Issue 2: Spring 2014
My thaththa conducts a neurological exam on his newest patient, the cricket. Antennae quiver as thaththa speaks. He asks the cricket to explain the meaning of the following expression: he kicked the bucket.
From somewhere in the darkness rose the groans of a skinny, stammering boy and the chanting voices of a group of young men and women. Aaschey bachar aabar hobey. The annual slogan of the pujas that was meant to reassure everyone about the continuity of the festival, of joy and of life itself.
In real life, she wasn’t blue like in the comics,
she was dark as soot,
She appears when we’re not looking
her parents only wanted a boy to do all the fighting
Is he riding shotgun in an auto-rickshaw, his scarred ears
flapping in the diesel dust?
On summer trips overseas when I was 3, 6, 9, 12,
My aunties used to whisper, What are you feeding her?
So you remember Superman,
not Shaktimaan, veal not enthu
cutlets in Ramarajan pants
turning up half hour early
to help the host host his party?
Pine air wood smoke crick of jungle insects peaked white chortens with relics in their bellies kuzuzangpo-la do you speak Dzongkha curfew 8pm too many voices culture kit in bag (maple syrup, Canadian flag pins) where you from chilip we had Americans here before.
The rooms emulated Bollywood as an ode to the homeland, while the décor, the ambience, and general visual appearance were carefully cultivated and curated to reflect an aspirational Middle Eastern lifestyle. These houses were ornate and grand, an interesting coexistence of nostalgic narratives of home and interpretations of the current life away from home.
Although entrepreneurial labor is a valid way of achieving integration and attaining conventional ideas of success, it unfortunately seems to come at the expense of political participation.
Sa’dia Rehman works with themes such as isolation, shame, and hidden social boundaries. Her installations, sculptures, and works on paper explore subjects that are considered taboo such as sexuality, power hierarchies, and normative ideals around gender.
Understanding India is as futile as finding the sun at night. Unlike any other place I’ve been, this is a country to feel, to take a deep breath and sense, and it will all come to you. Out of all this contrast and shapeshifting, there’s something that sweeps the whole country: life.
My film explores the emotional state of a woman’s mind: her relationship with self, her relationship with the other woman, her relationship with the divine, her relationship with Mother Earth, her relationship with humanity.
In 2010, I went with a team to Nepal to process refugee applications of ethnic Nepalis who fled Bhutan from persecution or were forcibly repatriated back to Nepal by the Bhutanese government. On my time off, I explored the cities of Damak, Kathmandu, Bhaktaphur, and Dharan.
The Lowland by Jhumpa Lahiri
Fine details cannot fill the emotional hole in Jhumpa Lahiri’s The Lowland.
Start a “Touchstones” document or a small notebook. Absorb the rhythms and cadences of your touchstones. Feel their heartbeats.