ENG 470 Summer 2016

Write a blog that hyper-links your research on the characters in GGRW for pages 85 to 96. Be sure to make use of Jane Flick’s reference guide on you reading list.

Alberta

At the beginning of this section, Alberta compares marriage to being on a plane. In this analogy, the husband is the pilot. It is understandable that Alberta is against marriage if she believes it to follow the rule that the husband is the leader and is in charge. Alberta can be characterized as independent, as she wants to raise a child on her own, and giving the reigns of her life over to man seems to be an undesirable idea. Which would explain why her short marriage with Bob didn’t work out.

“They all demanded something, insisted on privileges, special favours” (King, 90).

Bob

Alberta describes Bob as “handsome and witty” (King, 86). What he turns out to be after getting married is controlling and selfish. It is not hinted at in the short text about Alberta and Bob’s time dating, however, it can be speculated that there were warning signs of this type of behavior from Bob that Alberta wouldn’t have picked up on because she grew up in a home with a dysfunctional marriage.

Amos (Alberta’s Father)

Amos is an alcoholic. Ironic as the name ‘Amos’ is a Hebrew name meaning ‘strong’. Alberta reminisces about the last time she saw her father come home. He was drunk, a complete mess, and crashed his car into the outhouse. As kids, Alberta and her siblings had a hard time watching and wanted to help their father. Her mother, however, seemed tired of dealing with him.

Ada (Alberta’s Mother)

Amos’s car is left in a puddle where the outhouse used to be. Ada leaves the pickup in the water slowly rusting over the years and never speaks of the incident with Amos.

Babo

“There was just water” (King, 91) begins Babo telling the story of creation.The reader understands Babo’s story is not being told right because of hearing the beginning of the story of creation so many times. Babo jumps around while story telling and evades answering the questions asked of her. She has the information the Sergeant needs, however he treats her poorly and doesn’t get the information. As Flick points out, Babo’s character alludes to a black slave and barber from the story “Benito Cereno” in Piazza Tales by Herman Melville (Flick, 145).

Works Cited

“Baby Names.” Amos Name Meaning. N.p., n.d. Web. 15 July 2016.

Flick, Jane. “Reading Notes for Thomas King’s Green Grass Running Water.” Canadian  

          Literature 161-162. N.p., 1999. Web. 16 July 2016.

King, Thomas. Green Grass, Running Water. Boston: Houghton Mifflin, 1993. Print.

Find three examples of names that need to be spoken aloud in order to catch the allusion. Discuss the examples as well as the reading technique that requires you to read aloud in order to make connections. Why does King want us to read aloud?

I’ve certainly surprised myself reading this book. I’ve been spending a lot of time writing and reading about the importance of speaking stories aloud, and yet until I came upon this question I hadn’t attempted reading Green Grass Running Water aloud. It could have to do with the fact that I have reading a lot on buses and in public. I do believe, however, that I am not used to the act of oral storytelling and therefore I quickly resorted back to what I am accustomed to. I quietly read on my own, experiencing the story within my own head and imagination. King fills his story with allusions to popular culture and biblical references. There were many names to choose from, however the examples I use below I have chosen specifically because I had moments of inspiration after reading these names aloud. I am often called out by friends for always being the last to pick up on a joke, so I’m posting this knowing many others surely understood these allusions without having to say the words aloud.

(“Quotes by Thomas King.”)

• Dr. Joe Hovaugh

When spoken, Dr. Hovaugh’s name sounds like ‘Jehovah’. Jehovah is an incredibly important name in biblical language as it is the name of the God of Isreal in the Hebrew bible, used as a personal name for God in many Christian bibles, understood as Jesus’s name before his birth in Mormonism, and even appears in the religious groups title ‘Jehovah’s Witness’. Across many religions, Jehovah is a memorable and significant name.

Giving Dr. Joe Hovaugh a name such as that puts him in a significant role. He is being compared with what Euro-centered cultures see as an almighty being. However, Dr. Hovaugh does not come across as such. This juxtaposition is seen when Dr. Hovaugh attempts to explain a pattern between the Indians disappearing and disasters, though he ends up looking like someone losing his mind (King, 47). The idea of him being all knowing is there and yet he is not good at it. This opens up discourse about whether or not a Christian God is important, especially to Aboriginal people.

