story Melusine and a silent film called “Natives of Yosemite.” Melusine is a story Written originally in the 14th century by French author Jean d’Arras and adapted by Andre Lebey in the 19th century. The story itself isn’t what I’m interested in;  I will be examining pages 11 and 12, which Lebey uses to describe the setting for the story, a place he romanticizes for its closeness to nature. “Natives of Yosemite” is a 17 minute short film published by the National Park Service, published in the early 20th century. The black and white film describes and depicts the trees, wildlife, and indigenous people in Yosemite National Park. It serves as an advertisement for the park and the wonders seen within. It is relevant to consider that both works were published during the Industrial Revolution. During this time, many people moved to cities as farming required less hands to support large populations. Jobs shifted from small scale agricultural work to large scale factories. The development of capitalism was in full swing, and people moved to dense cities far from nature. Although they do it in different ways, both texts display a similar theme. Andre Lebey employs imagery of nature to display the juxtaposition between Feudal and Industrial Europe and invites readers to consider how Feudal Europe sprouted The Western World’s eventual disconnect from the natural environment. Likewise, the “Natives of Yosemite” short film unintentionally conveys that The Western World has further separated itself from nature by romanticizing and commodifying the concept of The Great Outdoors, through imagery of Yosemite National Park.

Lebey describes the village as people who “lived close to nature in those days, even in towns” (Lebey 11). Here, Lebey is deliberately describing the scene as something different from the way the world he lives in now. This suggests that the way of life in towns during his time in the Industrial Revolution is no longer close to nature. The rise of large-scale industries and urban centers could have led people to become more removed from direct dependence on and proximity to nature. This early in the story, it’s difficult to say whether he is reminiscing in some way on how he wishes it could have stayed, or if Lebey is glad that the world doesn’t have to struggle against the forces of nature as it did in the 14th century. Lebey also refers to the hunter as “legendary”, which suggests that the people of his time praise hunters. During the 14th century, hunters were much more common as a way to get food. By the time Lebey wrote his adaptation of Melusine, the world had already shifted away from the hunter as a way to get food. Agriculture was the main source of food and hunting was transitioning into a sport. Shortly after, Lebey describes the forest as “menacing and dangerous, full of the unknown, concealing the surprising and unnatural” (Lebey 11). By suggesting that the nature surrounding the village is dark and scary, Lebey conveys that the villagers see the natural environment outside the walled society as fearful. With the description of the village as having fields “right up to the walls” (Lebey 11) readers can conclude that there is already some disconnect from the natural world through physical man-made separation. The fear of nature combined with the resources to separate nature from man is what Lebey argues caused society to isolate itself from the natural environment.

On the next page, Lebey begins to elaborate on this juxtaposition between the industrial world that he lives in and that of the 14th century. After discussing the feared creatures of the forest, Lebey points out that “evil reigned only if heroes failed to confront its dangers” (Lebey 12). This is where readers first see his inclination to present nature as a place that needs to be visited. He goes on to say, “Humans do not show their mettle if left to themselves” (Lebey 12). Here, Lebey is explicitly revealing that humans are not as resilient if they do not confront the dangers of nature. Lebey next gives an example of a haw that holds the “Code of Love.” Lebey is suggesting that if humans do not have contact with nature, then they will not only be left without resilience, but they will be unknowing about the secrets of the world. In this part of the chapter, readers have displayed the possibility that there is a purpose for the human connection to nature.

Shortly after in the story, it becomes clear that Lebey is reminiscing on the way that the past may have been before the Industrial Revolution. Through the imagery of nature, Lebey explains how “Man developed without dissociating or abstracting himself from the world” (Lebey 12). This suggests that humans before the Industrial Revolution existed in a state of connection with the natural world. The implication is that the Industrial Revolution caused a disconnect between humans and nature. He also reinforces the point that man is further from nature by juxtaposing the hunting back then as “so different from our own, more justifiable because more difficult and necessary” (Lebey 12). By contrasting hunting in the 14th century to hunting of his time, Lebey suggests there is no need for hunting anymore, and there isn’t any reason to do it with the development of inventions like the seed drill. Lebey continuously uses imagery of nature to romanticize it in a way that calls for readers to see that the way life is in cities away from nature is not in fact better for society.

