Pawnshop heart

Stealing one’s heart back from a thief.

This is my long, lyrical love letter to the dullness of your soul; hear
the piano’s crescendo, the marching band, the three hyenas
waiting at the edge of the canyon near your house? Each day
I fed them lunchmeat and canned corn and rubbish, kept
them away from your door. Did that not mean something?
 
It was a service. Once, I owned my heart, before I sold it to you, but
now I see too late it went too cheaply. So, tell me, is your love for me
like a pawn shop downtown where I may buy or trade it back? Clearly,
you will cheat me, offer someone’s grandma’s lorgnette, a pair of stained hose,
maybe a cigar box, or a clock for what you paid me — and then
 
try to charge more to return it as you hold it, as it beats for me,
longing for me, seeing me — but I will not pay you then. Soon enough
I will go there at night for its rescue, break your storefront glass
like a burglar, steal it back, swallow it down my throat to land
again in my chest since it shrank so small
 
in your company it was more like a pill than a
palm tree, but my unanswered question will be: Will you
notice anything but broken glass
upon your return — the next day,
in your fugue, in your misery — (and)
 
later, when you find
you can’t have it back,
tell me,
will you even
know it gone?

 

You Really Can’t Go Home Again

Best of In The Fray 2008. Anya Ulinich’s Petropolis tells the tale of a Russian immigrant’s coming-of-age journey in America.

Anya Ulinich’s poignant and bittersweet debut novel, Petropolis, chronicles a teenager’s coming-of-age as seen through the lens of post-Soviet Russia. Motherhood, cultural and personal identity, and survival are woven into a literary narrative that follows misfit 15-year-old Sasha Goldberg from the Siberian outpost of Asbestos 2 to upper middle-class Brooklyn, only to find she will get what she wanted all along — albeit at a price she never realized she would have to pay.

Lubov Alexandrovna Goldberg’s tenacious grip on the intelligentsia goes, for the large part, unnoticed by her daughter. Sasha’s more preoccupied with her missing father, long-gone for America. Lubov, on the other hand, simply removed all traces of him and behaves as if he never existed. The two live quietly, if combatively, in a small Siberian town where the primary economic activity, asbestos mining, has seen more productive days.

Lubov is obsessed with fitting in, while misfit Sasha suffers the abuse heaped on her by other kids because she’s different; she is biracial, Jewish, and overweight. While Lubov dreams of securing a place for her daughter among the Moscow intelligentsia, Sasha, like any other teenage girl, is preoccupied with boys. She is especially enamored of one in particular who comes from a family that Lubov would never approve of.

Sasha’s unexpected pregnancy sets her story on a trajectory to Moscow and beyond. While Lubov hopes to protect her daughter’s future by raising Sasha’s child as her own, motherhood propels Sasha on a quest for the life that would allow her to reunite with her daughter as the child’s mother. One mail-order bride transaction later, Sasha finds herself unhappily engaged to an American man in Arizona. Once there, she decides to find her father, leading her on a cross-country journey that forces her to ultimately define her own identity and make her own future if she is to survive.

Sasha’s child-like, perpetual hope that Asbestos 2 remains the same while she is away, that someday she will be able to return to her hometown and reclaim the child, Nadia, as her own, evolves almost imperceptibly into an adult realization that things can never remain the same, the visual confirmation of which comes with her final visit to Asbestos 2.

Ulinich’s powerful final chapters synthesize the whole of Sasha’s experiences up to that point, allowing Sasha to cross over that invisible line that separates children from adults, with meaningful, thoughtful prose that resonates far beyond the immigrant experience.

As one character tells Sasha, she does not have to split off her childhood memories, as the key is “living in the world, not in a town.” Sasha counters that all Americans are alike: “You think that where you live is the World” (emphasis in original). Sasha notes that her descendants will merely think of themselves as from “Eastern Europe somewhere” rather than know Asbestos 2. By staunchly affirming who she is and where she comes from, Sasha makes firm her place — and her family’s place — in the world. And in the final poignant scenes, Sasha knows that place — that story that began in the far reaches of Siberia — remains immutable, regardless of her future.