• The Pinto

(Brennan)

As George arrives in Blossom, he rents a car for his stay. After a mix-up he ends up with a run down Pinto. Ford made this car in the 70s and it became the largest recall up to that time after studies found the high likelihood of the car to catch fire and was listed in Times as one of the 50 worst cars of all time. The Pinto was named after a type of horse with black and white color patches. However, it wasn’t until I read the name aloud while referring to Jane Flick’s reading notes did I recognize the name Pinto from a different historical context. When Christopher Columbus sailed to the new world he came with a trio of boats. The Niña, the Santa Maria and the Pinta – a similar name to the Pinto. As Flick points out, the car is even said to look like a boat on page 27 (Flick, 146). This allusion goes further when the Pinto becomes one of three cars to go over the Dam. The other two cars having names that mimic the Niña and the Santa Maria. What I find significant about this allusion is that Columbas went to the new world thinking he was discovering a new land. After finding inhabitants, the Europeans went on to strip them of their culture and attempt to assimilate the people into European culture. The Europeans thought they were helping as they were under the assumption that any other culture was lesser. This narrative reminds me of George who went to Blossom thinking he was going to “save” Alberta from herself. Funnily enough, he shows up in a Pinto.

• Blossom
  

  (“Powerpuff Girls Photo: Blossom”)

While reading the novel, Blossom had little meaning to me besides a reminder of where the characters were in the story. The moment I spoke the word aloud I was instantly reminded of another meaning for the word, besides the leader of the Powerpuff Girls crew. Blossom has many different definitions. Used as a verb to mean, “to come into one’s own” (“Blossom”) is what struck me to being significant about the town’s name. All of the characters in Alberta’s are searching for themselves and looking to find where they are going in life. It is not a coincidence that they all end up in Blossom.

Works Cited

Brennan, Jim. “1978 Ford Pinto – Google Chrome 5252014 101238 AM.bmp.”Hooniverse.

           N.p., 25 May 2014. Web. 15 July 2016.

“Blossom.” Merriam-Webster. Merriam-Webster, n.d. Web. 15 July 2016.

Flick, Jane. “Reading Notes for Thomas King’s Green Grass Running Water.” Canadian  

          Literature 161-162. N.p., 1999. Web. 16 July 2016.

King, Thomas. Green Grass, Running Water. Boston: Houghton Mifflin, 1993. Print.

“Powerpuff Girls Photo: Blossom.” Powerpuff Girls Images Blossom Wallpaper and  

         Background Photos. N.p., n.d. Web. 15 July 2016.

“Quotes by Thomas King.” Like Success. N.p., n.d. Web. 15 July 2016.

2] In this lesson I say that it should be clear that the discourse on nationalism is also about ethnicity and ideologies of “race.” If you trace the historical overview of nationalism in Canada in the CanLit guide, you will find many examples of state legislation and policies that excluded and discriminated against certain peoples based on ideas about racial inferiority and capacities to assimilate. – and in turn, state legislation and policies that worked to try to rectify early policies of exclusion and racial discrimination. As the guide points out, the nation is an imagined community, whereas the state is a “governed group of people.” For this blog assignment, I would like you to research and summarize one of the state or governing activities, such as The Royal Proclamation 1763, the Indian Act 1876, Immigration Act 1910, or the Multiculturalism Act 1989 – you choose the legislation or policy or commission you find most interesting. Write a blog about your findings and in your conclusion comment on whether or not your findings support Coleman’s argument about the project of white civility.

—

The CanLit Guide gives an overview of Canada’s nationalism. For most of Canada’s history, being a perfect nation meant being, what the CanLit Guide calls, “homogenous” (Introduction to Nationalism). Being of one culture and therefore one nation. This has not changed to move toward a multicultural and diverse Canada until a very recent 40 years ago.

On the 21st of July in 1988, Canada instated the Multiculturalism Act. This act is to recognize that Canada is diverse, but more importantly to give recognition that Aboriginal people are, in fact, part of Canada (Canadian Multiculturalism Act). Interesting that this needed to be stated in 1988 when Aboriginal people were here before any of the Europeans who created these laws.

The first thing I noticed in the Multiculturalism Act is that it does not capitalize the word ‘Aboriginal’. Professor Patterson clearly stated that Aboriginal and First Nations should always be capitalized. In such a large scale important document, one would think the proper grammar would be clarified and used.

Something I found positive about the Act is that it states the need for preservation AND enhancement of multiculturalism. I find it important that enhancement is encouraged as it is not just an issue of acknowledging communities of minority one time. Our society needs to actively work to include all diverse communities even to this day.

