Desserts

Sophie Gulliver (Rushton) attended Feilding High from 2004 and 2008. She was a gifted student and gained Scholarship with Outstanding Performance in English.

Her writing skills are showcased in her blog attached to her business venture www.eatenalive.co.nz  .This is a business which deserves to succeed, in my view. Guilt-free desserts. Woo-hoo!

 

What if dessert could be a “thank you” to our bodies?

Our typical dessert experience may not currently feel this way… How many times have we experienced that guilty pang in our gut when indulging in something we know is delicious but not nutritious? How many times have we retreated to bed, the couch or the floor in bittersweet, bloated remorse? Yes. Dessert happens. But it doesn’t have to feel this way.

There is a revolution – a cake revolution. It’s here in Palmerston North – and YOU can be part of it! Dessert that packs a nutritional punch, keeps your blood sugar balanced and blisses out your tastebuds. Sound too good to be true? Let’s take a closer look…

Eaten Alive desserts are packed with raw, activated nuts (soaked for eight hours & dehydrated for 24 hours), seeds, organic virgin coconut oil & cacao butter, pure tahitian vanilla extract, superfood powders, fruits & hidden vegetables. We don’t use refined flours or sugars, artificial colours or flavours, or preservatives. Why are these ingredients so important? Well, apart from supplying a huge array of vitamins, minerals, antioxidants and essential fatty acids, these ingredients are metabolised differently to refined, processed ingredients. Our bodies know what to do with real food. The high fibre and protein content of our cakes is vital for preventing the all too familiar post-pudding “food coma”. These nutrients buffer the release of the natural sugars into our blood stream, providing us with lasting energy.

We use only natural, mostly wholefood sweeteners, such as dates, a touch of coconut sugar and organic stevia. Refined sugar is a tastebud desensitiser. Switch to natural, unrefined sugars and your buds will begin to wake up! There might be a short transition phase, but you’ll notice a fuller appreciation for a beautiful juicy orange, or cold crisp apple. Fruit is natures candy which is why we use it in our cakes.

As we embark on this journey, we invite you to join us… Let’s see what cake can do. Changing the world, one cake at a time…

The Future of Banking in Vietnam

Paige Hennessey attended FAHS from 2009 to 2013. She was one of the top academic students of her year. The following paragraph outlines her recent experiences.

I was selected for an internship at KPMG Vietnam in Ho Chi Minh City for three months over the summer. The internship was all expenses paid covered by the Asia New Zealand Foundation who work to create lasting relationships and connections between Asia and New Zealand. During my internship I worked in Internal Audit, Risk and Compliance services, advising Vietnamese firms on related issues. The internship was an incredibly wonderful and life-changing experience and I used my newfound knowledge of Vietnam and the banking industry to pen an article about my observations of banking and FinTech in Vietnam. I am currently finishing up some travels around Asia before returning to Victoria Uni for my fifth year studying a conjoint LLB/Bcom majoring in Finance and Accounting.

Below is Paige’s article.

Over the last 10 years, Vietnam’s growth continues to accelerate following a long line of Asian predecessors as it breaks into the lower ranks of middle-income countries. With foreign direct investment (FDI) increasing 44% year-on-year according to the Ministry of Planning & Investment, Vietnam appears set to face economic growth of up to 6% in 2018.

With continued growth and prosperity on the horizon, Vietnam has become a hub of opportunity, especially in the space of FinTech and innovation. With one-quarter of its 92 million population under the age of 25, Vietnam has real potential to harness disruptive technology for mainstream use, particularly in terms of financial services and the banking sector.

Vietnam’s Banking Landscape
Choosing a bank in Vietnam is no easy feat with over 40 banks competing for your custom. Bank presence in major cities such as Ho Chi Minh and Hanoi is huge, with major banks having on average between 200-400 branches throughout the country. The problem is that this largely brick-and-mortar presence is doing little to capture customers, as of 2016 only 20% of Vietnamese owned a bank account according to PwC Vietnam. Banks in Vietnam face two main challenges, capturing customers and providing the right services.

Whilst banks maintain their presence in the city, they have low penetration rates in rural provinces where over 60% of the population live. The banking sector in Vietnam is traditional, relying on paperwork and face-to-face interactions to open bank accounts. This is contrary to an informal lifestyle in the provinces where literacy rates are low and almost all transactions are cash based. It is not just rural provinces where banks are failing to capture customers, 36% of people don’t see a need for a bank account and an additional 18% think that credits cards are too complicated to use. The root of these problems stem directly from Vietnam’s strong cash culture – it is a cultural preference to use cash because of its convenience and tangibility. In addition to this, older generations are generally distrustful of technology, they fear losing their money through scams or other unknown dangers.

The other major challenge is that banks are not focusing on serving their future customers. 23 million people in Vietnam are under 25 and this major portion of the economy has grown up with technology playing a key role in their lives. More than ever millennials rely on their phone for everything, the convenience of doing it from their phone often outweighs a number of other factors and has directly contributed to the success of businesses such as Uber and Grab in Vietnam. Emphasis on brick-and-mortar stores is contrary to the technology steered future and the clear evidence that a growing number of people use mobile and internet services as their primary banking contact point. Banks are seemingly continuing to operate inefficiently, opening branches with high overheads and operating costs when they should be focusing on investing in the development of a user-friendly, scalable mobile banking application.

The Perfect Storm
With traditional banking not quite cutting it, the changing demographics of Vietnam is creating the perfect storm for FinTech to succeed in. Whilst bank account ownership rates continue to fizzle, investors in e-wallet and online payment infrastructure are being made welcome in one of the world’s top five fastest growing information technology countries. More than half the population is already online with 50 million smartphone users projected for end of 2018. According to research from DI Marketing, for 9 out of 10 smartphone users, the device is their sole means of accessing the internet, making smartphone applications more important than ever. With data available in every part of the country at low costs, smartphone accessibility is a key advantage for FinTech innovators looking to compete alongside traditional banks.