With Soviet Russia and its days of homogeny over, in Petropolis, Sasha is emblematic of the new Russia. A direct descendant of a 1957 cross-cultural youth festival, she is culturally and ethnically different from most inhabitants of Asbestos 2, and she is culturally and ethnically different from most Americans she meets.

Curiously, more than any other theme in the book, it is the push and pull of motherhood that most defines Sasha and her relationships across cultures. In Asbestos 2, in Arizona, in Chicago, in Brooklyn, it is motherhood that binds and divides Sasha and the women in her orbit, setting them up as either ally or adversary for Sasha, and sometimes both. It is her child and the hope for a better future for that child that drive Sasha to survive, be it enduring a loveless engagement or the quicksand of misguided charity from an affluent, socially conscious Chicago family, whose actions imprison her more than what they perceive she must have suffered under Soviet rule.

Ulinich’s vivid descriptions make Sasha’s world come alive. Her ability to juxtapose the barrenness of Siberia with the lush landscape of Arizona, and later with Midwestern woods and Brooklyn brownstones, serves to subtly play up the differences and similarities in geography and culture.

With a comic sensibility, Ulinich’s eye for satire and cosmic absurdity illuminates the narrative in a way that elevates it beyond what most readers might expect from a debut novel. While Petropolis is a bit slow in the beginning and slightly awkward in the epistolary sections, where the narrative gets a bit jumpy, Ulinich, who shares some measure of personal experience with Sasha, as both are Russian immigrants to the United States, offers up a well-told, richly layered narrative that goes beyond the usual coming-of-age story.

 

Cooking like an Egyptian

200802_interact1.jpgTo learn about my heritage, I took classes in Arab politics and history. But they couldn’t make up for what I’d missed in the kitchen.

 

Weaving my way through the cramped aisles of the Middle Eastern import shops near my home, I felt a pang of nostalgia for my family in Egypt. As a little girl, I’d watched my aunts sift through bags of rice and roll stuffed grape leaves into neat logs. But it’s been 14 years since I was last in Egypt. I realized I was an outsider.

Growing up in Virginia with a Scottish mother and Egyptian father, I lived in a blend of accents, skin colors, and tastes. My mother whipped up everything from cornbread and chili to shepherd’s pie and Peruvian stew. I knew the difference between coriander and cilantro by the time I was six, and I could name all the vegetables at the farmer’s market. But Egyptian food was mostly a mystery.

In the Arab world, culinary traditions are usually passed down from mother to daughter, and, far away from his mothers and sisters in Egypt, my father had no way to recreate the dishes he ate growing up.

In college, I took classes on Arabic language, politics, and history. But I was missing something essential.

“I bet my mom’s goulash is better than yours,” one friend boasted.

“What’s goulash?” I whispered to another friend, Sara Elghobashy.

Her large Egyptian eyes widened.

I might have been well-versed in the rise of the Ottoman Empire, but I was a stranger to daily Arab life.

So Sara, raised in New Jersey but born in Egypt, agreed to teach me how to cook like an Egyptian.

Food is a pivotal part of Arab culture.

“I would much rather offer someone a plate of hummus than lecture to them on the geopolitical history of Amman,” says the Jordanian-American author Diana Abu-Jaber, who writes about food in her novels. “I think in the end you probably learn more about Middle Eastern culture — its earthy, delicious, hearty nature — from eating the hummus.”

As Sara and I shopped for ingredients for stuffed grape leaves and Egyptian rice pudding, greater ambitions took hold.

“Why stop with grape leaves?” I thought. “Why not eggplants and peppers and zucchini? Why not kebabs and falafel?”

But wise Sara knew to start slowly. We began chopping onion, parsley, tomato, mint, and dill. Add rice and ground meat, and you have the standard filling for all stuffed vegetables called mahshy. Sara’s roommates and I gathered around the table, and she showed us how to stuff each leaf and roll it into a perfect parcel. Her fingers worked quickly, tucking the green ends in as she rolled, locking all the delicious filling inside.

I gingerly picked up a delicate leaf and plopped a dollop of filling in the center, just as Sara had. But the filling squished out through the edges, leaving me with a messy blob.