In conclusion, I don’t understand how this Act possibly came to be. It doesn’t make any sense. It is not an acknowledgement that Europeans came in to the land and took it away, it is instead Europeans inviting minorities and Aboriginal people to be apart of the Nation that the Europeans stole to create. This Act that is meant to minimize racism is racist in itself. Aboriginal peoples were living in this land before anyone else and yet when Canada became a nation it was European centered. The CanLit Guide points out that some people found the act to be pointing out those, being minorities, that are different than the ‘rest of Canada’.

Works Cited

“Canadian Multiculturalism Act (R.S.C., 1985, C. 24 (4th Supp.)).” Legislative Services

          Branch. Government of Canada, n.d. Web. 5 July 2016.

“Introduction to Nationalism.” Canadian Literature Guide. University of British

         Columbia, n.d. Web. 4 July 2016.

1.) In his article, “Godzilla vs. Post-Colonial,” King discusses Robinson’s collection of stories. King explains that while the stories are written in English, “the patterns, metaphors, structures as well as the themes and characters come primarily from oral literature.” More than this, Robinson, he says “develops what we might want to call an oral syntax that defeats reader’s efforts to read the stories silently to themselves, a syntax that encourages readers to read aloud” and in so doing, “recreating at once the storyteller and the performance” (186). Read “Coyote Makes a Deal with King of England”, in Living by Stories. Read it silently, read it out loud, read it to a friend, and have a friend read it to you. See if you can discover how this oral syntax works to shape meaning for the story by shaping your reading and listening of the story. Write a blog about this reading/listening experience that provides references to the story.

The first thing I noticed through my initial read of “Coyote Makes a Deal with the King of England” was that, among the grammatical errors, there are a few spelling errors. The grammatical errors were easy to fall into the rhythm of because it was not so much an error as it was a newfound set of rules that fit with oral storytelling. However, I found it jarring when finding a misspelling. Maybe it was from growing up in Western school systems that value spellcheck and proof reading above all things.

“So finally they give up.

They don’t seem him no more.

When they see him, they always chase him.

But when they can’t see him, what they gonna do?

No more.” (Robinson, 66).

It looks here that the word should be ‘see’ instead of ‘seem’. This happened a few times throughout the story and I found it distracting. Is this something others noticed?

I then read the story aloud to myself and to others. Something I immediately noticed once reading it aloud was the repetition. I found rather than adding clarity, the repetition confused me and most of the time had my listeners beginning to become bored of the story.

“‘We’ll never fight.

Once you say that, we’ll never fight.’

And that’s the second time it was told by God,

when they jump over the slough.

Was told not to fight.

First,

And this is second time.

And he said,

‘No, we not going to fight.'” (Robinson, 72-73).

I wondered about how the repetition could be used differently while reading aloud and tried having different people reading the story as well as changing my own rhythms while reading. Something that occurred to me is that as much as I look for different ways of reading this story aloud, I will never be able to know how Robinson told the story. I get a certain feel for the way he told the story by having it written down, however, I will never quite know what it was like to hear him speak it aloud.

“And that’s for a long time.

They try to find.

They don’t find him no more.” (Robinson, 66).

If you’ve read any of my previous blog posts you’ll know that I love making connections to theatre. This had me thinking about the way I read scripts. When given a script and a part for a play, I look for the objectives and actions of my character and speak from there. However, during a film class, we were given scripts that all came from actual movies and tv shows. Reading a script from a movie I knew well, I could remember the way the actors in the film spoke these lines. Maybe it had to do with the writing, which in my opinion is horrendous, or maybe it was just getting something stuck in my head like a song. I struggled to get out of the speech pattern that I had heard from these actors. Having Robinson’s written story without a recording of him speaking was like being given a script for a play. I had nothing to reference and therefore found my own speech patterns and rhythms to tell this story.

Did others attempt reading this story aloud? Did you experience this same thing? And if not, what kind of experience did you have?

Works Cited

Bolibarra. “Friends.” YouTube. YouTube, 04 Feb. 2013. Web. 28 June 2016.

“Illustrated Twitter Typos.” Illustrated Twitter Typos. N.p., n.d. Web. 27 June 2016.

Kattan, Omar. “What Makes For An Exceptional Brand Storyteller?” Brand Stories New    

         Age Brand Building. N.p., 27 July 2013. Web. 29 June 2016.

Robinson, Harry. Living by Stories: a Journey of Landscape and Memory. Compiled

and edited by Wendy Wickwire. Vancouver: Talon Books2005.

