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English 305
A Coggle Diagram about (Things Fall Apart "But his whole life was dominated by fear, the fear of failure and of weakness. It was deeper and more intimate than the fear of evil and capricious gods and of magic, the fear of the forest, and of the forces of nature, malevolent, red in tooth and claw. Okonkwo's fear was greater than these. It was not external but lay deep within himself. It was the fear of himself, lest he should be found to resemble his father" (p. 17). , 
, ZWELETHU MTHETHWA and Masculinity was everything to Okonkwo. His fear for becoming like his father, "womanly" took over his world. The destruction and violation of his people and his village were insignificant compared to his desire in achieving full masculine potential. Okonkwo suffered over and over. Taking part in the killing of Ikemefuna, being exiled, losing crops, Okonkwo experienced many hardships, but none compared to the hardship of being born to an abgala. Okonkwo was a traditionalist. He believed in the ways of his village. Anyone who disagreed with him became inferior. He portrays this powerful, fierce warrior, but the root of his being is based off of fear. A quality not often associated with masculinity. ), Nervous Conditions "Across and around the lowest of these boulders, the river flowed sparsely in a dry season, but deeply enough in places when the rains were heavy to cover a child's head and to engulf me to my nipples. We learnt to avoid these places when the river flowed violently, but in most seasons it flowed placidly enough to permit bathing along most of its length...The river, the trees, the fruit and the fields. This was how it was in the beginning. This is how I remember it in my earliest memories, but it did not stay like that. While I was still quite young, to enable administration of our area, the Government built its District Council Houses less than a mile away from the places where we washed" (Dangarembga, 2004, p. 3)., Copyright © 2016 National Gallery of Art, Washington, DC © André Kertész photographs reproduced courtesy of the Estate of André Kertész and the Jeu de Paume/French Ministry for Culture and Communication, 
, Caribbean Subjectivity//"Post" Colonial Critique//Mobility, Circa No Future by Nadia Huggins, Ordinary Mawning
[https://youtu.be/TFDb2wLuz3U], A Small Place "No real sand on any real shore is that fine or that white (in some places) or that pink (in other places) ; no real flowers could be these shades of red, purple, yellow, orange, blue, white; no real lilly would bloom only at night and perfume the air with a sweetness so thick it makes you slightly sick; no real earth is that colour brown; no real grass is that particular shade of dilapidated, run-down green (not enough rain) ; no real cows look that poorly as they feed on the unreal-looking grass in the unreal-looking pasture, and no real cows look quite that miserable as some unreal-looking white egrets sit on their backs eating insects; no real rain would fall with that much force, so that it tears up the parched earth...and no real village with such a name would be so beautiful in its pauperedness, its simpleness, its one-room houses painted unreal shades of pink and yellow and green, a dog asleep in the shade, some flies asleep in the corner of the dog's mouth" (Kincaid, 1988, p. 78-79). and I have pieced together the Dub Poem Ordinary Mawning with this section from Kincaid because they both demonstrate the falseness of how we perceive ordinary realities. Kincaid forces us to see beyond the plain and simple and challenges how we understand and experience the concept of our every days. Similarly, Ordinary Mawning speaks of just that, an ordinary day for this woman, but in that normal day there is a deeper intensity and sorrowful reality. In my response to A Small Place on moodle I wrote about this falseness. The predispositions we have about a place, a small place like Antigua, is only through our distorted lens. Our tainted and false lens that make us think we need a vacation because our lives are so stressful and we have heavy burdens with all our adult responsibilities. We escape our terrible lives, to places like Antigua, because our flawed perspectives turn Antigua, or any other place besides our current location, paradise. We escape the life we forced others into through colonialization. This image by Huggins is a visual aid to our distorted mindsets. The image is blurry and out of focus, but it provokes a powerful feeling of being overcome by disillusions.