Sasha Cox, Honors English 10 iBooks

w/ Mr. Hamasaki

Sasha CoxHonors English 10Digital Portfolioc/o 2017

Sasha Tuesday, May 5, 2015 at 10:00:56 AM Hawaii-Aleutian Standard Time 70:56:81:a4:74:55

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Aloha mai kākou!

" This portfolio, along with the work it contains, was carefully and deliberately compiled throughout the 2014-2015 school year.

Each piece was written or created from my participation in the Kamehameha Schools’ Honors English 10 program. All individual selec-

tions included in this book are representative of unique or significant stages in my life and in my existential growth. I truly hope that as

readers explore more deeply into my thoughts and intellect, they are able to learn a little bit more about my personality and identity as

a student, a Hawaiian, an American, and a 21st century thinker.

Enjoy your reading!

" " "


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TABLE OF CONTENTS

TITLE" " " " " " " " " PAGE #

" " " " " " " Introduction" " " " " " " " i.

" " " " " The Best and Worst of Summer 2014" " " " " #1-3

" " " Cause & Effect in Shakespeare’s Macbeth & Illustration"" " " #4-7

" " " " " Lā‘ieikawai: A Literary Masterpiece" " " " " " #8-11

" " " " " " Gilgamesh Journal" " " " " " " " #12-14" "

" " " " " " The Oedipus Cycle: Letters" " " " " " #15-18

" " " " " " Oedipus Rex: Letter"" " " " " " " #16

" " " " " " Oedipus at Colonus: Letter " " " " " " #17

" " " " " " Antigone: Letter" " " " " " " " #18


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" " " " " " " " " Who Am I?" " " " #19-21

" " " " " " " " Concrete Poem" " " " #22-23

" " " " " " " " Annotations Collage"" " " #24-25

" " " " " " " " Analysis of Potiki" " " " #26-27

" " " " " " Analysis of Book of Stones & Outro"" " #28-29

" " " " " " " " Bibliography" " " " " #30


! This essay recalls many highlights from summer 2014, as well as a few negative events which transpired throughout the break.

The Best and Worst of Summer 2014

1Sasha Tuesday, May 5, 2015 at 10:00:56 AM Hawaii-Aleutian Standard Time 70:56:81:a4:74:55

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" From the bustling streets of European towns to the white sand and blue skies of O‘ahu’s west side, Summer 2014 proved to be a significantly memorable, educational, and unforgettable experience that I will certainly treasure for a lifetime. Despite its numer-ous virtues, this past summer did have some minor drawbacks. Touring the European continent for eighteen days in June com-prises the absolute best of summer, whereas schoolwork and hot days made up the majority of summer’s worst moments.

" The main highlight of Summer 2014 was a trip to Europe, taken by myself and thirty-eight other Kamehameha students, in or-der to gain World History class credit. Over the course of nearly three weeks we toured famous and historical sites throughout Mu-nich, Salzburg, Venice, Florence, Rome, Lucerne, Paris, and London. Possessing great interest in world history, I found the fast-paced odyssey incredibly enlightening. I found myself compelled to expel any previous notions or misconceptions regarding the European Union and experience it firsthand. I witnessed history with my own eyes as we explored Europe. I found inspiration and

broadened my horizons as I encountered concentration camps, medieval castles, the residences of Sir Isaac Newton and Wolf-gang Amadeus Mozart, and prominent monuments such as Vati-can City, the Colosseum, Pantheon, and Eiffel Tower. I have gained more insight and appreciation of various cultures and so-ciety beyond our state and country than I thought possible. I found limitless amazement at the accomplishment of ancient civi-lizations like the Romans, and I constantly marveled at how di-verse such a relatively small collection of countries can be. With-out a doubt, I learned, saw, felt, and experienced more than I ever would have had I stayed home the entire summer. I also found tremendous enjoyment comparing and contrasting my life here in Hawai‘i with the life of others thousands of miles away. As I stood on the summits of mountains, sailed on the Mediterra-nean, and navigated through medieval and ancient streets, I was truly inspired. I began to learn from local European citizens about the differences: cultural, political, social, and religious, be-


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tween America and Europe. I now realize that we have much to learn from other countries, and I have come to understand the extent to which our culture’s ethnocentrism exists. My excursion to six of Europe’s most unique countries was truly the best of Summer 2014.