In this lesson I say that our capacity for understanding or making meaningfulness from the first stories is seriously limited for numerous reasons and I briefly offer two reasons why this is so: 1) the social process of the telling is disconnected from the story and this creates obvious problems for ascribing meaningfulness, and 2) the extended time of criminal prohibitions against Indigenous peoples telling stories combined with the act of taking all the children between 5 – 15 away from their families and communities. In Wickwire’s introduction to Living Stories, find a third reason why, according to Robinson, our abilities to make meaning from first stories and encounters is so seriously limited. To be complete, your answer should begin with a brief discussion on the two reasons I present and then proceed to introduce and explain your third reason from Wickwire’s introduction.

Professor Paterson, outlines for us two reasons for the difficulty of understanding the first stories. The first reason being, as she said, “the social process of the telling is disconnected from the story and this creates obvious problems for ascribing meaningfulness”. This brings me back to Harry Robinson, who questioned why all of his stories did not make it into the two volumes published by Wendy Wickwire. He had told her so many stories over the years, there was no way she could have fit them all. However, she also thought further into the stories that did not get published in those first two volumes. Wickwire had trouble finding a place for certain stories that involved unusual things like “talking cats and disappearing cows and horses” (Robinson, 22). She found those stories meaningful when told by Robinson, however could not find a place for them in a book. I find this to be a good example of the disconnect between different methods and media of storytelling. Professor Paterson also mentions the discourse of who is collecting stories and why they are collecting them.

The second reason Paterson brings up is the residential schools and other government issued attempts of blocking culture and knowledge through seven generations of Aboriginal people. Having minimal culture and knowledge passed down through even one generation, nonetheless seven, is an extremely logical reason for the loss of many stories as well as a limited understanding of the first stories.

I would like to offer a third possible reason, based in knowledge gained from Harry Robinson. The language barrier between Aboriginal languages and English can cause a story to be told differently. When telling one of his stories to Wickwire, Robinson uses the word “imbellible”. Wickwire then asks about it and it turns out the word was supposed to be “unbelievable”. This word was offered as an English translation of an Okanagan word (Robinson, 14). The first stories were not originally told in English and therefore to be told to todays general public they must be translated. This reason, of course, piggy-backs on the first reason which, in turn, piggy-backs on the second reason. As, the reason these stories have been disconnected from their original storytelling comes from a long history of First Nations culture being stripped. These stories were originally oral stories told in a Native tongue. A story translated into another language and then told in a different form, such as a book instead of an oral story, can be interpreted very differently than the original. In translating, some parts of stories can lose their original meaning. As Chamberlin talked about, without the storyteller, a story can be told with a different meaning behind it. With these two problems, it can cause a disconnect. An audience that can only understand English would potentially have a limited capacity for understanding these stories.

Putting these oral stories in a Western context by translating it into English and then writing them in a book is a controversial issue on its own. Oral stories are meant to stay active and move and change with the oral language. The problem here is the story is taken and put in a colonized setting and made stagnant. Do you agree with my third reason for our limited ability to understand the first stories? Do you think reading the stories aloud can allow for the stories to continue to move and grow even though they are printed in a book?

Works Cited

Chamberlin, J. Edward. If This Is Your Land, Where Are Your Stories?: Reimagining         

           Home and Sacred Space. Cleveland, OH: Pilgrim, 2004. Print

Hanson, Erin. “The Residential School System.” The Residential School System. UBC, n.d.

          Web. 16 June 2016.

Paterson, Erika. “Lesson 2:2.” ENGL 470A Canadian Studies Canadian Literary Genres  

          May 2016. N.p., n.d. Web. 16 June 2016.

Robinson, Harry. Living by Stories: a Journey of Landscape and Memory. Compiled and

           edited by Wendy Wickwire. Vancouver: Talon Books2005. (1-30).

After reading the lovely blogs of John, Navi, and Sandra – as well as writing my own blog, I’ve found some similarities we shared. All of our homes were different and yet our descriptions of home were so similar.

Sandra brought up a great point of not knowing what home is like until you leave it. She describes her discomfort while living in another’s house and how it is only now that she can properly appreciate how she feels at home. The stability and routine she knows felt boring, until she realized how much it effected her when living without it. In my blog, I brought up the feeling of being judged and how this is absent from a home. Sandra talks about wanting to leave a good impression of herself to her boyfriend’s parents and therefore she can never truly be at home there until she stops feeling judged.