E-wallet Momo is a great example of a company harnessing FinTech to capture the market. Started in 2013 by M_Service, Momo recently raised $28 million in its second round of funding from Standard Chartered Private Equity (SCPE) and Goldman Sachs. Momo is a mobile, electronic wallet and payment application for iOS and Android. Its customers are able to make nationwide transfers between friends and family, pay over a 100 different bills and purchase a variety of items from clothing to movie tickets. Momo’s e-wallet can be loaded through a bank account, MasterCard or Visa, or with cash at one of its 3000 outlets nationwide. With a significant number of outlets and pre-paid MasterCard and Visas readily available, Momo is able to remove banks from the equation completely. Momo has seen double-digit growth in the last two years and has over 5 million users. As of December 2017 Momo and Uber signed a strategic agreement that enables passengers to pay for rides using Momo. Significantly, this is the first partnership Uber has undertaken in Southeast Asia. According to Uber’s Brooks Entwistle, the region has a unique payment ecosystem that must be recognized to ensure the success of Uber. The partnership signifies Momo’s growing market presence in Vietnam, gaining a strong foothold in a competitive market.

A step further than mobile payments is Timo, Vietnam’s first digital bank. Timo is a bank with no paperwork, no queues and no branches – sort of. Regulations require that any bank offering financial products must obtain a customer’s identity in-person before they are able to open an account. Thus Timo’s only physical presence in Ho Chi Minh City is a café called the ‘Timo Hangout’. The space is a fully operational coffee shop where any customer can frequent to drink coffee or surf the internet. Those who want to open an account can sit with a Timo Customer Representative and complete the account opening process in around 10 minutes. Timo opens new accounts with zero deposits and offers an app that customers can use to track their transactions. Given Vietnam’s huge coffee culture, Timo have excelled in creating a space that makes opening an account feel like a coffee date instead of a tedious task.
Timo is fresh on the scene but has been making some seriously smart plays, with $5 million in seed capital from private investors they have partnered with VPBank to become their digital sidearm. A key strategic move, this allowed them to piggyback off VPBank’s status as a registered bank, allowing them to provide users with typical products such as checking accounts and credit cards. Timo has taken a different approach to competing in the market, they can’t compete against traditional banks because branch presence is huge creating high barriers to enter the market. Instead, Timo looks to compete on the basis of customer experience; giving millennials exactly what they want, anytime banking and payment services direct from their pocket.

Barriers and Challenges
It would be unrealistic to picture Vietnam without banks, but to envision a country with innovation and collaboration to provide customers with what they want – Vietnam may not be that far off. Competition in the sphere is intense, banks now have to complete amongst each other as well as against these start-ups. FinTech’s aren’t without challenges as well, they need to capture the trust of older generations including government officials. Funding is a key pain point for a new project and the support of the government will see the industry flourish. In addition to this mobile payment in Vietnam’s FinTech scene is by far the most popular. The market is crowded and there are still too few users, competition has increased ten-fold with large competitors such as Alipay and Samsung Pay entering the market late 2017. A barrier for all financial firms is the culture of Vietnam, who stands out in this increasingly crowded market will largely turn on consumer confidence.

The Role of the Narrators in “The Outsider” and “Lolita”

 

The following essay is the work of Julia Horsfield. Julia was Dux of FAHS in 2012 and went on to gain a Bachelor of Arts in English, French and Latin from Victoria University. She has also gained a Master of Teaching and Learning (Secondary) with Merit from Victoria. Julia is currently in her second year of teaching at FAHS.

 