" The first of few drawbacks encountered during Summer 2014 was the heavy load of summer schoolwork. Working during my va-cation took up countless hours I could have spent enjoying time with friends and family. However, I did not find my workload as burden-some as the daily assignments given to many of my friends enrolled in summer school courses at Kamehameha. Over the course of my break, I completed a considerable amount of homework for both Honors English and Advanced Placement World History. The work for both classes quickly became the worst of Summer 2014. Due to my procrastination and prolonged absence from home, I didn’t get started on anything until mid-July. This led to unnecessary stress and last-minute pressure that could have been avoided had I begun my work earlier. Any residual relaxation or peacefulness I had acquired over the course of Summer 2014 was soon gone as I struggled to finalize all schoolwork. Although stressful and chaotic, some good did result from this particular flaw in my summer. I was able to collaborate with some peers and friends to finish our work together. It was a rather fulfilling experience for me, being able to help my contemporaries who were also struggling with the same issues. I, despite efforts to prioritize and pace myself, found that I barely completed my tasks in time to start my sophomore year. Unfortunately, I believe that my mistakes in regards to procrastination allowed something that should not have been a big deal (summer schoolwork) to become one of the worst components of Summer 2014.

" Throughout all of my unique adventures in Europe, and by completing all required school tasks for summer break, I have honestly had a fulfilling and rewarding summer. My exploration and discovery of a foreign continent undoubtedly grew to be a major highlight of Summer 2014, whereas summer work and stress provided a stark contrast, leading to the single most significant drawback of my sum-mer vacation. Although I was greatly impacted by the negative aspects of Summer 2014, I was even more influenced and affected by the plethora of new sights, sounds, and experiences I encountered overseas this June.


! This illustration expresses various cause and effect themes found throughout William Shakespeare’s tragedy, Macbeth. Numerous causes are portrayed, all of which initiate one common effect.

Cause & Effect in Shakespeare’s Macbeth


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" Throughout William Shakespeare’s Macbeth, one is able to find various causes and effects portraying the impact of both insecurity and paranoia. These constant themes, which contrast faith, treachery, and greed, provide a basis upon which to compare and the world of Macbeth to ours. While highlighting the play’s most critical aspects of cause and effect, my illustration also allows one to see the connections made be-tween certain elements in this tragedy and real-world, real-life cause and effect themes.

" The first two major aspects of cause and effect found in the Tragedy of Macbeth are found in the king’s inevitable paranoia and madness resulting from his jealousy and over-reactive precautions. The first significant action Macbeth takes in the play is the murder of Duncan, King of Scotland. Macbeth’s murderous notions arise after three witches prophesize a future in which Macbeth is ruler of Scotland and thane of Cawdor. Macbeth’s relatively sud-den descent into madness begins shortly after he succeeds in killing Duncan. The lines, “Is this a dagger which I see before me, / The handle toward my hand? Come, let me clutch / thee...” (II, i, 33-35) foreshadow Macbeth’s hallucinations and delusions, a precursor to his irreversible madness. The night Macbeth and his wife kill Duncan, Macbeth reflects, “Methought I heard a voice cry, ‘Sleep no more,’” (II, i, 35). This, too, is foreshadowing the numerous instances in which Macbeth’s madness is evident. Macbeth’s paranoia conse-quently leads him to murder Banquo, attempt to murder Fleance, and Macduff’s entire family. Further hallucinations and apparitions drive Macbeth to delusion in Act Three, “Thou canst not say I did it: never shake / Thy gory locks at me.” (III, iv, 50-51) The guilt following his murders also figuratively pushed Macbeth “over the edge” into insanity. He even believes that “…all great Neptune’s ocean…” (I, vii, 55-58) couldn’t wash the blood from his guilty hands. Each hallucination, apparition, and impulse en-dured by Macbeth leads him further and further into delusion.

" Expressed through my cause-and-effect illustration, my Type 3 learning style has influenced my opinion in that I deem certain causes and effects more significant than others. My interest in how I will use the themes of Macbeth in my life allows me to differentiate the effects of each cause with ease. Macbeth clearly expresses themes applicable to real-life situations, and many of these can be seen in my illustration. Through this illustration, visual symbolism, imagery, and quotes have been creatively assembled to exemplify reoccurring cause-and-effect patterns in Macbeth. Macbeth’s attacks against Duncan, Banquo, and Fleance, hallucinations, and the appearance of apparitions, the influence of his wife, unclear prophecies, and rebellion against God are all causes which can be found throughout my illustration. Each of these results in a common effect: insanity. Without each of these key components, Macbeth would never have plummeted so quickly into unalterable derangement. Mac-beth’s hallucinations are represented by the previously stated quotes from Act Two and Three regarding his vision of a dagger and ghost of the


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" The majority of cause-and-effect themes found in Macbeth resemble similar social and situational themes throughout the Elizabethan Era. Even something as simple as the influence of Lady Macbeth throughout this tragedy reflect specific gender roles during the Elizabethan Era. Male dominance was a social norm, with women being alluded to more as “property” rather than independent beings. In my illustration, this issue is introduced through images of pistols. These pistols represent not only literal or physical harm in Macbeth, but also societal struggles and dan-ger in Shakespeare’s time. This becomes extremely apparent as other (seemingly powerless) female characters are introduced in each act of the play. One sees the allusion to Elizabethan ine-quality at nearly every scene throughout Shakespeare’s Macbeth.

