Sia Figiel’s most recent novel Freelove tackles the variety of subjects which include pre-palagi (pre-European) kastom, missionary society, Mead vs FrSia Figiel’s most recent novel Freelove tackles the variety of subjects which include pre-palagi (pre-European) kastom, missionary society, Mead vs Freeman controversy, traditional aiga (family clan) values, education in science, respect to elders, finally, importance of courage: Rather than dreaming up ways of escaping reality, your perpetual duty is to face reality and all the challenges it throws on your way. Don’t wish for the easy. Go through the hard and tough. Because it is only there an then that you truly discover just how remarkable you are. And you should never forget it … Astound yourself so that you may astound those around you (167). According to Epeli Hau’ofa and his theory of “Sea of Islands” (1994), self-confidence and strong belief in Oceanic strength, solidarity, and culture will play a strategic role in revolutionizing post colonial reality and regaining regional independence in Oceania. Freelove definitely raises these aspects simultaneously touching the matters of gender equality and costly possibility of individual choice over cultural norms. By drawing a silhouette of intelligent 17 years old Inosia, the author accentuates the strong position of females in upcoming era. She wishes women and men loved each other in respectful and affectionate way. Her novel is full of excitement and sexual tension. As Sia becomes more intimate with Ioage, their relationship is fulfilled on multiple levels including desire, friendship, trust, and intimacy showing the beauty of romantic feelings. In the interview for Salon du livre de Tahiti, Sia Figiel admits that Freelove is her favourite novel that she has been aiming to write for last 30 years. She stresses how fulfilling and satisfying was the journey to compose the story in only six weeks’ time (2020). As her previous novels focused on the patriarchal system and limitations women ought to fight on daily basis, Freelove is a perfect counterbalance proving the existence of pure love.
Figiel, S. (2016). Freelove: A Novel. Lōʻihi Press. Hau'ofa, E. (1994). Our Sea of Islands. The Contemporary Pacific, 6(1), 147-161. Salon du livre de Tahiti (2020, November 23). Rencontre avec Sia Figiel [Video]. YouTube. https://www.youtube.com/watch?v=JTioe......more
The story of the two sisters, Marlowe and Harper, charms and strikes a chord in reader’s heart. Strengthening the importance of sisters’ love, attachmThe story of the two sisters, Marlowe and Harper, charms and strikes a chord in reader’s heart. Strengthening the importance of sisters’ love, attachment, and engagement, the novel illustrates the hardship of grief. When I first reached out for this book I was aiming to find a birthday present for my sister however ended up being completely delighted by its formula. I was enchanted by the sensible openheartedness the author was describing the nature of life. Hannah Bent was growing up with her three years older sister with a down syndrome who would always astonish everyone with her joy for life (Bent, 2021). The novel spoke to me on so many levels giving me a huge appreciation for my family, and wonders I attempt to admire every day in a new thankful way. Watching our close relatives die is a heartbreaking process turning into long years of mourning. Marlowe and Harper’s sweet sacrificial love reminds us that people dear to us never really pass away as they live and hum in our souls. Briefly, I could not agree more with the Trent Dalton’s comment on a novel: “What a gift.”
Born in 1967 in Matautu Tai, Upolu, Sia Figiel has pursuit her later education in New Zealand and in the United States of America. Her artistic expresBorn in 1967 in Matautu Tai, Upolu, Sia Figiel has pursuit her later education in New Zealand and in the United States of America. Her artistic expression through writing and painting has been highly recognised and awarded what enabled her to become a full time author (Benson & Conolly). In her second publication The Girl in The Moon Circle (1996) published soon after her first volume, the main protagonist Samoana Pili, also known as “Ana”, age of ten, lives in the fictional village of Malaefou and tells the story of the aggression and sexual abuse from adults that they experience. Samoan society is characterised by the tendency of collective approach in ways of narrative expression which favourites groups over individuals (Henderson 323). Samoan teenagers are encouraged to communicate as a part of this community even though the violations experienced by young people are their personal tragedy they suffer from alone. Therefore, as noticed by Wendy E. Cowling (29) “men are not always particularly estimable, while women have to be strong, and strong-willed, or they would not survive emotionally.” Sia Figiel raises these complexities by Samoana, who thinks of love as of the concept strictly related to being a member of the group with responsibilities towards its members: And I felt sad for her because she was not living. But rather existing. And a sad existence at that because I didn’t feel like she did anything with love. Alofa. The virtue that makes you forget about you and you think of others first. (12). Through the collection of Samoana’s memories which refer to incest, domestic violence, rape, alcoholism, and abuse, we learn the power of strength between the sisters and the sentimental affection she has towards her father. We see how attached she is too her culture, represented by Faga, the grandmother. The experience of brutality and Tufa’s miscarriage teach her to become stronger and resilient.