The Outsider by Albert Camus and Lolita by Vladimir Nabokov are two of the most contentious novels in literature. They both feature narrators who challenge behavioural codes but have been met with strikingly different public receptions. The narrators are central to the texts, and to the controversy, so to come to grips with these texts we will analyse the narrators, in comparison to each other, from a number of different angles: the first impressions they make, how they shape the reader’s perception of them through the narration and how the reader’s perception compares to the perceptions held by other characters and by the narrators themselves.
Humbert and Meursault succeed in challenging the reader even in their first impression. Our first impression of Meursault is formed before we even open the book. The title evokes the idea of an outsider, someone who doesn’t conform to social norms. Meursault’s opening line suggests this difference manifests in an emotional detachment. “Mother died today. Or maybe yesterday. I don’t know.” (1). The short succinct sentences convey no emotion, which may prompt the reader to ponder what the emotional landscape of his relationship with his mother looks like. The most problematic is element is his use of the term mother. “There is little warmth, little bond or closeness or love in “Mother,” which is a static, archetypal term, not the sort of thing we use for a living, breathing being with whom we have close relations… The word forces us to see Meursault as distant from the woman who bore him.” (Bloom). This is significant because our perception of the mother-son relationship underpins our judgement of Meursault throughout the text, mirroring his trial. Like Meursault, our first impression of Humbert is not formed by the man himself. John Ray Jnr, PhD introduces him in the foreword, describing the text as “the confessions of a white widowed male.” (1) He describes Humbert as having “moral leprosy” (3), painting a picture of contorted morals, possibly contagious. He describes Humbert’s “hypnotic eyes” (1), a likely metaphor for Humbert’s rhetorical power. But he then mentions his “disarming honesty” (3) which apparently permeates the text. This seems to be something of a contradiction of terms. Honesty is not something one naturally associates with hypnosis. So our initial impression is very enigmatic. Humbert’s opening line, “Lolita. Light of my life, fire of my loins. My sin, my soul” (7), deploys apostrophe, metaphor, alliteration, sibilance and parallel clause structures. His style is intentionally impressive; he himself declares, “you can always count on a murderer for a fancy prose style.” (7). This deft jolt administered by Humbert exemplifies his “diabolical cunning” (3) and perfectly encapsulates the challenge of the text: a narrator describing ugly crimes with beautiful language.
We can develop this aspect further by analysing our ongoing relationship with them and how they engage with the reader through the narration. A significant aspect of Meursault’s narration is that he never consciously addresses the reader. Seemingly unaware of his audience, Golomb describes his style as “parsimonious”(271). He declares: “In the first part of The Outsider the language is quite terse, background scenery is left out and the objective descriptions lack softness. Only expressions of rejection or approval are recorded without justification or explanation.” (272). But rather than shielding Meursault, Golomb suggests the narrational style has the opposite effect; it ensures a perfect correspondence between Meursault’s actions and emotions, making him a completely authentic narrator (271). He asserts that “these sentences clearly reveal that nothing is hidden…This total disclosure is mandated so that the reader will be able to track the ethos of sincerity closely, with nothing omitted”(272). In contrast, Humbert’s narration is extremely self-conscious and very deliberately crafted. This makes his sincerity perhaps the most contentious issue in Lolita. Throughout the text Humbert directly addresses his audience- the gentlemen and gentlewomen of the jury. His desire to persuade manifests itself in the rhetorical power of his narration. Humbert “possesses fantastic verbal range, depth, and dexterity.” (Durantaye:319). He deploys a variety of techniques against the reader but the most important is the saturation of the text with word games such as anagrams (Vivian Darkbloom: Vladimir Nabokov) and literary allusions including Edgar Allen Poe, Rousseau, Baudelaire, Proust, Dante and Petrach. These help Humbert transpose himself and his narrative to the world of the artist: composed only of shades of gray, devoid of codes and boundaries. This blurs the reader’s perception of him. “Nabokov graces Humbert with not only the perceptual and linguistic powers necessary for art, he lends him the credo that a true artist creates in sublime isolation and owes account only to his own genius…his most crucial and subtlest reasoning is the careful parallel he establishes between the proud creation of great art and the proud pursuit of love. By subtly describing and avidly pursuing Lolita as one would the inspiration of a work of art, Humbert tempts the reader to look at her as precisely that…We are led astray because we are offered the wrong optic through which to see Lolita-the optic of art- and we are too eager to be worthy of it to suggest that it should not here apply.” (Durantaye:320-321). Humbert hides enigmatically behind the artistry of his story, manipulating the reader to lose sight of whether they are judging an artist and his work of art or a human being and his actions.
The next question we must ask, therefore, is to what extent do our perspectives of the narrators align with the perspectives held by the other characters in their respective worlds? What challenges arise from the similarities or discordance? Humbert’s relationship with other characters offers a fairly straightforward analysis. Humbert is an extraordinary liar. He convinces Charlotte that he’s in love with her. He convinces all the parents and teachers that he is a good step-father. He deceives everyone around him except Lolita. This raises the uncomfortable question: is the reader included in this deception? Are we seeing Humbert clearly for the paedophile he is? Or is the ugly truth being obscured by his charismatic writing? In this sense, Meursault is the exact opposite to Humbert. Meursault is a character who takes sincerity to the extreme. He refuses to lie to Marie about whether he loves her, and he refuses to lie in court about his relationship with his mother. We could expect this endear Meursault to the reader because it makes him an extremely reliable narrator. However, right from the beginning of the text the reader is uncomfortably aware of Meursault’s emotional detachment; the other characters in the text are not. Strange asserts that “in the early chapters of the novel…the other characters in the novel give no indication that they perceive his behaviour as other than normal.” (36). She suggests that “Meursault is treated as a sought after friend by Raymond Sintès and a desirable fiancé by Marie Cardona.” (36). This discordance may cast doubt over the reader’s perception of Meursault. However, in the second half of the novel, having killed the arab, the prosecutor describes him as “a man whose heart is so empty that it forms a chasm which threatens to engulf society.”(98). Some readers may feel their early opinion of Meursault has been validated; others may be bewildered to now find themselves sympathising with Meursault, once again at odds with the other characters. Ellison contends that most early interpretations treated Meursault as a sympathetic character (58), but suggests that this interpretation depends on the reader “refusing to become a judge in the act of reading.” (59). Ellison poses this question: “it is advisable or even possible for the reader of a complex and challenging literary text to suspend his judgement in this way?” This is the challenge Meursault presents to the reader.
How is the reader challenged by the narrators’ perceptions of themselves? Meursault is absolutely certain of himself and his beliefs. When provoked by the priest he launches into a tirade that could well be directed at the reader: “But I was sure of myself, sure of everything, surer than he was, and sure of the death that was coming to me…But at least that was a truth which I had hold of just as it had hold of me. I had been right, I was still right, I was always right.”(115). This is an ultimatum to the reader. Meursault has made up his mind about himself; the reader must finally make up their mind about him. It is a difficult judgement because Meursault is the radicalisation of the honest type who adheres to the ethics of sincerity without compromise.(Golomb:269). Sincerity is conventionally an attractive characteristic of a reliable narrator. However, “Camus demonstrates that society, which upholds the ethos of objectivity, sincerity, and honesty, is not prepared to allow in its midst one who perfectly embodies the spirit of this ethos.” (Golomb:269). Can we as individual readers overcome this, allowing Meursault’s authenticity to endear him to us as a reliable narrator, in the fullest sense of the word, even as it demands that we embrace the hypocrisy he reveals in us? On the other hand, Humbert’s perception of himself seems to change throughout the novel. Phelan suggests that “from the end of Part One on, Humbert’s own engagement with the task of narrating his experiences with Dolores leads him to see more clearly the irreparable harm he has done to her…Accompanying these changes is Nabokov’s increased use of bonding unreliability through partial progress towards the authorial norm. At the very end of the book Humbert says “had I come before myself, I would have given Humbert at least thirty five years for rape and dismissed the rest of the charges.” (352). “His willingness to use the term rape for the first time shows how far from the rationalizations about being bewitched by a nymphet he has travelled” (236). However, his dismissal of the murder charge, for which he is actually on trial, creates the impression that he is judging himself by a highly subjective behavioural code, rather than that of his society, and therefore is still “an unreliable evaluator of his own actions.” (Phelan:236). This ambiguity, this about-turn after years of self-justification actually means that although self-condemnation ought to bring him closer to a reader who condemns paedophilia, it actually creates distance because he becomes even more ambiguous and difficult to trust.
To conclude, both The Outsider and Lolita feature narrators who challenge society’s behavioural code. So why was The Outsider awarded a Nobel prize when Lolita was censored? Having examined the narrators from various angles we have demonstrated that Meursault and Humbert are in many ways polar opposites of each other. Humbert hides behind smoke and mirrors for the entire text; it would seem that neither the reader, nor the other characters, nor even Humbert himself ever truly see him clearly. In contrast, Meursault is unwaveringly sincere throughout the text and, seemingly unconscious of the reader, reflects the reader’s own scrutiny back onto themselves. In Lolita Nabokov challenges us with the thoughts and emotions of Humbert, In The Outsider Camus challenges us with our own.

