Exit 11, Issue 03

Page 34

Ancestors, Our Blood-Related Strangers A M Y KA NG

As the old saying goes, “blood is thicker than water,” suggesting we generally feel a close bond with those we are blood-related to—our relatives. We often see the reflection of ourselves within our relatives and thus find them somehow familiar, even if we might not know them personally. Accordingly, many of us spend the time to commemorate relatives who have gone before us—our ancestors. We flip through worn-out albums to look at their blackand-white photos, listen to their word-of-mouth life stories, and share their memories with other relatives. However, the more we try to learn about our ancestors, the more distant, lifeless, and foreign they sometimes become. In her poem “Ancestors” (see Appendix), Stephanie Bolster explores the ironic relationship we have with our ancestors and challenges the near-universal belief that we are connected to our ancestors beyond time, arguing that most of them are, in fact, no more than strangers to us. In doing so, the poem goes beyond its surface meaning and prompts us to question our seemingly selfless intention behind honoring our ancestors. Considering that we do not perfectly connect with our ancestors, do we genuinely honor them out of our curiosity or is it rather out of our self-serving desire to figure out who we are and where we come from through them? Bolster acknowledges the duality in our relationship with our ancestors from the very beginning of the poem: “We didn’t know them. They’re in us the way a mirror is” (line 1). The first sentence directly states that we have never personally known our ancestors. Then, the second sentence compares the way our ancestors are in us to “the way a mirror is” (1). The phrase that our ancestors are “in us” may be referring to the dominant cultural belief that we should keep our ancestors near our hearts and in our thoughts (1). This comparison, at first, seems to only recognize how we can see ourselves within our ancestors but paradoxically also points out the inherent limits of how much we can know about them. To elaborate, based on the primary

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EXIT 11


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Creativity within Silence – Cameron Wehr PHOTOGRAPH: The City’s Life – Am Silruk

16min
pages 155-166

The Paratha, Abu Dhabi and Migration – Abhyudaya Tyagi

17min
pages 144-154

Performing Family – a Utopian Vision – Nuraishah Shafiq

14min
pages 136-143

PHOTOGRAPH: The Arabian Dream Mareya Khouri Smelly Sounds – Phonetic Symbolism in Scent – Lachlan Pham

13min
pages 127-135

How do we maintain our sense of cultural identity in new environments? Meg Nakagawa

16min
pages 115-126

The Air is Delicate” (Macbeth 1.6.10): The Role of Olfactory Design in Punchdrunk’s Sleep No More – Rayna Li

17min
pages 104-114

You’re Not One of Us: Britain’s Problem with Returning Foreign Terrorist – Omar Hussein

12min
pages 96-103

The Virtual Circus: A Comparison of Appropriation of The Black Body in 19th & 20th Century Freak Shows and Contemporary Instagram Trends – Tatyana Brown

23min
pages 81-95

Kosovo: Convenient Humanitarian War? – Maja Wilbrink

23min
pages 64-80

Praying to Progressive Gods: The Liberating Role of Violence – Luis Rodríguez

9min
pages 59-63

No Simple Code: Google and the Exploitation of Altruism – Mary Collins

11min
pages 44-49

Representations of the Maasai: Jimmy Nelson’s fantasy – Mareya A. Khouri

15min
pages 50-58

Ancestors: Our Blood-Related Strangers – Amy Kang PHOTOGRAPH: Before They Sail Away Usman Ali

9min
pages 34-43

Mumbai in Slumdog Millionaire Ethnicized or Globalized? – Sana Elgamal

8min
pages 25-29

Absence and Uncertainty: A New Form of Terror – Runyao Fan

6min
pages 30-33

How to Build a Fire- The Power of Poetry in “This Big Fake World” – Mary Collins

8min
pages 20-24

PHOTOGRAPH: Mina Fish Market Sebastian Kalos Introduction – Marion Wrenn PHOTOGRAPH: Timbers of the Gulf Sara Almarzooqi

5min
pages 13-19
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Exit 11, Issue 03 by Electra Street - Issuu