" Cause and effect is a simple term that can be expounded upon greatly through the careful analysis of the Tragedy of Macbeth. Nearly every situation or significant action throughout the play leads to a common effect by the last scene, mainly the extreme paranoia and resulting insanity of Macbeth. One is able to see

the consequences of severe insecurity on a grand scale. Faith, treachery, and greed are among many diverse themes found throughout Shake-speare’s play. Through my illustration I have been able to convey Macbeth’s most crucial causes and effects, as well as real-world connections.


3 This piece effectively and thoroughly analyzes S.N. Haleole’s writing technique, as well as relates events of the 19th-21st centuries to his work throughout his translation of the traditional Hawaiian mo‘olelo, Lā‘ieikawai.

Lā‘ieikawai: A Literary Masterpiece


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" In a world where modern society and western values often clash with the traditional roots of our culture, literary works such as S.N. Haleole’s Lā‘ieikawai are of tremendous value to our lāhui. His insight regarding Hawaiian tradition and culture is successfully conveyed through his brilliant use of literary devices throughout the story, which prove powerful, meaningful, and significant to Hawaiians and haole alike. In Lā‘ieikawai, one can also relate the unbalanced world of Haleole to events and for-eign relations of his time, and even to themes and conflicts in the 21st-century.

" Haleole’s allusions to both biblical occurances and current events of 19th-century Hawai‘i allow for greater in-depth analy-sis and interpretation of Lā‘ieikawai. Several brief allusions throughout the story refer to western influences and foreign con-tact with Hawai‘i. Two of these brief references include the introduction of iron smelting (used in a description of Ka‘onohio-kalā), and female infanticide (initiated by Kahauokapaka and his Ilāmuku at the very beginning of the book). When analyzing Haleole himself along with his work, one is able to see that these particular practices were not indigenous to Native Hawaiian culture, and represent foreign influences. The other, more dominant forms of allusion Haleole utilizes in this composition are recurring references to events in the Christian Bible. At one point Ka‘onohiokalā may even be interpreted as a literary allusion to Jesus, as he “lays aside” his divine body and embraces a human form to dwell among his new companions. In contrast, Ka‘onohiokalāʻs actions of adultery with Lā‘ielohelohe against Lā‘ieikawai may also allude to the fall of the angel Lucifer into sin. Furthermore, at the very end of his book, Haleole includes one last Biblical allusion. As the Polynesian concept of “utu” (payment, compensation, revenge, etc.) is being put into effect, Moanalihaikawaokele and Laukiele‘ula punish Ka‘onohiokalā by condemning him to a frightful form as Lapu (ghost) for all eternity. As part of his punishment, Moanalihaikawaokele tells Ka‘onohiokalā, “thus will you and your descendants live” (Haleole 2006: 96-97). This significant situation alludes to that of Adam and Eve in the Garden of Eden. When Adam and Eve eat the forbidden fruit, they are exiled and punished harshly, along with their future descendants. Through Haleoleʻs ingenious use of allusions in Lā‘ieikawai, the significance of western influence in Hawai‘i is clearly evident, as is the importance and applicability of Christianity to the lives of Haleole and the Na-tive Hawaiian community.

" Throughout Lā‘ieikawai, Haleole has succeeded in providing readers with several meaningful extended metaphors. Nearly unnoticable at a first glance, these metaphors require extensive analysis and scrutiny. The most significant of these metaphors is the comparison of twin sisters Lā‘ieikawai and Lā‘ielohelohe to the split government of Haleole’s time. In a way,