Mind Over Body

It’s one hell of a cliché that ‘you can do anything you put your mind to’. It’s also a lie.

I could tell myself day and night for years that I could beat Steven Adams in a 1:1 game of basketball. I could tell myself forever and a day that I could train and become a Formula 1 driver. I could tell myself that I could become the greatest singer the world has ever known. I can have all of the courage in the world and a truly positive mindset but the possibility of me beating Usain Bolt over 100m is non-existent.

However, when we are judicious and thoughtful in selecting our goals, we can achieve great things. A shiny new goal is intimidating- and it should be. You’re not sure if you can get there. You’re not sure what will happen. When standing and looking at the mountain, it seems enormous and insurmountable. However, you can only take the next step in front of you and surely one step isn’t intimidating, is it?

When I took on the 100km race last year, I entered, paid my money and then sat back thinking,“What the hell have I done?” 100km is running to Taihape. It’s here to Paraparaumu. It’s running a marathon- then another- then a half marathon- back to back. This is insane.

But other people have done it.

Other people have gone further.

Why can’t I do it?

So you start making it achievable in your own mind. You only have to get to the next aid station. You only have to get to a certain part of the course. You only have to make it through this steep little bit and then it will get better. I feel terrible but just give it half an hour and see if I feel better.

In fact, you spend so much time minimising the ‘unachievable’ goal in your mind, that you end up normalising it. When people find out that I ran a 100km race, their faces have this mixture of disbelief, disgust and admiration. It’s not until these conversations that I remember what a big deal it was and I become proud of it again. Indeed, my medal for the race (a beautifully crafted glass medal) resides in the bottom of a drawer with my cufflinks and other bric-a-brac.

So I’ve started preparing for a 100 mile race in 2019. Lots could go wrong: injury, illness, other commitments. Once again, it’s intimidating. But I guess all I can do is the next bit of my training.

When you make the exceptional an expectation, the unimaginable becomes a reality.

Dave Byrne

The Portrayal of Happiness

 

The following Connections essay was written by Gabi Evans who attended FAHS from 2013 to 2017. In her final year Gabi was a most effective Vice-President of our School Council.

Happiness is a key theme that appears in the following four texts: ‘The Great Gatsby’ by F. Scott Fitzgerald, ‘The Moon in the Orange Street Skating Rink’ by Alice Munro, ‘Heavenly Creatures’ by Peter Jackson, and ‘Brief Encounter’ by David Lean. What appears to be society’s main definition of the noun happiness is ‘a mental state of wellbeing characterised by positive emotions ranging from contentment to intense joy; good fortune.’ According to research, though, happiness is the frequent experience of positive emotions and the infrequent experience of negative emotions. To some extent in these four texts, the actions of the characters teach the audience about the idea of happiness. The portrayal of happiness is, to some degree, similar across the four texts.
Happiness is depicted rather similarly in each text. In ‘Brief Encounter’, two people, each comfortably married with children, meet and we effectively see sparks fly. From the audience’s view, there is a very evident difference in how these two people, Alec and Laura, act when they are separated and when they are together. Apart, they are content with their plain normal lives. Together, they are more thrilled and energetic about life and clearly experience a rise in their positive emotions. We see Alec and Laura contemplate the prospect of having a life together which would surely be more exciting and fulfilling. However, doing so would involve abandoning their old lives. This is something that particularly Laura cannot bring herself to do, as she believes that the mess of splitting her family up is ‘too great a price to pay for the happiness we have together.’ Both Laura and Alec therefore return to their spouses as though nothing significant had occurred that day. Laura says that ‘Self-respect matters, and decency’. I believe that this suggests that the reason for her not divorcing- and therefore finding greater happiness- was a combination of wanting to act in a fashion that is socially acceptable as well as doing what feels right to her personally. This idea of the desire to be socially acceptable negatively influencing one’s ability to find greater happiness is also found in ‘The Great Gatsby’. Gatsby believes that he will have happiness if he can be with Daisy Buchanan, his past lover. It is evident that they do share a special bond and Daisy, who is usually rather dull and emotionless, is far more vibrant around him. At first, Gatsby tries to gently persuade Daisy into leaving her abusive husband to be with him but he ends up trying to pressure her into it, ‘…tell him you never loved him.’ Like Laura, Daisy refuses to consider the option of getting a divorce in a quest to have more happiness in her life. Both ‘The Great Gatsby’ and ‘Brief Encounter’ were set in the early to mid-1900’s and the social stigma of divorce was huge. Both texts portray that there was a societal expectation that people would try to keep marriage together at all costs, and often at the cost of their individual happiness. The film and novel are connected through the idea that they both convey a kind of theory about there being a mathematical formula for overall happiness: your total positive emotions less your negative emotions. Neither Daisy or Laura divorced their husbands. While doing so would have certainly resulted in a gain in their positive emotions, the social stigma of the action would elicit negative emotions that would cause the gain in their overall happiness to be greatly reduced if not non-existent. ‘The Great Gatsby’ and ‘Brief Encounter’ have a connection that prompts the audience to understand that perhaps happiness isn’t so much a thing that you have or haven’t got but rather a quantity that you have more or less of. From these texts, we can learn that your quantity of happiness is dependent on both your positive and negative emotions. In accordance to this, for an action to increase your overall happiness it must cause your positive emotions to increase more than it causes your negative emotions to increase. Just because an action increases your positive emotions doesn’t necessarily mean it will lift your overall happiness significantly, because any increase in negative emotions could balance or cancel these out and hence the overall happiness level could stay unchanged, or decrease. This is applicable to today’s society where we discuss ‘pros and cons’ a lot regarding decision making. There is a silent belief that a good decision is one where the pros outweigh the cons. A good decision therefore represents an action where happiness has been generated. This is because from the mathematical formula that is expressed in these two texts: if the rise in your positive emotions outweighs the rise in your negative emotions then a lift in overall happiness will be experienced. From my evaluation of the connection between ‘Brief Encounter’ and ‘The Great Gatsby’ we can comprehend that happiness is affected by both positive and negative emotions. This teaches us that to experience the greatest happiness in our own lives, we need to act to reduce or eliminate the sources of our negative emotions as much as we need to work to enhance our positive emotions. We cannot ignore the things that make us upset or concerned because they will still be sitting in the corner of our minds, the negative emotions they produce cancelling out our positive emotions and restricting our amount of potential maximum happiness. This is very significant for society because hiding your negative emotions and not dealing with them is unhealthy, potentially leading to depression and other mental illnesses.  Until rather recently, a commonly held belief in society was that you should hide your negative emotions and conform to societal expectations as much as possible. The connection between these two texts highlights that the sooner this belief disappears from society the better, and helps generate awareness that happiness is affected by both positive emotions and negative emotions. Therefore dealing with your issues is incredibly important for maximum happiness levels to be achieved. The connection also reminds people that society is far more accepting of difference now than it used to be, and this is something that we must be grateful and happy for.