“That looks great!” Sara lied, as I placed the blob into a pot lined with onions and peppers to infuse the leaves with even more flavor, a trick Sara got from her mother.

“Growing up, my mother was always in the kitchen, so if you wanted to talk to her, you had to go to the kitchen,” Sara said. “When I got to college, I realized that I could recreate most of the meals just from memory.”

After about five minutes, the pot began to sputter and spit broth. One of my leaves had exploded, spewing rice down the side of Sara’s stove.

For the rice pudding, Sara tossed rice and coconut into a baking dish filled with water and milk. She watched me with a perplexed look as I carefully measured two cups of sugar into a measuring cup.

“I never thought of using one of those,” she said. “All my measurements are from my mother, and two cups for an Egyptian are totally negotiable.”

After about two hours, the grape leaves were tender and the rice inside fluffy. We piled them atop a platter, burying the exploded one at the bottom. Traditionally, a full meal would begin with soup, followed by the mahshy, then either chicken or spiced meatballs called kofta.

The pleasant bitterness of the leaves contrasted nicely with the faintly sweet filling. After dinner, we pulled the pudding from the oven, where it had solidified more than Sara wanted.

“I swear my mother is keeping something from me,” she said while I cut the rice into squares. “No matter how much milk I put in, it’s never as creamy as hers.”

But the pudding was thick and delicious.

Back home, I found an email from my father in my inbox. I hadn’t yet told him about my plan to cook my way into Egyptian culture. But maybe he could smell the rice pudding all the way from Virginia.

“Today I tried to cook rice pudding like my mother used to make,” he wrote. “It didn’t turn out right, though. I called your aunt to ask for help but she didn’t pick up. It’s sitting in the fridge now uneaten.”

“You don’t need to call Aunt Nagwa,” I wrote back. “I’ll teach you when I come home for Thanksgiving.”

And with one click of the send button, I finally felt like an Egyptian.

 

Juking the stats

Never underestimate people's desire to cover their asses.

I finished reading Super Crunchers, a provocative book by Ian Ayres. He argues that improvements in statistical techniques are transforming the ways that we make decisions in fields ranging from business to medicine to government policy.

Nowadays we have access to much more data, thanks to technological enhancements such as cheaper data storage and online survey tools, and with all that data to "crunch," computers can often arrive at judgments faster and more accurately than human experts can. As a result, statistical models have recently been branching out into new, unfamiliar terrain. They’re diagnosing illnesses better than doctors and predicting the quality of wine better than wine critics, and in doing so, Ayres argues, they’re also diminishing the authority of experts and the reliability of intuition rooted in life experience.

A particularly bizarre example from the book is how one company is using the characteristics of Hollywood scripts — for example, how many production sites the film has, or how many big-name actors are in the cast — to predict which movies will be blockbusters. Apparently, their model is beating out the studios’ own predictions.

Another somewhat discomfiting trend is how companies are collecting data on individual customers — for instance, by tracking purchases made using those "reward" cards you carry on your keychain — and then using that information to figure out not only what sells and what doesn’t but also how profitable a customer you are. The company can then turn around and target promotions at the spendthrifts and not the coupon clippers.

My biggest problem with the book is that it doesn’t spend enough time talking about the limitations of these statistical models. It’s important to consider carefully how the data are collected and whether you can actually measure what you’re trying to measure. There’s plenty of debate in social science circles about these topics, but for an opposing, non-academic viewpoint you might turn to the third and fourth seasons of The Wire. The show’s creators, David Simon and Ed Burns, savage the growing popularity of using statistics to track the performance of schools (No Child Left Behind), police departments (CompStat), and other institutions. The people working for those institutions want to keep their jobs, they argue, so what happens is everyone starts juking the stats: downgrading aggravated assaults to lesser crimes, marking students down as proficient when they’re way below grade level.

As far as the war on drugs is concerned, jacking up up the arrest numbers will also not get at the root causes, Simon and Burns suggest, because the drug dealers just get better at operating outside the spotlight. Shutting down their networks requires a kind of police work that’s more subtle and involved than just rounding up bodies, but that strategy gets the short shrift in an environment that prizes quantity, not quality. In other words, the stats we’re using to evaluate success may not be the right ones to be measuring.