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Lā‘ieikawai can represent the government in Hawai‘i mainly controlled by westerners and foreign authorities. Her counterpart, Lā‘ielohelohe, perhaps represents the part of Hawai‘iʻs government without foreign influence. Although her character enters late into the story, Lā‘ielohelohe is the most stable character, remaining “true to herself” despite numerous trials. Unlike her sister, Lā‘ielohelohe also proves her loyalty and dedication by listening to and obeying the every request of her caretaker, Kapukaihaoa. Even as she is objectified and treated unfairly, Lā‘ielohelohe remains steadfast and devoted to her duties. Lā‘ieikawai, on the other hand, blatantly disobeys her caretaker and grandmother, Waka. As Lā‘ieikawai strays away from her given path, and her sis-ter remains obedient, one is able to see clearly just how representative the two ali‘i wahine are of the constant power struggle wit-nessed every day during Haleole’s era. Through her independence and contradictory behavior and actions, Lā‘ieikawai perhaps portrays the effect of the foreigners’ ulterior motives in Hawai‘i. Even if it was only subconcious, her open defiance of Waka and her traditions leads one to compare her behavior with the path of destruction introduced by western influences and desires. In con-trast, Lā‘ielohelohe represents the vulnerability of the Hawaiian people, as well as the government controlled by our natives and ali‘i. However, by the end of Lā‘ieikawai, Lā‘ieikawai eventually returns to her roots and core values. Wrongdoing is confronted and accepted, and the twin sisters along with their actions are reconciled. This closure may have perhaps been Haleole’s per-sonal way of encouraging his fellow Hawaiians. Clearly, this harmony between foreigner and kanaka maoli was never achieved during the author’s lifetime, and neither was the reinstatement of a completely Hawaiian government. The peace between the con-trasting ideals of Lā‘ieikawai and Lā‘ielohelohe may have been fabricated by Haleole as a reminder for Hawaiians to continue striv-ing for political dominance in their own homeland, as well as to perpetuate peace amongst all people, not subject to race, national-ity, or anything else. A second, lesser metaphor in Lā‘ieikawai is the comparison of emotion to fire. Although not necessarily an “extended” metaphor, the relationship between love and fire is continuously mentioned at various points throughout the text. In one instance in Chapter 33, Hinaikamalamaʻs love for Kekalukaluokēwā is described as both passionate and an intense fire. This comparison of love to fire indicates the need for love (either romantically or amongst family) to be kindled and stoked. If left un-tended, love will die, much like fire. In Hinaikamalamaʻs case, she needed to be with Kekalukaluokēwā as a means of “kindling” her love for him so it would not be lost. In other instances, Haleole uses the metaphor of anger being a fire. Several of Lā‘ieika-wai’s characters experience this “burning” anger. One example of this fury occurs when Lā‘ieikawai reveals Ka‘onokiokalāʻs wrongdoing with Lā‘ielohelohe to her father-in-law, Moanalihaikawaokele. Moanalihaikawaokele is described as having a “kindled


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wrath” (Haleole 2006: 96). The use of a word such as “kindled” in this passage definitely emphasizes Haleole’s intentions of using fire-related imagery to inten-sify emotions throughout the book.

" Powerful and striking imagery is also commonly used throughout the story. As Haleole wrote his masterpiece, he included intense imagery to enhance both positive and negative events in each chapter. Some of this imagery is used on multiple occasions to provide more depth to Haleole’s biblical allu-sions. In other ways, he brilliantly combines various metaphors and literary techniques to better convey important themes within his work. The most nota-ble instance in which Haleole utilizes intense imagery is in his initial descrip-tion of the god Ka‘onohiokalā in Chapter 28. As “The Eye-ball of the Sun,” Ka‘onohiokalā is introduced as an incredibly powerful ali‘i, with “eyes like light-ning” and “skin shimmering like the heat of a furnace” (Haleole 2006: 79). Strong imagery such as this allows the reader to possess a better sense of what Haleole meant to intensify, and what is more significant throughout the story. The anachronism of the western image, the “furnace”, for example, fore-shadows Ka‘onohiokalā’s wrongdoing and helps to confirm Haleole’s allegori-cal allusions to foreign versus native conflicts.

" In modern society, authors like S.N. Haleole provide both Hawaiians and foreigners with valuable insight relating to culture, society, and politics. De-spite being written so long ago, Haleole’s innovative mana‘o is by no means outdated. His outstanding use of literary devices allows readers to gain a bet-ter appreciation for both ancient Hawai‘i and the unstable Hawai‘i so familiar

and disturbing to Haleole. Through his ingenious use of allusions, extended metaphors, and imagery, Haleole makes it convenient and en-gaging for readers of all ages and ethnicities to appreciate the ancestors of the Hawaiian people, as well as 19th century politics, conflicts, and foreign relations in Hawai‘i.


4 ! In this journal-style piece, the ancient Sumerian epic of Gilgamesh is analyzed and critiqued in a unique format. This presents an unorthodox, yet novel perspective from the reader in regards to the ancient text.

Gilgamesh Journal


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" Before I began reading Herbert Mason’s rendition of Gilgamesh, I was skeptical in regards to the content and authenticity of the text. I had no idea what to expect from such a culturally significant and ancient work of literature. Originally, I had planned to analyze Gilgamesh by establishing a comparison to William Shakespeare’s Macbeth and S.N. Haleole’s Lā‘ieikawai. Even after completing the Sumerian epic, I still believe that I have found numerous similarities between each of these three pieces. Each piece holds tremendous significance to its respective culture and origin, and all three works contain remarkable life lessons and universally applicable human themes. In addition to these discoveries, I also realized that throughout Gilgamesh, there are many instances in which cause and effect are evident. Cause and effect in this ancient story is frequent and occurs in a variety of situa-tions. Among the characters, in the setting (both societal and cultural), and even within my own perspective of the story, cause and effect in Gilgamesh led to various shifts and developments of the plot.