The actions of characters in ‘The Moon Over the Orange Street Skating Rink’ and in ‘The Great Gatsby’ connect the two texts through teaching the audience about the idea of happiness in quite a different way. In the former, the two main characters Sam and Edgar are cousins who live together as adolescents in a boarding house in Gallagher, a Canadian prairie town. Despite their poor living conditions, they aren’t miserable. The popular local attraction is the skating rink and they cannot afford the admission cost. However, Sam and Edgar come up with a way, albeit slightly  dangerous, to avoid the entry fee and get into the rink. Their plan involves Callie, a young social outcast living at the boarding house with whom they form a strong bond. The happiness that stems from their success in overcoming an obstacle teaches the audience that obstacles don’t have to take away from our happiness. They have the potential to do this if we let them stand in our way, but they also have the potential to produce positive emotions such as a sense of accomplishment if we find a way to overcome them. The way that Sam and Edgar act shows us that we choose our happiness through choosing our perception of life. We can choose to see obstacles as barriers that take away from our happiness or we can choose to see them as challenges that, by being overcome, can add to our happiness. This idea of choice influencing our happiness acts as a connection between Munro’s story and ‘The Great Gatsby’. The latter is narrated by Nick Carraway, a main character. Nick’s actions cause the audience to question his reliability as the narrator, as he says things that contradict themselves – “…I’m inclined to reserve all judgements….” and “a cruel body” for example This then forces the audience to choose how they personally see the characters because they have doubt in the accuracy of Nick’s judgements. ‘The Great Gatsby’ is like one of those books where you decide at the end of each chapter about what the character’s next action is going to be. This is because throughout ‘The Great Gatsby’ you must make decisions, although they are about the personalities of the characters rather than the plot. As reader, you can choose to make positive judgements of characters or choose to make negative judgements and dislike them. Your judgements of each character can trigger positive emotions whilst reading which could add to your overall happiness, or on the contrary, negative emotions which could subtract from your overall happiness. It is up to you as the reader to decide at the conclusion of ‘The Great Gatsby’ whether Gatsby’s death and the aftermath of this event is just plain tragic or whether it portrays a message that you can use to positively influence your life. The actions of Nick Carraway in ‘The Great Gatsby’ causes the audience to make their own decisions about the novel which then teaches us that the novel is what we decide to make it. Depending on how we choose to view the characters and how we interpret the ending affects the emotions that are produced by reading it which then affects our happiness. This teaches us that perspective is a huge factor in one’s happiness, a message which reinforces a commonly held idea in society that ‘You are as happy as you choose to be.’ This is significant because this concept has almost become clichéd in society and the actions of Edgar and Sam in ‘The Moon Over the Orange Street Skating Rink’ and Nick Carraway in ‘The Great Gatsby’ prompts the audience to remember that there is always an element of truth behind clichés, and this idea of you choosing your happiness through the choices you make is certainly one that is very valuable and not to be dismissed or overlooked. Sam and Edgar choose to see the obstacle of the expensive ticket cost at the skating rink with the positive perspective of it being a challenge and therefore they choose to add to their happiness.