As "data-based decision making" becomes more popular, expect a sharp increase in the fudging of data and the political maneuvering on behalf of self-serving measurements of performance. Never underestimate people’s desire to cover their asses.

Victor Tan Chen is In The Fray's editor in chief and the author of Cut Loose: Jobless and Hopeless in an Unfair Economy. Site: victortanchen.com | Facebook | Twitter: @victortanchen

 

Franken-hottie

A man and I board the B train through the same door.

I hadn’t noticed him on the platform, but I should have. He’s breathtakingly gorgeous. Imagine the best parts of Jude Law, early Marlon Brando, George Clooney, and Johnny Depp (not the Willy Wonka Depp), all melded into one Franken-hottie. Does he really live in Brooklyn? I thought people who look like this are quarantined to the Upper East Side to keep the gene pool pure. He takes a sip of coffee and picks a song on his iPod. Of course I’m not actually going to speak to him. What on earth would I say? Come here often? Or So are you a "light and sweet" man?

I just stare at him for a while, over the top of my book, while I suavely pretend to read, not acknowledging any words on the page.

 

Friday diversions

Your moment of zen, plus a documentary not to miss.

It’s Friday! Here’s your moment of zen. Video courtesy of our friend Ken Lee at solargun.com

 

 

Speaking of Ken, his wife Susan Pak worked on a documentary, A Walk to Beautiful, which opens at the Quad Cinemas in Manhattan next Friday, February 8. Here’s the synopsis:

The award-winning, feature-length documentary A Walk to Beautiful tells the stories of five Ethiopian women who suffer from devastating childbirth injuries and embark on a journey to reclaim their lost dignity. Rejected by their husbands and ostracized by their communities, these women are left to spend the rest of their lives in loneliness and shame. They make the choice to take the long and arduous journey to the Addis Ababa Fistula Hospital in search of a cure and a new life.

The documentary has already won awards at film festivals in Barcelona, Denver, San Francisco, and St. Louis. Please check it out. Here’s a link to their site.

Victor Tan Chen is In The Fray's editor in chief and the author of Cut Loose: Jobless and Hopeless in an Unfair Economy. Site: victortanchen.com | Facebook | Twitter: @victortanchen

 

Cambridge Forum clip and book reviews

Video/audio clip from an appearance in December, plus links to book reviews.

Katherine Newman and I spoke at the Cambridge Forum in December about the book. Here is a link to the video, which appeared on C-SPAN, and here is a link to the audio, which was broadcast on WGBH.

Here are links to some book reviews:

Boston Globe  

All About Cities

OC Weekly

Sojourners

Victor Tan Chen is In The Fray's editor in chief and the author of Cut Loose: Jobless and Hopeless in an Unfair Economy. Site: victortanchen.com | Facebook | Twitter: @victortanchen

 

Lost again

Lost premiered its fourth season last night. Wow. I've given up trying to theorize about where this show is headed.

Lost premiered its fourth season last night. Wow. I’ve given up trying to theorize about where this show is headed. It’s a fun ride, though, and they throw in all these seemingly random references to literature and mythology and political theory and physics that you think you must be learning something. (Yes, John Locke was a 17th-century English philosopher, Our Mutual Friend was Dickens’ last novel, B.F. Skinner was a 20th-century American psychologist … and, yes, treastises on free will and critiques of materialism and theories of operant conditioning … but did you notice what beautiful skin these people have?). I just hope that the writers know what they’re doing, and that all these disjointed plot points are leading us toward some fitting conclusion, and not down the rabbit hole of bizarre screenwriter logic, a la The Matrix or Twin Peaks.

I’m glad to see that Lance Reddick from The Wire showed up in last night’s episode, and that Ken Leung (who was terrific in The Sopranos‘ last season) will also be playing a recurring character this season. Just fly in James Gandolfini and the show will be perfect.

