Search Results for: Tin House

‘My Tongue Swallowing the Taste of Home Soil’: On Filipino Food, Family, and Identity

WASHINGTON DC - September 5TH: Sisig from Purple Patch shot on September 5th, 2017 in Washington DC. (Photo by Goran Kosanovic for The Washington Post via Getty Images)

At The Margins — the online magazine of the Asian American Writers’ Workshop (AAWW) — writer, filmmaker, and photographer Jill Damatac explores identity, colonalism, and memory through the lens of family and Filipino food. In “Dirty Kitchen,” Damatac shares two recipes — tinola, a ginger chicken soup; and sisig, a diced-up pork dish seasoned with calamansi juice, onions, and chili peppers — and weaves cooking instructions throughout sharp, sensory prose.

On the taste of tinola, and memories of her childhood:

When I was little, before I departed the sunny, Pacific chaos of our world for the chilly, Atlantic silence of the new world, we often had tinola for Sunday lunch at Lolo and Lola’s house, where I would spend weekends. In the early mornings, Lolo and I would stroll the barrio streets to buy fresh pandesal from the local bakery, me skipping along in mumbled song with the roosters, him punching the air with calisthenic fists, just as he had done with the American GIs during the war. In Pennsylvania, where he had followed us a year after we left, he would walk me to and from school, the two of us passing a bag of sticky, sour sampalok between us, spitting out the smooth, shiny seeds into our palms. He always wore his pristinely white Reeboks and sometimes his ten-gallon cowboy hat. I still remember my shame on the days he would arrive in that hat.

It was during those early years in the land of the free and the home of the brave that I first felt shame, which is a hunger for pride, and loneliness, which is a hunger for belonging. Tinola’s plain, clear-brothed, ginger-laced embrace helped to sate these hungers, my tongue swallowing the taste of home soil.

Sauté the garlic, ginger, and onion in oil in a large pot, stirring until soft. 

On sisig, but also colonialism, home, and identity:

“You want to know why my sisig is special?” Tito asked me recently over a sizzling plate. We were sharing a meal next to the volcano, Taal. I had just returned to the islands after twenty-two years of undocumented American exile.

“Because I make it with pork belly. Usually it’s made with the cheap parts of the pig, ha. Why should we eat only cheap parts? And love. I cook it with love.”

Sisig is no longer made with just the discarded cuts, but its poisonous effects remain. The Americans are gone, but their imperious scars linger. No longer trapped by our colonizers, we trap ourselves. We transform to survive, but we still bear the boiled, charred, gristled remnants of our past. I will continue to exist in a hungry space between longing and belonging, for my body, exported from its country of birth, deported from its country of growth, now has only sense and memory to call home.

Serve immediately, using two large spoons to stir in the eggs to cook. Enjoy with garlic fried rice. 

Read the essay

‘You Just Have to Have a Strong Mind’: Shantonia Jackson on Working in a Nursing Home During the Pandemic

Photo by Matthias Zomer / Pexels

This summer, Gabriel Winant, an assistant professor of history at the University of Chicago, interviewed Shantonia Jackson, a certified nursing assistant (CNA) who works at City View Multicare Center in Cicero, Illinois. CNAs like Jackson provide general care (making sure patients eat and shower) and are often the only people that offer support and companionship when residents need someone to talk to.

City View experienced a major COVID-19 outbreak: 253 residents out of 315 contracted the virus, and many of them died. Jackson’s colleague, a 64-year-old woman named Camelia Kirkwood who was supposed to retire in June, was among those who contracted COVID-19 and died. Before coronavirus, the two oversaw 35 residents apiece. Now on her own, Jackson provides care for 70 men in an all-men’s unit.

Winant and Jackson’s conversation in Dissent reveals what it’s like to work in a nursing home, and the challenges and exploitative conditions hardworking healthcare workers like Jackson face, especially during the pandemic.

She describes how she felt after her colleague, Camelia, died from the virus, and the lack of support from the nursing home’s management:

It just devastated me when she passed away. I really, really took that very hard. But I had to come back and explain it to the residents, because they wanted to know where she was. They were hearing that she was sick or she died, but one by one I would talk to them and let them know she was in a better place. And you have to do that with psych and behavioral patients, because they can kill you. They could take the fire extinguisher off the wall and just bash it up the side my head, you know what I’m saying? So I develop a rapport with them.

Management never came upstairs on the floor with me to see what I was dealing with. They would come upstairs and yell at me, “Well, you need to give a shower.” I already gave thirty showers out of seventy people. I can’t make sure seventy take a shower. Because I’ve got to still pass trays. I’ve got to still make beds. It’s hard.