To some degree, happiness is portrayed in a similar way across the texts. In the film ‘Heavenly Creatures’ the actions of the two main characters – Pauline and Juliet – show that a moment of complete happiness can be reached when you are completely absorbed in a moment and nothing else at all seems to matter. When they are together, they appear to have high levels of happiness as they are fully absorbed by each other’s presence and everything else in their world seems to fade into insignificance; ‘I idolised her’. This fits with the theory – your level of happiness is your positive emotions less your negative emotions – that resulted from the earlier analysis of ‘The Great Gatsby and ‘Brief Encounter’, because if you are completely absorbed in a moment then your negative emotions are eliminated from the equation and your happiness is equal to your positive emotions. However, the actions of the characters in ‘Heavenly Creatures’ portrayed that it is possible to become greedy for never-ending happiness and nothing good can come from this. Pauline and Juliet became addicted to their intense happiness and they also became exceptionally narrow-minded – all they could think about was guaranteeing a future together which they believed would be of life-long happiness. However, the decisions of their parents put their plans of a future together at risk. Because everything else in their lives had gradually become rather insignificant and they had become the biggest part of each other’s life, this caused them both great despair. They couldn’t think of anything except how they could lose each other and their happiness, and their tunnel vision caused them to believe that Pauline’s mother was the one standing in the way of their pursuit of happiness. Their determination to have happiness distorted their minds to think they could have happiness if they eliminated her, the source of negative emotions, from the equation; ‘Only the best people fight against all obstacles in the pursuit of happiness’. Ironically, Pauline and Juliet murdered Pauline’s mother in the pursuit of happiness and the action resulted in the loss of all the happiness they had, as they were separated for life. This teaches us that the pursuit of happiness can be dangerous as we can lose our common sense as well as sight of the bigger picture through becoming very narrow-minded. It also illustrates that happiness is an elusive thing. Happiness is essentially the by-product of trying to make choices that boost your positive emotions as much as possible. There are so many factors that can influence your emotions, and these factors differ from day to day, week to week, year to year and therefore as your emotions vary, so will your happiness. This is significant because it teaches people to keep variety in their lives to keep sane because focusing all your energy into one source can lead to extreme emotions but doing so can also lead to extreme disaster. ‘Heavenly Creatures’ connects with ‘The Great Gatsby’ as this latter text also portrays that the pursuit of happiness might not be worthwhile. Gatsby wants happiness and he believes that if he can have his former love Daisy, he will have it. His pursuit for happiness influences him in all his decisions; he allows Daisy to drive his car because he wants to make her enjoy every moment with him. She crashes into and kills Myrtle Wilson and, as a consequence, Gatsby is killed by Myrtle’s husband. This demonstrates that completely prioritising your pursuit for happiness is dangerous; it can negatively influence your decisions and make you forget that while temporarily your negative emotions may disappear when you are absorbed in something, they do not disappear forever. The pursuit of something that is possible is healthy; however, pursuing happiness is foolish as it is not a physical thing that you can get and keep forever. There is a popular belief in the American Dream in society, and ‘Heavenly Creatures’ and ‘The Great Gatsby’ prove this concept to be complete rubbish. The American Dream revolves around  success being reached through having a life where you have the right to ‘ the pursuit of happiness.’ Gatsby, Juliet and Pauline each had the right to pursue happiness but having this right did not lead any of them to success. This teaches us that happiness is not something you can just strive for and get as though it is a physical thing. Rather, it is a kind of by-product of making decisions that boost positive emotions. These findings are significant as they remind us to lead lives where we don’t get too absorbed and greedy about just one thing; it is important to pursue multiple things so that if one aspect of life is falling apart or not going so well, we can have happiness in other areas of our life and not overreact and make drastic decisions.

From the connections between ‘The Great Gatsby’, ‘Brief Encounter’, ‘Heavenly Creatures’ and ‘The Moon Over the Orange Street Skating Rink’ I can establish that happiness is elusive; it is difficult to find, catch and achieve. Therefore, pursuing happiness is essentially pursuing the impossible, as happiness is rather like a shadow. A shadow is something that is there because of sunny weather or bright light and it cannot be chased. Happiness is also the by-product of something positive – positive emotions – and it cannot be chased either. Increasing the brightness can increase the quality of the shadow, just like increasing the positive emotions in your life can increase your happiness. If it is the sun causing the bright light, we can’t control any increases or decreases in the quality of the shadow, just like in life we can’t control everything. But we can make the decision to move around to reduce the effect of a decrease in the brightness, just like we can make a decision that reduces the negative emotions. Happiness is a theme that links these four texts together and the portrayal of this theme throughout the texts demonstrates that happiness is a very complex matter that we should consider when making decisions as our choices influence it, however we shouldn’t get too wound up about it as ‘too much of one thing is never a good thing’ and pursuing it is foolish because it is not something that can be captured. This is significant because there is a lot of emphasis on finding happiness in society, and there is a common belief that it is something you have or haven’t got. From these texts, we can draw the conclusion that this isn’t the case and while we all may want happiness, a life spent pursuing it is most likely a life wasted and quite likely one of unhappiness, because ultimately in their pursuits of happiness, Gatsby, Juliet and Pauline ended up losing all of the snippets of happiness they had as by-products of the good lives they previously lead.
From evaluating the link of happiness between the texts, it is clear that happiness is heavily influenced by emotions and is affected by both negative and positive emotions. Most people want happiness; however, the ultimate pursuit of happiness portrayed in ‘Heavenly Creatures’ and ‘The Great Gatsby’ demonstrated that this isn’t a journey that reaches the destination because happiness isn’t a destination; society’s common belief that ‘life isn’t about the destination, it’s about the journey’ is actually rather correct regarding happiness. One can experience varying levels of happiness while on the journey of life, but happiness isn’t a thing that can be achieved  like a destination can be reached.

The Writer In The Digital Age

The following piece is the work of Lauren Harrigan who attended FAHS from 2009-2013. In her final year Lauren was a highly successful School President and also gained Scholarship in Media Studies. Lauren wrote to me explain what writing today can involve.

Thank you for inviting me to be a part of the Feilding High School Writers blog.

The part of your proposal that I was most drawn to was the premise that writing/copywriting can be a paid job, or an integral part of one’s job. In that vein, I would like to share my latest project (which I am currently being paid for!), the “Digital Journey” campaign for A Waka Odyssey, which is the flagship opening event of the New Zealand Festival, the biggest arts festival in the country, held every two years in the capital. It’s part of my work with Wellington-based agency Double Denim. I hope it’s a really practical look into how writing for a job can be done.

Our client asked in their brief that we create a campaign that will educate New Zealanders (a typical, mainstream audience from anywhere in the country) on what A Waka Odyssey is about in the lead up to the event. In brief, A Waka Odyssey is a three-part weekend which starts on the Friday night with a unique theatrical spectacle staged on the waters of Te Whanganui-A-Tara, Wellington Harbour. The event has a cast of thousands – a thousand-strong haka, a choir of 250, a fleet of waka ama (Maori war canoes), and five epic waka hourua (traditional double-hulled Pacific voyaging vessels) that have sailed from all over Aotearoa and the Pacific to be there. It will be absolutely epic, a historical event that is likely never to be repeated on this scale.

The digital campaign is intended to set the scene for what will happen over the weekend, open a conversation on themes such as Pacific waka culture, Maori history, the arrival of Kupe to New Zealand, celestial navigation, and showcase the rich arts presence within Pacific waka culture. It is also meant to include those who can’t travel to be part of the event, but who are still interested in the project. We want our audiences to learn something before they even get to the waterfront on the 23rd February, when A Waka Odyssey is being held.