“Natives of Yosemite” starts by boasting about the Giant Sequoia trees in Yosemite National Park. After showing a young woman marveling at one of the massive trees, the film cuts to a dialogue card that states, “Here flourish the oldest living things – giant Sequoia trees” (NPS 0:58). By displaying the trees in Yosemite as something divine and unique, the film romanticizes the wilderness. Soon after, the film depicts the road that “runs straight through the famous Wawona Tree” (NPS 1:45). Viewers can see a massive tree with a tunnel carved out in the middle so that tourists can drive straight through. Contrary to the literal tree being closer to the people and their car, the commodification of the natural world is what separates man from nature. By advertising the wilderness and commodifying it, humans are separating themselves further from the natural world. The film then shows a tree cookie that depicts the rings for how old the tree is. The tree shown is over 1,000 years old. This obsession with the extremes of nature is what causes people to disconnect from it. About halfway through the short, a dialogue card is seen that says, “Rushing silvery waters, cascading down the mountainsides, border many of the alluring trails” (NPS 9:10). The important word here is “border.” By implying that there is a physical barrier between the tourists on the trail and the wonders of nature, the NPS is displaying a literal disconnect that they engineered by creating a trail. There is nothing natural about guiding tourists through designated trails built by humans.

At the end of the film, the NPS describes how “friendly Yosemite Indians entertain with tribal songs and dances” (NPS 16:00). Viewers can see Native Americans dancing in front of an audience of white tourists. Here, the National Park Service entirely separates the Native Americans from the white people by placing them in the same field as the trees and bears in the beginning of the video. Both the trees and the Native Americans are there to entertain the American tourists. By doing so, not only is nature separated from Western culture, but those who do not live by Western standards. Additionally, the Native Americans are being commodified, which divides them even further from the tourists.  More importantly, this pristine natural world that the National Park Service sells doesn’t exist. By removing indigenous people, creating trails, and altering the landscape, the National Park Service is inventing a “nature” that doesn’t exist in the real world.

Through his imagery of nature, Lebey conveys to readers of the Industrial Revolution that life before humanity was separated from nature was better than it is now. He juxtaposes the lifestyles with the historical context of the lifestyle of his industrial world. The romanticization of nature and the secrets it may hold are how Lebey draws his audience to realize how integration with nature is important for humanity. While Lebey purposefully conveys that The Western World is separating from nature, the National Park Service romanticizes the wilderness, which accentuates this separation. By commodifying the plants, animals, and even the indigenous people in the park, the National Park Service is engineering a faux natural world.

https://www.youtube.com/watch?v=nFWQjZIQPec NPS

FINAL PAPER: LOOKING AT WOMEN THROUGH THE LENS OF MERMAID TALES

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Giselle Lee Hosler

Professor Pressman

ECL305

May 9th, 2024

The Pisces, written by Melissa Broder,  is an unconventional love story that turns the standard tropes in the mermaid story on their heads, displaying how the stereotypes and gender roles presented within the mermaid story are a product of their time. This story is contemporary and relies upon, in order to over turn more traditionally patriarchal, misogynistic views of the mermaid s displayed in earlier texts The unconventionality of The Pisces centers female sexuality, as opposed to stories such as The Little Mermaid, written in the 1840s by Hans Christian Andersen,  and Melusine, written in the19th century by Jean d’Arras , which neglect the female and focus on male desire . The Pisces is special because the woman is not the sexual object, but it also doesn’t objectify the merman. These two characters are allowed to mess up and be messy, and therefore portray more realistic experiences.

To begin, a synopsis of The Pisces is in order; our protagonist, Lucy, is a 38 year old woman who is stuck in a rut- writing a dissertation on Sappho and grappling with a failing relationship as well as her own wants and needs, she is asked to house sit for her sister. It is here that she meets Theo, a merman who lives in the ocean right by the house, and the two start a romance and sort-of relationship with each other. Lucy grapples with herself, what she wants out of men, and what she wants out of Theo. She comes out of the end of the book with more assurance about herself and her path, even though she doesn’t quite get her happily-ever-after. 