Even with the kitchen. Even with laundry. Who wants to have bugs? It’s supposed to be clean, but the nursing home industry is so cheap. We sometimes don’t have a housekeeper on our floor. It’s like, really? Call somebody in. But you don’t want to, because you don’t want to pay them. That’s crazy.

It’s common for nursing home workers like Jackson to juggle more than one job, often at other care facilities or in people’s homes, which is one of the ways the virus spreads.

I took a leave, because I felt like I didn’t want to take the virus from City View, with 253 infections, to Berkeley, which didn’t have one case. So I took it upon myself. And the nursing home industry is so fickle, and selfish, and disrespectful, because they were actually angry at me for leaving. I thought my director of nursing would be appreciative, because what if I came over here and I transmitted to all these elderly people? They all would have died. And they have the nerve to be mad at me, and calling me, saying, “You’re not going to come back?” No! I’m dealing with 253 cases over here. I want to be careful for the grandmas and the grandpas.

Later in the interview, Winant asks: “If you could make nursing homes change in any way, what would be your vision?” Jackson describes:

My vision would be to make sure that every CNA had at most only five residents. I would make sure it would be properly staffed. And that way we can comb their hair, brush their teeth, lotion their body, change them every two hours, make sure they get their needs, so we can do what we were put there to do, when their family members couldn’t do it. The residents would get proper food. You should see some of the food that they feed them. I wouldn’t feed that to my kid. Why would you feed them this? In America, we don’t care about the elderly; they’re about to die anyway, we don’t care. We should have respect, because they have wisdom.

When Winant asks how Jackson manages to care for all her patients, she responds, “I’ve got a strong mind. You just have to have a strong mind. It’s all I can do.”

Read the interview

Shades of Grey

Getty Images

Ashley Stimpson | Longreads | October 2020 | 26 minutes (7,001 words)

It’s been nearly a decade since the numbers were tattooed in her ears, but they remain remarkably legible. In the right one, dots of green ink spell out 129B: Vesper was born in the twelfth month of the decade’s ninth year and was the second in her litter. The National Greyhound Association (NGA) gave that litter a unique registration number (52507), which was stamped into her moss-soft left ear. If I type these figures into the online database for retired racing greyhounds, I can learn about her life before she was ours, before she was even Vesper.

Smokin’ Josy was born to a breeder in Texas, trained in West Virginia, and raced in Florida. Over three years, she ran 70 races. She won four of them. In Naples on May 12, 2012, she “resisted late challenge inside,” to clinch victory, according to her stat sheet. In Daytona Beach on April 17, 2013, she “stumbled, fell early.” Five days later, after a fourth-place showing, she was retired.

Read more…

An Atlas of the Cosmos

Illustration by Glenn Harvey

Shannon Stirone | Longreads | October 2020 | 16 minutes (4,288 words)

When I was 8, I noticed an atlas on the bookshelf in my room. I had just started amassing large art books from family museum trips but this was the first abnormally sized book in my posession — it was so oddly shaped its pages spilled over the edge of the shelf. One day I used all my strength to wiggle it down off the bookcase. I sprawled on my bedroom floor and began sifting through the long pages. It must have been from the ’50s or ’60s. It smelled old but it was clearly a book that had been cared for over the years. Its pages were a mix of pastels so dizzying and complex; in how pinks separated from light green and the skinniest blue rivers cut across the pages. Once I was old enough to read, my grandpa started ceremoniously gifting me books from his shelves.

One by one, every time I saw him, a piece of his library became mine. He had travelled all over the world and knew how much it could change a person. And whenever I’d visit him, I’d browse the books on the lower shelves and run my fingers along the spines like a car’s wheels over speedbumps, each cover sort of yellowed from years of his cigarette smoke and constant reading. Once this book and I were formally introduced, I began having regular dates with the atlas. Each day I would lay on my stomach and then sit cross-legged hunched over the pages, running my fingers down the rivers in Africa — the Nile, Limpopo, I’d take a trip to France or Chile. I would attempt to pronounce Czechoslovakia and many other long words that threw me into a joyous tizzy. Every mountain range, every body of water, every large city I would look at longingly wondering one day when I got older, how many of these mysterious places I would see with my own eyes. My wanderlust grew as I grew. There was so much to be explored, there was so much space that existed around my little home in Los Angeles. There was so much I didn’t know.