" The first recognizable instance of cause and effect in Gilgamesh is the introduction of the so-called “prostitute.” When the prostitute is sent to visit Enkidu, Enkidu still possesses much of his innocence and childlike bliss. After his encounter with the woman, he becomes more “humanized” and “manly.” This transformation is the catalyst for his meeting Gilgamesh, as well as their many adventures together. The second instance of cause and effect occurs as a result of Gilgamesh’s innate character. From the beginning of the story, I already knew how bad of a ruler Gilgamesh was, however, I wasn’t prepared at all for his out-right stupidity and defiance found later throughout Part 1. After befriending Enkidu, I was absolutely sure that Gilgamesh would immediately change his ways, and I was shocked when this was not the case. Despite Enkidu’s warning, Gilgamesh still exempli-fies arrogance and haughtiness by deciding to confront Humbaba. Personally, I believe that Enkidu’s tragic death is a direct ef-fect of Gilgamesh’s juvenile behavior. Considering the fact that Gilgamesh’s entire quest (along with the rest of the epic) was de-pendent solely upon the event of Enkidu’s death, I would conclude that cause and effect undoubtedly has a major role to play in this work of literature.

" In addition to significant events and their various impacts, Gilgamesh helped me on a more personal level to understand and reflect upon my own life, as well as how I connect with the world around me. It is for this reason that I am extremely grateful for our in-class ho‘opāpā sessions. My peers and kumu have both helped me to build more extensive knowledge than I ever could have imagined. From our class sessions and discussions, I have taken away many significant lessons, the first being that literature can speak to people from all walks of life. It doesn’t matter where you come from, who you are, or what you believe. When we were first assigned the ancient epic of Gilgamesh, I was truly convinced that its content would be irrelevant to me and


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my lifestyle. I soon discovered that I couldn’t have been farther from the truth. I started to observe certain events throughout the story (and even certain characters) and in turn started to consider their implications in my day-to-day life. An excellent example of this transformation is found in the character Gilgamesh. At the start of my reading, I had no connection whatsoever to any of the characters. That all changed once I started to notice parts of my own character in Gilgamesh. Through his actions and thoughts, I glimpsed more and more of myself in him. This definitely opened my mind to the story more, and because of this con-nection I felt that there might be other things throughout the book applicable to my life as well.

" The concept of Gilgamesh that I appreciate the most is the idea that its themes and messages can apply to anyone, any-time, and anywhere. At first, I thought my case was unique, and I didn’t expect anyone else to have the same experience as I did. I was surprised during our large group discussions, because I found out that many of my peers also experienced similar feelings and related to the story and its characters as well. I was pleased to learn about each of my classmates’ different experi-ences and perspectives on the piece. It seems to me that everyone was able to take away a lesson particularly suited for him or her. That was when I realized the true beauty and genius of the epic of Gilgamesh. As everyone shared their personal stories and reflections on the reading, I became more and more aware of how ingenious the author of this tale was. Friends who I knew to be extremely different from myself seemed to have gained the same level of inspiration and influence from Gilgamesh as I had, although the account of each individual varied slightly. Gilgamesh’s non-discriminative message is what inspired me most, both as a student and as a casual reader. The beauty of a timeless classic such as this is found in the way that anyone, regard-less of social, religious, economic, or geographical boundaries can still gain an equal level of insight and inspiration to apply in their own lives.

" Both as a reader, and as a student whose goal is to analyze literature in detail, I would undoubtedly reread Gilgamesh and recommend it to others. This work of literature is incredibly unique in the sense that its morals, lessons, and values can be ap-plied anytime, anywhere. It is guaranteed to impact an individual on an intimate, personal level, as well as introduce them to a higher level of writing. In my own experience, while reading and scrutinizing Gilgamesh, I have found just another one of many reasons to remember our past. Similarly to how we have a kuleana to perpetuate our past and the ways of our kūpuna, we also have a duty to remember our past in a more worldly sense. Ancient works like the epic of Gilgamesh (along with ancient per-spectives and wisdom) will be lost if new generations like ours do not take any action to evaluate and incorporate them into mod-ern society.


! In the 21st century, it is very common for us to dismiss our cultural roots and the rich literature of our heritage. This phenomenon is frequently due to widespread ignorance, which can sometimes be more dangerous than any tangible weapon. It is important for us to understand that the term “culture” does include, but is not limited to, our history as kanaka maoli. Personally, I have learned that “culture” also includes our history, connections and relations to the global world.! Part of understanding our global history and society is appreciating classic texts and ancient literature. Sophocles’ Oedipus Cycle is an excellent example of such works, and through careful analysis and interpretation I was able to construct the following pieces of writing. My three “Oedipus Cycle Letters”, were each deliberately composed both to convey my comprehension of Sophocles’ work as well as to share with the reader the various modern, literal, and symbolic interpretations one is able to

extract from such a culturally rich literary work.