We created a 23-day campaign with unique content (word, video, imagery) posted to the Waka Odyssey page on the New Zealand Festival website as well as the Festival’s Facebook and Instagram pages. You can find the journey here. It is still rolling out, and will be until the 23rd. I’ve written thousands of words’ worth of copy, done hours of research, and interviewed countless people to help put this campaign together. I’ve written about a content sprint to create video pieces for the campaign. I’ve written about the man who proved that early discoverers of New Zealand didn’t drift here or come across it accidentally, but instead sailed here intentionally using thousands of years of scientific and cultural knowledge. I’ve written about amazing aspects of Pacific waka culture that haven’t been published yet, but watch this space!

I guess what I want to emphasise here is that writing can take so many different forms, especially in this digital space. Good writing will always be good, no matter where it is posted or in what form. You don’t need to be getting your poetry published in literary journals, or be producing longform creative nonfiction to feel like you are a legitimate or “good” writer. You just need to be authentic and adaptable when it comes to getting your writing out there, especially if you want to get paid for it!

I’ve also attached some screenshots of some pages from the campaign website if you want to put them on the website.

Lauren Harrigan

Editor’s Note: I am struggling to transfer the screenshots to this page but will keep trying.

Absence

Fingers of fear grasp me, as I witness the warmth of your tender, loving smile transition into a look of bitter rage. Fear’s unwieldy fingers encompass me whole in their resilient clasp, clenching me securely, leaving me tense

My voice is silent. Reduced to nothing but a mere whisper, poor snippets of inferior gasps escape from my lips. My own voice is insignificant against the sickening allure of your chosen poison. I tread warily, like a hesitant soldier stepping with caution through a vast and open minefield. My heart fluctuates from its steady rhythm, as I wait in anticipation of fear. I patiently wait for the next explosion of emotions to erupt from your lips. Tick… Tick… Tick… Be sure to taste your words before you spit them out. Words hurt and evict the smile off my innocent juvenile face. The sound of laughter exists as a faint defeated memory, as I realise that this is a competition I will not win.

No matter the strength of our love shared, nor the amount of precious time spent in each other’s embrace; nothing could compare to alcohol’s hypnotizing enticement.

Your gentle smile had worked wonders on resolving my sadness, soothing the heartache and strengthening our bond. Wrinkles would form the familiar vast valleys and ravines that my fingertips would gently trace with fond, careful strokes of wild admiration. I cherished being smothered in your loving embrace and having your long arms wrapped securely around me. Our fingers would entwine and our close intimacy would lead me to lean in closer to feel your chest rise and fall with ease. Rise and fall… Rise and fall… Rise and fall in a rhythm that brought me comfort. The warmth of your gentle hands would carefully caress the rounds of my chubby cheeks, while lies masked as believable promises flowed from your lips. Weak promises had filled my ears. It was the strength of these commitments that deceived me to believe that it was all true. A bee compelled to honey, my eyes had gleamed in the false hope of having the devoted mother I knew, stay with me, forevermore.

In memories I see you, Mum. I feel you, Mum. I can hear your laugh, but where are you now? Now. A time where I need you the most. I wait for your return every day. I wait in anticipation. I wait in heart ache. I wait in guilt with no return. I wait while isolated tears pool before me, my heart bleeding for my mother’s touch just one last time. Time is of the essence. This resonates with me deeply as I long to tell you three words that are written easier on paper today, than it was once to tell you. I love you Mum. Please listen to me as I call out to you in my deepest, darkest hours. Hours where my pillow gives no comfort, my eyes see no end and my mind knows no boundaries.

Time heals ‘they’ say. ‘They’ say fresh wounds that hurt eventually close. But who are ‘they’ to say that time can restore the heartache that relentlessly moves with me? The heartache that is continuously shadowing me day in, day out. Close enough for only me to feel, but for others to never see. The wells build up further, nearly bursting  at the absence of your motherly touch. The taste of salty tears never grows old.

Time will not bring me back my Mum.

Anonymous

The Night My Date Nearly Ended In The Emergency Ward

By Rachael Hedges

December 28, 2017

Remember that date I had from Tinder where my date’s fiancé showed up, beat the crap out of him and ended up with police statements? Well this doesn’t quite rival that but it’s fairly close.
Internet dating has its pros and cons of course, and I’ve had my fair share of both. I love meeting new people though, so it’s rare I come away thinking I’ve wasted my time or that the date was a failure even if there isn’t going to be a second date – and nine times out of ten there isn’t.
Get in to the story I suppose you’re thinking! So… I went to yoga in the park in South Bank (which was awesome by the way – thanks MediBank), arrived home and began to cook. At which time I also checked my Bumble (similar to Tinder but better if you ask me) account… as you do. A guy, let’s call him ‘Fred,’ had messaged a few minutes earlier asking me to dinner that evening. I replied that I already had dinner on. Long story short he persuaded me to meet him for Italian. Being post-yoga, I was ravenous so suggested we meet in 20ish mins.
I arrived at the restaurant and Fred is seated enjoying some water. He immediately apologised for a dry cough and explained it wasn’t contagious. Slightly awkward, but whatever. Fred is convinced food will help so we ordered garlic bread to get started.
The garlic bread didn’t help. Turned out Fred has low blood pressure and is concerned it might be related. Also turned out, Fred had been at the doctors earlier that day but, after an hour wait, had to get going to a work appointment. Also turned out that he’d had the week before off to cope with this new medical condition that had something to do with a heart problem.
By this stage I was fairly concerned. Our mains had arrived and my new friend Fred is coughing up a storm; could barely speak, let alone hold convo and had turned pale and sweaty.
He cut the date short, apologising and I offered to take him to the doctors. Or hospital. He replied he had drugs to take at home and could I take him to his apartment as his flatmate had moved out as they were about to move, and could I also wait ten minutes to make sure he would be okay.
Looking back I should have just called an ambulance. Hindsight – great thing, right?!