Read more…

The Power of a Judith Krantz Sex Scene

Author Judith Krantz (Photo by Aaron Rapoport/Corbis/Getty Images)

Kristin Sanders | Longreads | October 2020 | 12 minutes (2,551 words)

Decades later, the paperback edition of Spring Collection still arouses me: A tall, thin woman who is clearly a model strides across the cover, wearing a glamorous white ‘90s dress, slit open to the top of her right thigh. Her white high heels are dated, but everything else from the image, which cuts off just above her nose as if to prevent her from appearing as a real woman, is timeless in the way that images of objectified women usually are: just boobs, legs, and arms. The book has the one Judith Krantz sex scene I still remember, have always remembered, between the character Maude and a girl whose name doesn’t matter, a girl who should have been me.

I must have been in seventh or eighth grade when I found my mother’s copy on our bookshelf. It was published in 1997, so I would have been 14.

Read more…

Summer Mother

Wikimedia Commons CC BY-SA 3.0

Michael A. Gonzales | Longreads | October 2020 | 6 minutes (1,720 words)

Though my mother was an only child, I grew up surrounded by many aunts. These women, mom’s “play sisters” as she called them, were not siblings by blood, but were connected by long friendships, residual remembrances and childhood memories, as with Aunt Carol and Aunt Margret, who grew up with her in the Pittsburgh community known as the Hill District. After relocating to New York City in 1953, mom attended George Washington High where she had classes with Aunt Bootsie and Aunt Charlotte; after graduation, she began to hang out in various Harlem night spots including Carl’s On the Corner and the Brown Bombers, bar-hopping with my future godmother Aunt Myrna as well as with roommates Jill and Barbara, the only ones of her sisterly crew that I didn’t call aunt.

Read more…

Find Yourself

Photo Collage: "Find Yourself" by Stuart Horn/ Carolyn Wells

Elizabeth Isadora Gold| Longreads | September 2020 | 4,633 words (18 minutes)

It was 1981, in the Olde City section of Philadelphia. I was six. My parents were artists — my dad a cellist/composer/arranger and my mom a potter and teacher — and our tiny bathroom showed it. On one whole wall, my mom hung a poster of the San Francisco baths circa 1890, with lots of gents in one-piece suits and ladies in frilly bathing bonnets. By the toilet, on cinder block-and-board shelves, were stacks and stacks of magazines, New Yorkers, mostly. Postcards framed the mirror over the sink, fleshy vintage nudies with bobbed hair, standing in chorus lines.

Read more…

Who Gets a Vaccine?

Photo by Evans/Three Lions/Getty Images

2020 is the year that brought us COVID-19 — but as Danielle Groen explains in The Walrus, the battle against viruses is not a new one. In the 1600s Chinese doctors were attempting to vaccinate against smallpox by grinding a “scab into a powder” and blowing it up the patient’s nose, and the basic principle has not changed to this day — teaching the immune system how to fight a virus if it is infected. The difference with COVID-19 is the need to vaccinate the whole world, fast. Developing the vaccine is still the first hurdle, but what comes next is going to be just as complicated, with every country in competition for supplies. 

Making a successful vaccine is one challenge. Making enough of it to satisfy world demand is another. There are, of course, all sorts of regulations and standards concerning how to go about production: “I can’t head into my basement and start brewing up a vaccine,” says Curtis Cooper, president of the Canadian Foundation for Infectious Diseases. Every facility needs to conform to Good Manufacturing Practices (gmp), which are exceptionally specific rules set out by the WHO that ensure quality control. You want consistency over time so that each successive batch is precisely the same.

… the UK reserved 100 million doses of the University of Oxford’s vaccine while the US secured another 300 million—that’s nearly a quarter of Oxford’s projected annual supply gone. By mid-August, preorders of COVID-19 vaccine candidates were reportedly stretching toward 6 billion doses, almost all of them claimed by wealthy nations. None of these vaccines has yet been proven to work.

This raises the question of whether it will be the wealthy countries that dominate the vaccine supply, and other ethical questions also lurk beneath the surface. 

Do you vaccinate to prevent mortality? In that case, for this virus, the elderly need to be prioritized. Do you vaccinate to reduce transmission and spread? There are some house-partying twentysomethings in Kelowna who could get the jab. Or do you vaccinate widely in an attempt to achieve herd immunity? NACI advises that front line workers be prioritized because they’re at a greater risk of infection based on the work they do. But that’s not axiomatic: “There’s no commandment in the bible of pandemic response that health care workers go first,” Upshur says. “You have to make arguments, and those arguments are based partly on data and partly on ethics.” We know that racialized and low-income people are infected at rates wildly disproportionate to their populations, not for any epidemiological reason but because of historical and economic disadvantages. This inequality persists for those working in the health care system itself: The Lancet published a study of almost 100,000 front line health care workers in the UK and US, which found that racialized workers were nearly twice as likely as their white colleagues to come down with COVID-19. Should decision making about vaccine prioritization be based on structural social causes instead?