The Oedipus Cycle: Letters


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January 30, 2015

Dear Creon,

" I am writing you to inform you that I side with you in this conflict between yourself and our great King Oedipus. In these times that we live in, it is not uncommon for evil to take hold of people both emotionally and mentally. I am convinced, as I am sure you are as well, that Oedipus is currently not in his right mind. I am terribly sorry that you must undergo such scrutinization and harsh judgment from him, and I am absolutely sure that no blame should fall onto you. I almost believe that Oedipus has gone mad, and no sane person would believe his accusations against you. He has unjustly blamed you for hiring the blind prophet Teiresias, and for attempting to steal the throne from him. Seeing as he has not one piece of solid evidence, I (along with many Thebans) consider his claims to be falsified to some extent. I do believe there is someone to blame for our former King Laios’ death, however it is certainly not someone as loyal and devoted to the State as yourself. I support your faith in the Del-phiric oracle, and in seers such as Teiresias.

You have done nothing but prove your unwavering loyalty to the city of Thebes through your patience and cooperation with the rash and confused King Oedipus. I believe you will be rewarded for your tremendous patience, and loyalty to the king. You have shown your outstanding character in the midst of strife, and I guarantee that your commitment to the truth will not be overlooked when this conflict is over. Every doubt that Oedipus has found in you and every insult he has given you will all prove false. In the minds of the children of Thebes, your character resembles neither a murderer nor a traitor to the king’s court. You deserve so much better for all of your loyal years of service and advising to His Majesty. I am sorry about the current nature of Oedipus’ clouded mind, and that he is unable to see your true nature in his rage. We can only hope and pray to the gods that our situation will improve and that through these difficulties the great plague may leave our beloved city.

Sincerely,

Citizen of Thebes


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Dear Creon," " " " " " " " " " " " " " " " " " " " February 16, 2015

" In these recent times since the exile of the former King Oedipus, the Theban people have suffered. People like myself had previously believed Oedipus’ sons to be of excellent character and to have tremendous loyalty to both their father and the State. However, in light of recent events, I am beginning to believe that divine intervention is necessary during these dark times. No one would have ever believed that our great city of Thebes could end up in such terrible condition, much less under the rule of Oedi-pus. Oedipus’ remaining sons, Eteocles and Polyneices, bicker and quarrel endlessly over Thebes’ leadership and rule. Their ac-tions following the banishment of their father have proven that neither man is capable nor worthy of governing Thebes. I believe that despite much skepticism, the prophecies and oracles of Phoebus Apollo are both accurate and truthful. If Oedipus is not near Thebes, guiding its authorities and providing some influence, then I believe the city will fall into ruin. There is only one way to both appease the gods and ensure the safety of Thebes. This is to retrieve the exiled king Oedipus and harbor him near Thebes. He must not return to the city proper, due to his terrible defilement, but it would be in our best interest as citizens and caretakers if we had his wisdom and input on the city’s issues. The best option is to keep the former king within an appropriate distance of the city’s boundaries. It is no secret that prophecies are of great significance in our culture, and I believe that if something is not done to bring Oedipus back to Theban territory, we will be under dire circumstances.

Sincerely,

Citizen of Thebes


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Dearest Father," " " " " " " " " " " " " " " " " " " " March 1, 2015

As your youngest and most loyal son, I have been meaning to talk to you for some time about your recent behavior and manner both toward your subjects and toward myself. I understand our relationship and the social expectations attached to it, however I need you to realize that I do have the potential to be more than just your subordinate. I believe that I deserve greater appreciation, especially considering I am the last of all of your sons. You must realize that your lack of faith in diviners and in Apollo himself will surely come back to haunt you. I may disagree with you and your decisions, although I am bound to serve, honor, and obey your will. However, I would also like to express my gratitude toward you regarding your wisdom on the matter of my marriage. Antigone would have, indeed, been nothing more than a “hellcat” after some time. My appreciation of your wisdom both as my father and as my king grow more and more with each passing day. Without your presence and continuous guidance, I would most definitely have lost all my wit by now. I must not, in your words, “lose my head”; I must try my absolute hardest to maintain the crowning gift of God bestowed upon us. However, even the wisest of men has a limit to his knowledge. Humility, not merely knowledge, is what makes a good man and king. I advise you (as a son) to consult other diviners and prophets merely for the use of “broadening our hori-zons” and exploring all of our options. I am only saying this because I am concerned for you and your reputation among the citi-zens of Thebes. It’s no secret between us that your temper tends to get away from you at times. Other prophets may actually be of use, especially considering that no one man is able to know all thing. You also need to know that I say these things not to condemn or criticize you, but because I want to help you in your duties as king of Thebes.

Sincerely,

Haimon


6Who Am I?