Instead I asked his address, sent it to my flatmate, told him my flatmate would be picking me up soon and I was sharing my live location. Gotta keep safe!!! I could genuinely see this guy not only needed help but was really scared too. I made the right call but if I was in the same position again, I would def. just call an ambulance.
.So we walked back and he was not doing well and struggling for breath. I was worried he would collapse. We got through the door (me sending constant updates to my flatmate, David) he grabbed his drugs, landed on the couch and tried to pull it together. I made him take off his tie and undo his top shirt buttons. I then told him stories for 20 minutes to help him relax. I tried numerous times to take him to the doctors.
Eventually he relaxed and he (and myself) felt a lot better. Told me I could leave. I waited another ten minutes then I made him get his phone charger and put it beside his bed with some water and to relax.
He came outside with me and (hilariously) tried to kiss me not once, not twice but three times!!! He couldn’t understand why I wasn’t interested and asked if it was the coughing. I responded that I was concerned he would pass out! But I was really thinking, ‘Mate you’re kidding! You take me on a date, nearly die, put me in a potentially compromising situation, I practically have to medicate you and then you think I want to kiss you?! Ha!’ Saved by the bell, my uber turned up.
I got home and worried all evening. I so wished I had just taken him to hospital. He messaged that he was okay but obviously I was still concerned.
He messaged in the morning he had a bad night and was going to docs. They sent him straight to emergency and when I left for Vietnam a few days later, he was still in hospital.
I do feel for him. I’ve been in situations where I’ve feared for my health and been alone and it’s exceptionally scary. A first date def wasn’t the right place to seek help though! He later messaged me he shouldn’t have gone on a date that night. No shit, Fred.
A huge thanks to the support of my flatmate Dave, ensuring sure I was safe, letting me vent and listening to me fretting until I heard from Fred again.
I wish Fred a swift recovery and hope he understands when I refuse a second date!
UPDATE: Fred did not understand and continues to contact me…

Charley Noble Wellington – Delicious Dining In The Capital

Rachael Hedges attended FAHS from 2000 to 2004. She is a self-employed digital marketer who can turn her writing skills to illuminate a bewildering range of topics.

January 16, 2018

If you’re looking to enjoy world-class dining with quality New Zealand produce while you’re in the Land of the Long White Cloud, then you’re in luck. Charley Noble in Wellington has long held a reputation for being one of the best restaurants around and, if my dining experience was anything to go by, it certainly holds up to its name.
We chose to sit at the bar for lunch for a bit more of an entertaining experience, watching the chefs expertly prepare the meals. I would absolutely choose to sit there again: I may have even picked up a few new chopping techniques!
We explored the menu and soon called over Justyna to help us choose – everything looked good. She pointed out a few items (some I would never have chosen without her suggestions) and we put together a few complementary plates.
To start, we ordered the market ceviche, venison carpaccio and the pig’s tail salad. Yes, you read that correctly, the pig’s tail salad! Right there is one of the menu items I would have never chosen without Justyna’s influence. It is not what you would expect; well, it wasn’t what I expected! Mandarin provided a perfect burst of sweetness contrasting the texture and taste of the crunchy pig’s tail (almost like crackling) and slightly acidic dressing. I highly recommend giving it a try.
The market fish ceviche was beautiful and light, with a lovely orange flavouring and delicious sweet and spicy candied chillies! The candied chillies were a first for me and I was both surprised and delighted with their flavour and texture – slightly crunchy, still with a nice chilli bite but also sweet from the sugar.
The venison carpaccio was a classic dish, well delivered. Quality, fresh local produce. The meat literally melts in your mouth. Must try.
The Charley Noble somelier, Jordan, was very knowledgeable and personable – my favourite! He perfectly matched my wine (Colere Pinot Gris – Pinot Blanc from Marlborough) with my entrees so that it didn’t clash with the candied chilli in the ceviche. The wine was lovely and oak-y, aged four years. Beautiful pairing to bring out the flavours.
For my main wine pairing I sampled two reds, ultimately going with a Waipara Pinot Noir from Greystone. Jordan said that particular wine is very popular: he can pair it with almost anything.
Again, Justyna was called in to help us chose our mains. We went with the super juicy and flavoursome house made pork sausages which had some wonderfully charred radiccio and pears to accompany them. The meat is sourced from the Wellington region and always free range. We couldn’t go past the risotto with zucchini, pecorino, house pesto and smoked baby tomato. Full of flavours and still quite light. Finally, we chose a side of eggplant, zucchini, parmesan and mozzarella bake, which as you can imagine was cheesy greatness.
On my next trip to Charley Noble I’d like to try their fish of the day. When I visited, snapper was sitting pretty on ice, sustainably caught and in the restaurant within a few hours. Actually, my list to try next time is quite large. There is the fire grilled cauliflower steak (looked amazing), anything from the woodfired rotisserie (dinner only) and their steaks are legendary. Can you see why I had so much trouble choosing what to eat?!
You’d think I would have no room left, but I couldn’t miss out on dessert! To sample some of everything I went with the petit fours. I loved the fluffy marshmallow with raspberry. The yoghurt panna cotta with crunchy ginger snap and caramelised pineapple was absolutely superb, but the winner for me was the peanut butter and chocolate bar. I washed these down with a Passage Rock late harvest Cabernet from Waiheke. It was silkier than a port but still sweet in flavour, without being overbearing.
Amazing food, knowledgeable staff, lunch with a show, fantastic local wines, I was in a happy place.
Side note – I also wish I had tried the house made pasta. I was daydreaming watching the Chef making the pasta, when a waiter came over and asked me if I was done. I was so mesmerised that I nearly jumped out of my chair! The poor guy got such a surprise. Ha!

 

Te Whare Tapu o Te Wairua

 

D’borah

Dal
is for door:
I have hung your fragrance
over the parted veil
of my entrance.

Bet
is for tent floor:
My spirit rolls out
a rug to rest my soul.
There is room for you.

Waw
is for tent peg:
The violent hook that lifted you up
and holds me down like the tree
whose branches grow so heavy
they stab the ground slow.

Resh
is for a man’s head:
The firstborn from among the dead,
you were first to love me.
My house is your house.

Hhet
is for tent wall:
Tall enough to hold me in,
soft enough to carve you on,
thin enough to burn me up
when my breath
has gone.