In contrast, The Little Mermaid has a much younger and unnamed protagonist. She is a mermaid princess, who yearns for the surface and for her human prince, after she saves him from a storm. This yearning is so great that she willingly drinks a magical potion that gives her legs, in exchange for her beautiful voice. The little mermaid suffers for her love of the prince until it eventually leads to her untimely demise. She, too, does not get a standard happily-ever-after. Granted, this story is a product of its time- being written in the eighteen forties. 

The Pisces was written in the 21st century, as evident by much of the modern references scattered throughout the book. But it was also evident in the way that the characters were portrayed. Lucy is a woman who seemingly defies a lot of what society thinks of women- she is promiscuous, she is messy, not put together, unsure of herself, but she is also defiant in her quest to finding herself. She frequently pushes the boundary of the sort of womanly standards society seems to have, and pushes back against the societal norms for men, as well. This is evident in how her relationship to the merman Theo is portrayed; “I felt great and noble, like a woman coming to claim her man in battle, or perhaps a man who was coming to rescue his woman. I had to be the rescuer, because he was more handicapped than I was.” (192) The stereotype of the merperson-human relationship is flipped here, as she is the one who has more control and power, in a way. She is the one who goes to him, yes but she is the one who can help take him to shore. Theo is more at her whims than she is to him

This is heavily contrasted with The Little Mermaid, too- then again The Little Mermaid has the “canonical” mermaid-human relationship seen in a decent chunk of mermaid stories. To even get close to her prince, the little mermaid gives up a lot of what she has to go to the surface; “ ‘Now, you must give me this beautiful voice. I choose to have the best of all you possess in exchange for my valuable potion’.” (122, Penguin Book) And so the little mermaid gives up her voice, her tail and her place amongst her people in order to ascend to the surface and live amongst the humans and her prince. When she first arrives to the surface and meets the prince again, one of her main feelings is the pain; “Every step she took was, as the witch had warned her it would be, like reading on the points of needles and sharp knives; but she bore it willingly…” (123) Already there is a vast difference between her and Lucy, who doesn’t suffer as much as she does in her relationship with the unknown. 

There’s also something to be said about how Lucy and the little mermaid are sort of foils to one another. The little mermaid, while she is with the prince on land, does not have her voice and cannot properly vocalize any of her feelings to him. While Lucy, who does struggle with her inner wants, has no problem with talking to Theo or trying to reason out some of her own emotions. Granted, the two books were written across a large gap- in between both of their publications, women’s suffrage took place, and some of the waves of feminism also happened. Women at the time of The Little Mermaid, and Melusine,  had less of a voice within their society as they do against women at the time of The Pisces. 

On the subject of women and the female, The Pisces centers more on female sexuality than other mermaid mythos. This could be argued that the time period is relevant, which is correct. In The Pisces, Lucy is almost rewarded and validated for her sexuality, or going through the trials and tribulations in having relations with different men before she settles on Theo. “The way I felt when we kissed or when he went down on me- I wanted to create that feeling and live in that for as long as I could.” (one5one). She is constantly having sex with Theo- there is mutual attraction between them for a good chunk of the novel. Her wants are placed above his, in a way- Theo indulges her in coming into her home to spend time with her, away from the ocean, even though that in itself is a task. They fuck on the beach a lot, too. Other mermaid mythos are not so kind to the woman in the relationship; the Legend of Melusina, written by Jean d’Arras, for example, is a fine display of how female sexuality was not a priority. All she had asked of him was for him to “never desire to see her on a Saturday” (87). And even when she had given him everything, and endured ridicule for their hybrid children, he still could not oblige her. The one day a week could be interpreted as Melusina obliging herself, which she could not even have due to her husband’s mistrust of her.

At the very end of The Pisces, Lucy finds out that Theo had brought down more women with him in the past, and she rejects his offer to go under the depths with him. While she doesn’t have such a happily ever after, she still retains herself and her autonomy, a far cry from Melusine (who flies around in pain and suffering, 88) and the little mermaid (who becomes an air spirit dependent on the behavior of children, one 30). And yes, she is a woman, but she is not dependent on men, nor is her life absolutely ruined by them. Stories like The Pisces, that pull away from the canonical mermaid story, can help teach better lessons to future readers.