! My poem, “Who Am I?”, (similarly to my concrete poem) explores the conflict between Western mentalities, ignorance, and destruction, and native Hawaiian culture and tradition. Each stanza was written with a specific aspect of this conflict in mind. Although each stanza is unique, all work together to answer the overarching question asked throughout my poem, “Who am I?” For example, the first stanza reflects the knowledge and treasure found amongst our kūpuna. Throughout the rest of my poem, I attempted to com-bine each situation I have encountered personally throughout my life in rela-tion to 21st-century ignorance and stereotypes. My poemʻs stanzas reflect an amalgamation of the appreciation, respect, and wisdom I have obtained from my ancestors, my school, society, traditions, and restoration movements. ! The subject matter of my poem was largely inspired by current local events, specifically the TMT (Thirty-Meter-Telescope) debate surrounding Mauna Kea. I thought that if my people are working so hard and devoting so much of themselves to saving our sacred mountain, the least I can do is to kū‘ē how I know best: through my writing skills. I hope that through this poem and possibly similar future works, I will be able to reach both my peers and community to inspire a spirit of cultural revival.


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Who am I?To find the answer, I look to the past

Looking to my kūpuna

Finding myself at last

Who am I?

From the sandy shores of the beach

To the windy slopes of Kapālama

The ‘āina never ceases to teach

Who am I?

Caught in a clashing world

My native culture vs. my society

The history of my people before me unfurled

Who am I?

This 21st century, this disgrace

This concrete jungle and forest of failure


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Bringing tears to our kūpuna’s face

Who am I?

Drowning in confusion

My soul aches for our traditions

My culture slowly becoming an illusion

Who am I?

Our obliterated philosophies

Crumbling before our eyes

Becoming their possibilities

Who am I?

I am the hills and the land

I am the ocean and the sand

I am the birds and the fish

Peace and restoration is all I wish.

!


7Concrete Poem

! Through my concrete poem, I attempted to recreate both the environmental and cultural crises of the 21st century. I utilized mixed media to convey the sense of disaster and loss felt by most loyal kanaka maoli as our land is “repurposed” and homes are destroyed. I believe that through my concrete poem I was able to capture the rarity and magnificence of what little remains of our ‘āina. The disfig-ured and tattered images of untouched, pure, and beautiful native land are repre-sentative of the actual state of these places today. They are indeed (although sym-bolically and metaphorically) disfigured and tattered. I have deliberately over-lapped contrasting images of modern construction on top of the images of our land. As in Patricia Graceʻs Potiki, many “dollarmen” do see our ‘āina as a mere object, one which can be owned, dominated, and subsequently defaced and disre-spected. I left these few images untouched, to represent the mentality of many (though not all) Westerners and haoles. Although slightly ripped around the edges (representing the few Hawaiians who do stand up and kū‘e) Western infra-structure and “progress” can be slowed down, but ultimately will conquer Ha-wai‘i’s native people, if we do not unite and stand up for ourselves. As expressed in text on my concrete poem, we must truly “dig deep” and decide for ourselves who we are: as a people, as a nation, and as a lāhui.


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8 ! The following is a collage of my strongest literary analyses from each assigned text throughout the 2014-2015 school year. Annotations and analyses from eight different texts are included. Each picture is a collection of my most thorough and analytic interpretations from William Shakespeare’s Macbeth; Herbert Mason’s Gilgamesh; Patricia Grace’s Potiki; Sophocles’ The Oedipus Cycle: Oedipus Rex, Oedipus at Colonus, and Antigone; S.N. Haleole’s Lā‘ieikawai, and Michael Puleloa’s Book of Stones.

Annotations Collage


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!

Sasha Monday, April 27, 2015 at 9:02:32 PM Hawaii-Aleutian Standard Time 70:56:81:a4:74:55


9 ! Throughout all of Polynesia (and even the rest of the world), the art of storytelling has had a tremendous impact on cultural and literary vibrancy. Although many native Polynesian cultures remained “illiterate” when faced with Western standards of education, the significance of cultural mythology and stories remains crucial to our understanding of our past in the 21st century.

Potiki: Analysis


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! Of all assigned readings this school year, Patricia Grace’s Potiki undoubtedly proved the most versatile and relatable to a modern contemporary Polynesian lifestyle. In all honesty, I initially faced Potiki with great skepticism and dread, having heard conflicting re-sponses to it and its content. However, once I delved deeply into its message and began to internalize each line, my outlook shifted.

! All throughout her novel, Grace effectively utilizes kaona, figurative language, and relatable events to convey her message and per-spective to her readers. Anyone who reads Potiki will not leave with the same mentality they entered the story with. Grace’s story is truly a literary journey, and I highly recommend Potiki to readers of all levels of proficiency, as well as readers of all ages, nationalities, and eth-nic orientations.