Cowling, Wendy E. “Island Lives: The Writing of Sia Figiel (Samoa) and Celestine Hitiura Vaite (Tahiti).” Junctures: The Journal for Thematic Dialogue, vol. 6, no. 12, 2009, pp. 29-41. Figiel, Sia. The Girl in The Moon Circle. Mana Publications, 1996. Henderson, April K. “The I and The We: Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change.” The Contemporary Pacific, vol. 28, no. 2, 2016, pp. 316-345. Teaiwa, Teresia K. "Figiel, Sia (1967-).” Encyclopedia of Post-Colonial Literatures in English, edited by Eugene Benson, and L. W. Conolly, Routledge, 2nd edition, 2005. ...more
The horrific Duvalier regime lasting from 1957-1986 had as its aim to break women’s spirit, deprive them from their ability to vote and basic human riThe horrific Duvalier regime lasting from 1957-1986 had as its aim to break women’s spirit, deprive them from their ability to vote and basic human rights changing females to “enemies of the state” (Francis 78). This dark period degrading women as people allowed criminals and other assaulters to hurt innocent people. Edwidge Danticat’s novel analyses many aspects and forms of gendered violence on various platforms. The physical forms of violating woman’s body in the novel constitute rape and “testing” which has a lifelong consequences on ability to trust, love. Edwidge Danticat illustrates the tragedy of individual story in order to metaphorize the suffering of millions of women who during Duvalier’s regime were humiliated, raped or murdered. In Breath, Eyes, Memory, Sophie’s mother is most probably raped by one of the Tonton Macoutes. The traumatic experience forces her to leave her newborn child and move to New York. Her nightmares and anxiety keep her in constant pain and fear what finally leads to her mental instability. Furthermore, the narrative intensively yet beautifully elaborates on the complexities of mother daughter relationships. The short story which belongs to one of the Sophie’s memory treasures is the one when her mother, while “testing”, tells her about two inseparable lovers Marassas, who would constantly admire and keep each other company. Martine says that their bound was so strong because they were so much alike and so much is the connection between a mother and daughter: “The love between a mother and daughter is deeper than the sea” (85). The lack of affection and demonstrations of unconditional love from her depressed mother makes Sophie at times aloof and lonely in society. She feels abnormal and abandoned, deprived of love and attention as she feels that she is “not allotted the same rights that are seemingly inherent to everyone else” (Hunt 129). Breath, Eyes, Memory is the novel which honours all mothers and sometimes difficult choices they had to make. The story accentuates the importance of empathy, memory, and love as stronger than violence, loneliness, and death. Edwidge Danticat, in her interview from 1994 for NJN Public Television says: Part of it is my story but the greater part of it is the story of a lot of women who are in my family, women that I know from other places. I draw from a lot of different stories so it’s not; in some ways it is my story but… it is a greater story than my own. (2:39) By quoting painful and dramatic stories in her novels, she represents oppressed women who everyday make attempts to live normal life and accept their past. I find Edwidge Danticat’s novel as one of the most uncompromising and honest narrations which are touching in an intense and emotionally challenging way.