One thing I like about Lost is that it tries to be global and multicultural in its outlook — much more than other Hollywood fare, at least — and yet it doesn’t have everyone around a campfire singing "Kumbaya." There were cultural conflicts aplenty among the survivors in the early episodes, but the interesting thing is how those differences became somewhat muted once armed conflict with another group on the Island — "The Others" — took precedence. In the last season we started to understand what makes The Others tick, and suddenly they’re not (well, with one exception) the monsters they once were, but another group trying to survive, feeling threatened, and setting up in their minds that instinctual divide between us and them that is the root of all misunderstanding and conflict.

It’s a state of nature, in other words, with a social contract being cobbled together, and guys named Rousseau and Locke and Bakunin and Hume duking it out … yeah, I hope these writers know what they’re doing.

Victor Tan Chen is In The Fray's editor in chief and the author of Cut Loose: Jobless and Hopeless in an Unfair Economy. Site: victortanchen.com | Facebook | Twitter: @victortanchen

 

Edwards is out

No, the political landscape has not really changed.

Edwards is out.

I think he waged an important and worthy campaign. The former senator played a defining role in the Democratic Party over the past year, by setting the agenda that others followed on issues like health care and the Iraq War, and by shining much-needed light on the fact that one in eight people live in poverty in the world’s richest country. (Full disclosure: Edwards wrote the foreword to my book, so I’m biased. But I voted for the guy in the 2004 primary, too, so I’ve been biased for a long time.)

Speaking of bias, this article talks about how Edwards’ decision to end his presidential campaign may have been influenced by the "antsiness" of "several major contributors," who wanted to line up behind Clinton or Obama. There’s nothing wrong about listening to your supporters, of course. But it made me wonder how much say these "major contributors" have over presidential (or any) candidates, even those brave souls trying to reform the system. How much do they call the shots regarding whether you run, how you run, whether you stop running — and, for that matter, what you do when you get in office? Perhaps what we really need to focus on is another signature theme of the Edwards campaign: reining in the influence of money in politics.

For more on that, you might want to check out this book Free Lunch, which has interesting things to say about the ways that monied interests are corrupting our political system, and generally screwing over everyone.

Update: I also need to mention that I was a contributor to Edwards’ campaign, but not a "major contributor" — more like a "random guy on the Internet" contributor. Now excuse me while I line up behind Obama.

Victor Tan Chen is In The Fray's editor in chief and the author of Cut Loose: Jobless and Hopeless in an Unfair Economy. Site: victortanchen.com | Facebook | Twitter: @victortanchen

 

The wasted potential of The Wire

I'm jealous of all those people with HBO who can watch the final season of The Wire. According to many critics, it's one of the best TV shows of all time.

I’m jealous of all those people with HBO who can watch the final season of The Wire. According to many critics, it’s one of the best TV shows of all time. At its most basic, The Wire is about drug gangs in Baltimore and the cops who chase (or fail to chase) them, but really the show is much broader in its ambitions, managing the remarkable feat of both empathizing deeply with the struggles of each and very character and understanding deeply the institutions that shape and limit those individuals.

Recently I watched the fourth season on DVD. The storyline centered around four boys who clearly could accomplish great things if they were growing up in a more nurturing environment. You look at Randy’s entrepreneurial skills, Duquan and Namond’s intelligence, and Michael’s heart, and then you wonder what might have been if those talents had not been beaten down by the streets or (in Michael’s case) diverted to criminality. This is a running theme in the entire show: The indisputable organizational and entrepreneurial genius that the drug kingpins (above all, Stringer Bell) show could have brought about so much good in society, but instead leads to more sickness and squandering of talent. 

This is what The Wire shows us: the incredible waste — economic, social, and moral — that results from this tangled knot of poverty and criminality, and our collective failure to do anything about it.

Do yourself a favor and catch The Wire on HBO or on DVD. Did I mention it’s hilarious, too? It’s like Greek tragedy with jokes.

Victor Tan Chen is In The Fray's editor in chief and the author of Cut Loose: Jobless and Hopeless in an Unfair Economy. Site: victortanchen.com | Facebook | Twitter: @victortanchen

personal stories. global issues.