! In support of my high recommendation of Potiki, I greatly urge everyone to engage and immerse themselves into the world of Roi-mata, Mary, Toko, Hemi, and many others. Personally, I was able to gain greater insight into Maori culture and lifestyles through Potiki, as I had never really been exposed to the native culture of Aotearoa before being assigned this novel. On each page, and throughout each chapter, I was able to see a plethora of examples of magic realism, as well as self-evident truths and connections or interpretations relating to our modern society. I found that as I became more and more engaged in the text, it became easier for me to begin a more in-depth dialogue with Grace’s characters in order to form my own personal connections and interpretations. I related many events through-out Potiki to my own life, and to numerous real-world experiences or occurences.

! Contrary to popular belief, traditional cultural texts or themes are far from irrelevant in modern society. I was able to use many Maori cultural themes from Grace’s text to interpret various local, regional, national, and international cultural and social significances. I also found it easy to relate many of Potiki’s themes to events or trends from the past, present, as well as to predict possible future trends.

! On a much more superficial level, I also enjoyed Potiki as mere entertainment. Its themes and lessons are timeless, and can be ap-plied to anyone of any age, religious, or cultural/ethnic group. I loved Grace’s culture-based story generally because it provided me with a huge amount of inspiration for future projects, creations, and ideas. Many of the trends found throughout Potiki could also be related to previously read and analyzed texts from earlier in the school year, which, for me, made the story more enjoyable. Being able to tie to-gether multiple texts from different parts of the world and different time periods was truly enjoyable to me.


10 ! To kanaka maoli and haoles alike, Michael Puleloa’s Book of Stones is, without a doubt, a literary masterpiece. Nowhere else in the world can one find a more concise and culturally rich compilation of mo‘olelo and stories filled with traditional Polynesian and Hawaiian values and lessons. To many, these stories are nothing but entertainment. However, to a trained eye, one sees the flawlessness and care with which Puleloa has constructed these timeless tales.

Book of Stones: Analysis


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!" Of all of Puleloa’s fantastic pieces, my personal favorite was Waves. I was able to find joy while reading his work, while still learning and becoming educated about a part of myself that I had lost contact with a long time ago.

" Puleloa’s Book of Stones is an excellent commentary about problems locals in Hawai‘i and all of Polynesia face in the 21st century. To both non-Hawaiians and natives, the same struggles are experienced. Western education is commonly forced upon the children of Hawai‘i, whether it is preferred or not. It is important to keep an open mind and attitude to both native and Western culture to ensure equality, but we must still remember what Roimata shared in Patricia Grace’s Potiki: that school is just not for everyone. People may choose not to become formally educated in the Western sense of the term, and this may be for many different reasons. However, the last line of Puleloa’s Waves surprised me. As I read the poem, I thought that the end-ing would culminate the feelings of disdain for Western culture. However, the last line impacted me on a more personal level because I interpreted the “drowning” as failing at goals later on in life without education (whether it be formal or not). With this metaphor, I believe that Puleloa is trying to convey the importance and necessity of some form of education in order to obtain success at any and all endeavors later in life.

! Throughout this digital portfolio and the 2014-2015 school year, I have strived to meet a stan-dard of excellence in each piece of writing. This compilation of my writing over the last ten months helps to express my intellectual growth as a writer and the emotional and mental growth of my char-acter. After working through numerous challenges and setbacks, I truly hope my progress this year becomes evident to all readers and audiences as this portfolio is read, enjoyed, and assessed thor-oughly.


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Ala Moana Beach Park, Waikiki, O‘ahu. Personal photograph by author. 2014.

Dachau, Munich, Germany. Personal photograph by author. 2014.

Fortress Hohensalzburg, Salzburg, Austria. Personal photograph by author. 2014.

Grace, Patricia. Potiki. Auckland, N.Z.: Penguin, 1986. Print.

Haleʻole, S. N., and Martha Warren Beckwith. The Hawaiian Romance of Lā‘ieikawai. Washington: Govt. Print. Off., 1918. Print.

Kapelbruke, Lucerne, Switzerland. Personal photograph by author. 2014.

Mason, Herbert. Gilgamesh: A Verse Narrative. Boston: Houghton Mifflin, 1971. Print.

Nymphenburg Palace, Munich, Germany. Personal photograph by author. 2014.

Puleloa, Michael. Book of Stones. N.p.: n.p., n.d. Print.

Roman Forum, Rome, Italy. Personal photograph by author. 2014.

Shakespeare, William, and A. R. Braunmuller. Macbeth. Cambridge: Cambridge UP, 1997. Print.

Sophocles, Dudley Fitts, Robert Fitzgerald, Sophocles, Sophocles, and Sophocles. The Oedipus Cycle: An English Version. San Diego: Harcourt,

" Brace, 1977. Print.

Tower of London, London, England. Personal photograph by author. 2014.

Turtle Bay Resort, Kahuku, O‘ahu. Personal photograph by author. 2014.

Waterfall, O‘ahu, Hawai‘i. Personal photograph by author. 2014.

Bibliography


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Sasha Cox, Honors English 10 iBooks

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Transcript of Sasha Cox, Honors English 10 iBooks