Danticat, Edwidge. Amber Edwards’s interview with Edwidge Danticat for State of The Arts. YouTube, uploaded by NJN Public Television, 30 Jan. 2018, https://www.youtube.com/watch?v=QeBgh... Danticat, Edwidge. Breath, Eyes, Memory. Abacus, 2009. Francis, Donette A. “Silences Too Horrific to Disturb: Writing Sexual Histories in Edwidge Danticat's Breath, Eyes, Memory." Research in African Literatures, vol. 35, no. 2, 2004, pp. 75-90. Hunt, Michelle. “Women as Commodities in Danticat's Breath, Eyes, Memory and Morrison's The Bluest Eye.” Pennsylvania Literary Journal, vol. 8, no. 2, 2016, pp. 120-149....more
Sia Figiel’s stories place women in a first place as the ones experiencing injustice and finding their ways to cope with pain and isolation individualSia Figiel’s stories place women in a first place as the ones experiencing injustice and finding their ways to cope with pain and isolation individually. She illustrates the hardship of belonging, trauma, physical and emotional violation, and gender inequalities. The strength of the protagonists underlines the necessity of speaking out the truths and sharing stories from one’s own perspective listening to one’s own heart, feelings, and body. In her novels and collections of poems, through eyes of children and teenagers, this Samoan author elaborates on the “strict social taboos around the expression of female sexuality” (Ramsay 4), severe consequences of disobedience, constant perils of sexual harassment and physical threats, the necessity of vigilance, and resilience. Where We Once Belonged, awarded with Commonwealth’s Writer Prize, constantly raises much debate among Samoan society by touching multiple important subjects such as violence and rape. The perspective of Alofa, which means “love”, at times relates to the glamourised concept of eroticised love common in western imaginary of South Pacific, in order to subsequently illustrate how uncompromisingly different is the actual reality (Benson & Conolly). The composition of Sia Figiel’s novels attempts to unveil the feelings and emotional insight into prepubescent and teenage girls confronting sexual abuse in their environment and aloofness in adults’ world. Violence against children and women is a prevalent problem in Samoa where authors are on spotlight as they elevate their concern regarding subjects deemed by the society as private (Figiel qtd. in Cowling 34). Additionally, there is a popular belief that violence is acceptable to certain extent if does not bring any serious complications (Boodoosingh et al 39). Where We Once Belongs illustrates how aggression and double standards for women are the part of community’s everyday life. On the first pages of the book we learn that children are often the persons of interest for local predators: “Boys paid her money just to smell her panties, grown men paid her money, too, just to smell her panties and bra” (12). Christian values and purity are always one first place as children are expected to be humble, quiet, and obedient. Any attempt to break the rules of moral purity are severely punished with physical brutality in order to protect the family’s honour and reputation. Girls are in constant fear of not only sexual assault itself but as well of the stigma and punishment that might come after. In a strongly structured and patriarchal community they stand a small chance of having the opportunity to tell their story and have the right to defend it. Furthermore, Sia Figiel’s compositions accentuate the role of storytelling when dealing with post trauma. Sharing one’s story might bring a relief however sometimes her protagonists are not able to find out if speaking out the truths would release them from pain.
Boodoosingh, Ramona, et al. “Research Briefing: Violence against Women in Samoa.” Women’s Studies Journal, vol. 32, no. 1-2, 2018, pp. 33-56. Cowling, Wendy E. “Island Lives: The Writing of Sia Figiel (Samoa) and Celestine Hitiura Vaite (Tahiti).” Junctures: The Journal for Thematic Dialogue, vol. 6, no. 12, 2009, pp. 29-41. Figiel, Sia. Where We Once Belonged. Kaya Press, 1999. Ramsay, Raylene. “Indigenous Women Writers in The Pacific: Déwé Gorodé, Sia Figiel, Patricia Grace: Writing Violence as Counter Violence and The Role of Local Context.” Postcolonial Text, vol. 7, no. 1, 2012, pp. 2-18. Teaiwa, Teresia K. "Figiel, Sia (1967-).” Encyclopedia of Post-Colonial Literatures in English, edited by Eugene Benson, and L. W. Conolly, Routledge, 2nd edition, 2005. ...more
Recent social movements and actions #stopasianhate underline the necessity of eliminating harmful race stereotypes. In her novel, A Lonely Girl is a DRecent social movements and actions #stopasianhate underline the necessity of eliminating harmful race stereotypes. In her novel, A Lonely Girl is a Dangerous Thing, Jessie Tu unveils the superficial and derogatory character of international labels. By accompanying the main protagonist Jena Lin, the reader becomes familiar with the sexist remarks and predicaments young women confront on daily basis: He carries on with the same racist, sexist rhetoric through the three entrees. He talks about women the way one might talk about nut milks. What’s the latest trend? Which one is lowest in fat content now? Cashew? Almond? Macadamia? Hazelnut? (95). Remembering her early twenties, Jessie Tu says: “I was so desperate to be valued and seen by those people in power (white, straight men)” (2020, 28), which clearly defines the enormous pressure on young Asian women in western world. In the posh and blasé environment of A Lonely Girl is a Dangerous Thing, the characters seem to constantly redefine their identity and value adjusting it what is desired. Ambitions blur replacing the meaningful relationships within the family and friendship. In the interview, the author describes Jena Lin as “struggling to find herself in the world and feeling like she doesn’t know how to use her power as a young woman and sort of exercising her sexual capital” (West Words, 2020). Young woman explores the possibilities of exploration through sexual experiments, her attitude represents the millennial depression in face of unlimited opportunities and fulfilled aspirations in a young age.