Navi found home was linked with her mom. Her mom created the environment that she was used to and familiar with. Navi shared about her mother preparing tea in a specific way and Navi never drank the tea. However, once she was away from home Navi found herself preparing and drinking tea the way her mom would in order to bring some familiarity and comfort to her life.

Home is a feeling. A feeling of comfort. Honestly, a feeling of many different things to different people. John broke down specific aspects to the feeling of home, like the passage of time and saying goodbye. This is what I have taken away from this section. Home is not a place. A house is a place. Home, however, is a feeling.

As John said, “Home is not a pile of wood and bricks and steel.  It is a feeling, a collection of thoughts”.

Home. What do you call home? Where is it? This used to be an easy question when I grew up in the same house for 12 years. 3 years later, I’ve moved to a new country and gone from living on my own to living with roommates to living with my boyfriend. Nowadays, when I go across the border I often get caught before answering “where do you live”.

I’ve always thought of ‘home’ as the place that I lived. The actual house where I slept. I’ve always, of course, dreamed up houses like this. Once coming to Vancouver, the place that I slept was constantly changing. Just last month I moved. This was my 8th move in less than 3 years. Just as I got used to a place, a location, a bed – it was time to move. First it was a dorm, then three different locations through the summer, another UBC housing situation, a “summer” house, a “school year” house, and now finally an apartment. I started to think about each house and decide which one felt the most like home. Honestly, they all did, in their own way.

What values do I connect with home? First of all comfort. I think about where I feel at peace and relaxed. A place where I fit in. Somewhere that I can completely be myself and feel no judgement. 

All this got me thinking of other places that aren’t my house. When I was 9 years old, I started taking dance classes and did my first performance on stage. I remember that being a very exciting day. My mom did my make up and I got into the costume that we bought. I was backstage with all of the other kids and the parents who were wrangling us into different dance groups.  My mom, dad and sister were all in the audience waiting for my number. I stepped onto the stage, perfectly executed my dance to NSYNC and had a blast! I can still remember the feeling of stepping into the wings having just finished the dance. My heart was pumping, my forehead starting to sweat and there was a huge grin across my face. One of my teachers made a comment to my mom that I had “it”. A little extra something that lights me up on stage and makes people want to watch. This wasn’t something anyone had taught me, it was an innate feeling I had for the stage. It was then that I knew I couldn’t stop. I couldn’t be away from dance or performing ever. To me, this level of comfort and openness is only achieved in a performance. I can possibly replicate it in rehearsal, but it is never the same as being in front of an audience.

I feel at home in the dance studio, rehearsal spaces and most importantly, on stage. When I was in high school, I used to think I felt at home in these places because of their consistency and familiarity. As I’ve gotten older I’ve been through a lot of dance studios, some conventional and some unconventional rehearsal spaces and many different stages. No matter where I am, and no matter if I’m there once or for months on end – these places always feel like home. I’ve had people say to me that they have been out of their house for 12 hours and more than tired, they just feel like they want to be at home. I feel that way about going to the dance studio.

Since I can’t always be in these places, and I especially can’t always be performing, my actual home is pretty good back up.

Works Cited

Greenring, Tanner. “The 30 Most Gorgeous Living Spaces In The World.”Buzzfeed. N.p., 1              Mar. 2013. Web. 05 June 2016.

NSYNC VEVO. “*NSYNC – Pop.” YouTube. YouTube, 24 Oct. 2009. Web. 06 June 2016.

“Queen Elizabeth Theatre Vancouver.” TV Towers Vancouver. N.p., 14 May 2013. Web. 5               June 2016.

Works Cited

“BibleGateway.” .com: A Searchable Online Bible in over 150 Versions and 50    

             Languages. N.p., n.d. Web. 28 May 2016.

Wilson, Jordan. “Another Interview with Thomas King (October 2009).”Canadian  

            Literature. Canadian Literature, 2009. Web. 26 May 2016.

Edward Chamberlin, in his book If This is Your Land, Where are Your Stories?, very eloquently concludes by finding an answer to this title question. I’m going to take the topics he is discussing and connect it to something I know a bit about.