Read the story

Inside the Chaos of Immigration Court

Photo collage: Wikimedia Commons (CC BY-SA 3.0) / Cheri Lucas Rowlands

Gabriel Thompson | Longreads | September 2020 | 6,849 words (24 minutes)

 

The Equitable Life Building, at 100 Montgomery Street, sits in the heart of San Francisco’s Financial District. Named after an insurance company, it was the first skyscraper built in the city after the Depression, a symbol of optimism rising 25 stories high with marble walls that sparkled in the sun. Today, it is home to all sorts of buzzy Bay Area companies, from Spruce Capital Partners (“investors and thought leaders in the Life Sciences industry”) to the OutCast Agency (“strategists and creatives” with “a hyper-growth mindset”). To get away from the hectic pace of investing, strategizing, and creating, tenants can burn off calories inside the building’s private gym or take their lunch break atop a luxurious rooftop deck. 

The Equitable Life Building is also home to the San Francisco Immigration Court, though it’s easy to miss. On my first visit last winter, the only hint that a court lay within was the scores of families in the lobby, clutching summonses and looking confused. The court is above, occupying the fourth, eighth, and ninth floors. Up here, the elevators opened into a slightly off-kilter dimension: A security line snaked into a cramped waiting room, which led to a winding and windowless hallway, from which one entered identical windowless courtrooms. It was deeply disorienting. I often encountered people fumbling around in the hallway, not sure how the hell to get out.    Read more…

Selling Fame

Pexels

A celebrity autograph scribbled on a scrap of paper with a sharpie used to be a treasured possession — but, as K.J Yossman notes in his piece for Wired UK, it’s now a selfie or a video to post on social media that makes a brush with fame worthwhile. With few fans getting to actually encounter their idols in real life, a group of entrepreneurs is using an app called Cameo as a way to cash in on this trend.

The site boasts more than 30,000 “celebrities” across a plethora of industries from entertainment to sports to social media to business, all available to deliver individually-tailored missives at the touch of a button. All you need to do is select a name, type in what you want her or him to say and fill in your payment details. The person you’ve booked then has seven days to record your message and upload it to Cameo.com, where anyone can view it (unless you’ve opted to make the video private).

At the time of writing, fees range anywhere from £8.30, for New Zealand cricketer Peter Younghusband, to £41,500, for American comedian Chris D’Elia, who, unsurprisingly, has never been booked at that price. Talent set their own price tags, although Cameo, which takes a 25 per cent cut of each transaction, does offer guidance. “It’s about how much your fans can afford, not how much you’re worth,” says Abbie Sheppard, who heads Cameo’s UK and European office. (Galanis puts D’Elia’s eye-watering fee down to his wacky sense of humour.) For those with a more restricted budget, there are still plenty of household names available for under £1,000, including Snoop Dogg (£622.50), Lindsay Lohan (£249), John Cleese (£352.75) and even 94-year-old Dick van Dyke (£830), whose video greetings are recorded at a piano and almost always include a few lines from some of his best-known hits.

For many celebrities, the idea of charging fans to wish them congratulations or say hello does not sit well, but from February to March of this year there was still a 77 percent increase in talent joining the site — suggesting that the pandemic shutting down other avenues for exposure enhanced Cameo’s appeal. For the fans, this has been a delight, with the site offering new ways to deliver messages that could not always be given in person during COVID-19.

a woman booking NFL player Tyler Lockett to tell her husband that she’s pregnant, a fan requesting that actor Dolph Lundgren wish his doctor friend luck fighting Covid-19, and one customer asking influencer and voice actor IRLRosie to tell someone to stop talking during films – in the manner of Amazon’s Alexa device. From mid-March to mid-April Cameo reported a 176 per cent increase in bookings; Galanis says many were requests for reassurance or advice.

However, there is a darker side to Cameo, with some people finding their fame being inadvertently used to support causes they do not believe in.

…in 2018 a handful of celebrities including NFL player Brett Favre, comedian Andy Dick and rapper Soulja Boy were tricked into recording shout-outs for a white supremacist group, some of which included coded antisemitic messages. “You guys are patriots in my eyes,” Favre, who charges £249 per video, said in the video, mistakenly believing he was talking to a veterans’ organisation. In the same year, Flava Flav was duped into sending a “happy retirement” message to an Australian cardinal who had recently been convicted of sexually abusing children (the conviction was later overturned).

Read the story