Tu, J. (2020). A Lonely Girl Is a Dangerous Thing. Allen & Unwin. Tu, J. (2020). Shelf Reflection: Jessie Tu. Kill Your Darlings, Jul-Dec, 26-29. West Words. (2020, July 31). Writing Western Sydney: The Readings. Jessie Tu reads from A Lonely Girl is A Dangerous Thing [Video]. https://www.youtube.com/watch?v=u0OQB......more
Wide Sargasso Sea self-consciously reflects upon writing, power, and knowledge. The symbolics and concepts presented in prose and novels are popular aWide Sargasso Sea self-consciously reflects upon writing, power, and knowledge. The symbolics and concepts presented in prose and novels are popular and can shape new tendencies and definitely did especially in 19c when written stories had a strong influence on the society. Jane Eyre’s representation of Jamaican mad wife, Bertha Mason, is highly connected to her country of origin as if it would explain her state of mind: “(…) ambiguous bestiality, her wild and violent nature dovetail with her ‘mixed’ Creole lineage and Jamaican birthplace” (McLeod, 2000, p. 152). Such representations might strengthen already existing stereotypes of “savage” people from distant faraway locations. In this context, writing is a powerful tool which represents certain side of the story and transmits personal believes. Wide Sargasso Sea as a prequel to Jane Eyre challenges some of the aspects reassigning the meanings and liaisons between the heroes, therefore stressing the power of writing. The other aspects which are rewritten, the power and knowledge are shown as well through the sexual relationships and gender inequality. On the other hand, periphery and the centre is hidden in nostalgic and sentimental vision of the nature which becomes mysterious, unknown, and almost personified: “Standing on the veranda I breathed the sweetness of the air. Cloves I could smell and cinnamon, roses and orange blossom. And an intoxicating freshness as if all this had never been breathed before.” (68). The concept of place is presented through the lens of the system which has nothing to do with either of them personally as they are just irrelevant and powerless in colonialism era where origin, race, country of birth dictate your lifestyle and condition your chance for success. Wide Sargasso Sea writes back and present the complexity of social injustices which lead the individual to his or her worst lengths. The infinite source of post colonial subjects, themes, interpretations, perspectives, and its originality challenge the way of reading and understanding the contexts as well as encourage to thinking critically.