Something that interested me was when Chamberlin brings up a topic discussed earlier, borders. He explains the significance of borders and how understanding when they are there can be a way to have an overall better understanding between cultures. For example,  He uses theatre as a small example that I found intriguing and would like to elaborate on. Theatre has an invisible border between the audience and the actors. This border can also be called the “fourth wall”. Chamberlin explains how theatre very clearly signals this border. Particularly in a proscenium theater where the stage has an audience looking in from one side and a large arch showcasing where the stage is. There is a very clear divide between where the acting occurs and where the audience sits to watch. In Luigi Pirandello’s play Six Characters in Search of an Author, this border is used differently than typical audiences are used to. The play is not written to “break the fourth wall”. Meaning the characters do not speak to the audience or acknowledge their presence. However, as the play is about a group of actors in rehearsal, it is set in the theater. The characters use the space as it is, rather than transforming the stage into a different location. In the stage directions, it is guided that the actors leave the stage and use the first few rows of the audience seating. The proper border between the audience and actors is broken by this but not so completely as speaking directly to the audience. This only works because the border was set up in the first place. This confusion and somewhat bending of the border is kind of like what Chamberlin goes on to explore, contradictions.

The contradictions he talks about are with truth and imaginary. How is it possible to have them both at the same time? To know the actors really are in the theater and yet their stories are fiction. On page 230, Chamberlin suggests “it is not the conlict between the two sets of stories that is the problem. The problem is our forgetting the contradiction between fact and fiction”. A major theme in this novel is the difference between Us and Them and how there is no difference. He argues there is no difference between Us and Them and it is possible to believe in fact and fiction at the same time. 

Last, and most importantly, Chamberlin goes on to discuss changing the underlying title of the land to aboriginal title. Really, it would be changing it back. I found this so interesting because I had not thought about the underlying title of the land before. Chamberlin so clearly points out how this is a simple problem solver and yet not so simple. A contradiction. These three intriguing parts of the conclusion so effortlessly blend into one another to conclude at Chamberlin’s answer to this question he has poised. “If this is your land, where are your stories? On common ground” (Chamberlin, 240). This suggests a mutual understanding of the borders that we are faced with, an acceptance to believe in truth and the imaginary at the same time, and a shift to who properly should own the underlying title of the land.

Works Cited

Chamberlin, J. Edward. If This Is Your Land, Where Are Your Stories?: Reimagining                     Home and Sacred Space. Cleveland, OH: Pilgrim, 2004. Print

“Performance Studies 101 – Part 2.” NYTW’s The Brief. N.p., Aug. 2015. Web. 20 May                      2016.

“Six Characters in Search of an Author.” Theatre History. N.p., n.d. Web. 19 May 2016.

Hi there!

My name is Stefanie and I am excited to get started with ENG 470 this summer! Welcome to my blog where I will be discussing, with all of you, the histories and origins behind Canadian Literature and where European and Indigenous stories fit into that.

I grew up in Hawaii and as a part of the public education system, I learned about the history of ancient Hawaiians. Much of the history of First Nations connects to Hawaiian history, as both cultures were colonized by Europeans. Something that has really stuck out to me is the commonality between the taking of land of both of these cultures.

Sunrise at Makapu’u Beach on Oahu, Hawaii.

Land was of huge importance to the ancient Hawaiians. The islands were divided into Ahupua’a and everything they had was made from the land. In 1893, when the missionaries overthrew the Hawaiian Monarchy, Queen Liliokalani was imprisoned in her own room in the Iolani Palace. Similar to the land treaties of Canadian’s Indigenous peoples, the missionaries were taking away Hawaiian history, government, and stories. Queen Liliokalani was imprisoned on her own land, in her own room, while her stories were being stripped from her. First Nations people have been living on their own land, and yet it has been reclaimed by Europeans.

Once coming to UBC, I took HIST 236 where we discussed how Canadian history has been taught since the opening of public education and where there are problems between what is taught and what actually happened in history. This course opened my eyes to the incredible discrepancy in education and how, while taking over the land, these outsiders were also stripping the original culture of their stories and their voice.

I am excited to look into this interesting discourse further this summer. ENG 470 will be discussing stories and their connection to the land they came from. Where do the history and stories that we have been taught fit in? I hope to question the truth and history behind the stories that we know.

Works Cited

“Ahupua`a.” Hawaii History. N.p., n.d. Web. 10 May 2016.

“Land & Rights.” Indigenous Foundations. University of British Columbia, 2009. Web. 10                May 2016.

Pitzer, Pat. “The Overthrow of the Monarchy.” Hawaii Nation. N.p., May 1994. Web. 12                    May 2016.

Rose, Chris. “Makapu’u Beach Park Sunrise on Oahu.” Hawaii Photography Tours. N.p.,                20 Oct. 2015. Web. 12 May 2016.