McLeod, J. (2000). Beginning Postcolonialism. Manchester University Press. Rhys, J. (2000). Wide Sargasso Sea. Penguin Books, ePub....more
“Miłość w czasach zarazy” bawi, wzrusza, skłania ku refleksji i przypomina o kruchości egzystencji, sile determinacji oraz nieubłagalnym przemijaniu c“Miłość w czasach zarazy” bawi, wzrusza, skłania ku refleksji i przypomina o kruchości egzystencji, sile determinacji oraz nieubłagalnym przemijaniu czasu. Życie doktora Urbino oraz Florentino Arizy powiązane jest miłością do pięknej i wyniosłej Ferminy Dazy. Swoimi zabiegami o jej uczucie reprezentują dziewiętnastowieczne odzwierciedlenie odmiennych światopoglądów i filozofii uwarunkowanych romantyzmem lub postępem naukowym. Ich miłość jest ukazana na wszystkich etapach “w młodym i starczym wieku, platoniczna i erotyczna, prawowita i pozamałżeńska, efemeryczna i wieczna, dziecięca lecz wzniosła” (Moraña, 1990, 2). Podczas gdy mąż Ferminy Dazy jest zafascynowany nauką, Ariza nie może powstrzymać się od melancholijnych imaginacji o nieskończonej miłości i oddaniu. Obaj stoją nad przepaścią ryzyka, jakie niesie ze sobą uprzedmiotowienie innych ludzi oraz ich uczuć. Poddając się swojemu losowi w kategorii ideałów epoki, bohaterowie stają się ubezwłasnowolnieni (Booker, 1993, 189-191). Realizm magiczny obrazuje ich życie codzienne w groteskowy sposób odmalowując niezaprzeczalną prozę życia i jego nijakość. Gabriel García Márquez proponuje znacznie więcej, niż opowieść o miłości. Kształtując stopniowo rozwój wydarzeń angażuje oraz zachęca do krytyki i śledzenia zależności w posiadaniu, mocy sprawczej oraz władzy. Wpływy mody oraz polityki europejskiej są widoczne na każdym kroku we wkraczającej w nową epokę Kolumbii, kontroli i kłótni w małżeństwie, zarówno jak i w licznych relacjach seksualnych Florentina Arizy. Opowieść jest niezwykła również ze względu na opis starości oraz miłości, która kwitnie w tym wieku co często jest tematem pomijanym w popularnej literaturze pięknej. Pisarz był blisko związany ze starszymi członkami swojej rodziny i znał ich najlepiej a w trakcie pisania “Miłości w czasach zarazy” sam zbliżał się osiągnięcia wieku sześćdziesięciu lat (Martin, 2012, 94-95). Twórczość G. G. Márqueza to niezapomniana lektura przeplatająca humor z głębokimi przemyśleniami nad przemijalnością czasu i uczuć lecz również historyczne studium i krytyka fin de siècle.
Booker, M. K. (1993). The Dangers of Gullible Reading: Narrative as Seduction in García Márquez Love in The Time of Cholera. Studies in 20th Century Literature, 17(2), 181-195. Martin, G. (2012). The Cambridge Introduction to Gabriel García Márquez. Cambridge University Press. Moraña, M. (1990). Modernity and Marginality in Love in the Time of Cholera. Studies in 20th Century Literature, 14(1), 27-43....more
Dużo zamieszania i chaosu ale nie na tyle by można było zgubić wątek. Świetne karykatury ludzi, ich najgorsze zachowania i pozy, uśmiałam się dobrze kDużo zamieszania i chaosu ale nie na tyle by można było zgubić wątek. Świetne karykatury ludzi, ich najgorsze zachowania i pozy, uśmiałam się dobrze kilka razy. Warszawa i jej mieszkańcy pokazani tak realistycznie. Słyszę w głowie te teksty. Napisana z luzem i stylizowana na hip hop. Długość również idealna....more
Niezwykle dramatyczna i przejmująca historia o oddaniu, miłości i lojalności. Rewolucja francuska kończąc epokę monarszego wyzysku i ucisku biednych pNiezwykle dramatyczna i przejmująca historia o oddaniu, miłości i lojalności. Rewolucja francuska kończąc epokę monarszego wyzysku i ucisku biednych przeistoczyła się w krwawą rewolucję i bestialstwo, jak nadal brzmi hymn Francji pochodzący z tego okresu: Marchons ! Marchons ! Qu'un sang impur Abreuve nos sillons- Maszerujmy, maszerujmy, aż nieczysta krew (wroga) wchłonie w nasze pola. Z każdym kolejnym wiekiem świat coraz więcej ma w sobie etyki i zasad moralnych a wszystkie przyświecające nam teraz idee są lekcją wyciągniętą z okrutnych dziejów zniewalania i bezprawia. Dickens przypomina nam, że nie chodzi u o poglądy polityczne, narodowość lub status społeczny- kręgosłup moralny, odwaga by przeciwstawić się niesprawiedliwości oraz szlachetność są cechami, które uniwersalnie określają człowieka godnego....more
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