Showing posts with label bangladesh. Show all posts
Showing posts with label bangladesh. Show all posts

Places to Leave

Monday, January 11, 2016

This week, I have a piece out in CultureStrike on transnational adoption. It’s a very personal piece and it took a lot of work to put together (thanks, Michelle!) so please give it a read. Now, back to the action.

A mala (floral necklace) made of red roses, orange and yellow accent flowers.

I’ve left a lot of places this month. Since I last wrote here, I’ve been living out of suitcases traveling to different family homes across Dhaka and across Bangladesh. New Year’s came and went. My father came and went. While he was here, we knit together his partner’s family and ours through a series of dinners and celebrations. Car ride after car ride after car ride – no wonder my stomach got upset and took me out of commission for a few days at the end!

It’s been a real honor to meet with so many new faces and travel to places I have not yet seen, but adjusting back to the quiet of everyday life has been its own delicious treat. I’ve been thinking (and reading) a lot about emotional labor and am working on a much larger piece chronicling some of those thoughts and feelings. But that’s all for later. For now, I leave you with some selected photos and images from my various trips.

My father (in a suit) and Raina (in a bright pink sari) seated and smiling with red and white malas.

Me and two friends laughing.

Meeting everyone in our Kushtia village - many people and children gathered around plastic chairs in our courtyard.

A bunch of mohish (water buffalo) on the shores of the Padma at Raita Ghat (a landing spot made by the British for boats to dock)

A kukur (dog) looking back at my camera as I take a picture of rice paddies in Noakhali.

Plants in red pots lined up against a wall at Noakhali Science and Technology University.

Two young children on stools looking deep in thought as they sit next to a pukur (pond) in Noakhali.



So, You're Not a Superhero

Tuesday, September 15, 2015



So you’re not a superhero. You get frustrated when you mix up verb tenses. You can’t cross the street without saying a small prayer. You’re not conventionally attractive, by American or Bengali standards. You stall in your writing – and your reading and your half-made plans. You take off your kameez one shoulder at a time, hopping on one foot as you tug on the sweaty fabric. You jump at the tiniest tik tiki movement on the wall across from you. You burst out of your new shoes. None of this is possible without you.

I moved to Dhaka a little over 2 weeks ago with the intention to write. I was here 2 years ago on a research project about perceptions of mental health and mental illness, but felt like all of the stories I was collecting deserved a better home than just an academic paper that would be read by only a few people. It was then that the idea for my novel manifested – and now I finally get to pursue it.

I also moved here as a challenge. I needed to shake myself out of my skin, my NYC hustle, and the perfectionism that keeps me from doing the work that I really want to do. It’s an amazing opportunity, but I’m also struggling with it. In my head, I wanted to pick up where I left off in my Bangla study, meet with new friends, and build a community around things that I care about – particularly social justice work. But all of these things take time.

The greatest work is to adjust my expectations as a person with a Western sense of timeline and a tendency towards impatience. It’s hard for me – when sitting down to verb charts or a blank page – to remember that learning isn’t often linear. It’s equally hard to admit feeling lonely and frustrated. I feel sometimes that I have to front like I’m superhuman and don’t have off days. It feels very much like my traveling has come to an end, and I have to learn to be settled.

Recently I’ve turned to this well-worn advice for writers: Revel in the questions. Be less concerned with the answers. Answers are, after all, a matter of growth rather than destination. And even though the results are TBA, I’m cultivating some gratitude for these hard moments as a way to connect more deeply with myself and with others.

Have you ever hit this point? Had these kinds of experiences adjusting to a new lifestyle? I’d love to hear from you – Tweet me @thecowation.

"Holding Hands:" My Piece for 1,000 Words, an Eyes on Bangladesh Event

Thursday, April 3, 2014


Hey all! Remember when I said I was doing a reading? Well, the reading happened last Saturday and it was amazing. I was so honored to be amongst such passionate folks -- writers, listeners, and organizers -- that cared about disrupting stereotypic narratives of Bengali life and art. It was also amazing to be in the physical space where the photographs were being displayed; I lingered much longer than just the reading, talking to people and taking in all the amazing photographs.

It was a lot of work to write this new response piece to their work, mostly because I wanted to respect representations of people that I do not share experiences with, even if my work fiction. But in the end, I had a deadline and I had to take the plunge. For any friends and fans who couldn't make it to the reading, here is a recording of "Holding Hands," my piece in response to Taslima Akhter's photos of Bangladeshi garment workers and the Rana Plaza factory collapse. Recording credit goes to Kyla Cheung. Text below the jump, including a more formal introduction than the one that was read in the recording. I appreciate all of your thoughts over Twitter or email.

This piece will also appear in The Margins, a magazine published by Asian American Writer's Workshop.
 

Bideshe Amra Bangladeshis: Celebrating Independence Day in Diaspora

Wednesday, March 26, 2014


I recorded my boro chacha’s stories about the Liberation War one hot summer afternoon in the village house in Kushtia. We went into his private room with the fan turned on, but it was still sweltering; every few seconds I would swat at a giant fly that had swirled in too close to the recorder, or a baby would come toddling in for my boro chacha’s attention. But this was the last day we would spend in the village, and I knew that, despite the distractions, we had to finish.

Boro chacha is known as the “hothead” of our family – a label I also take after. It’s said that he couldn’t stand to be anywhere that compromised his values, which sometimes left him jobless. He was serving in the army in West Pakistan when the war broke out. So he disappeared. He deserted the army, changed his name, and hopped trains until he showed up out of the forest at the door of our village home. There were no reliable communication lines, so my family describes his arrival like the appearance of a ghost. Boro chacha takes pride in speaking Urdu so well that it allowed him to escape. He wasted no time at home though. A few weeks later, he left again – this time to serve in the liberation army.

My boro chacha is a wiry man in his seventies now, wearing a lungi and a long grey beard. I have my sister with me as we talk, and she will also do the written translation work afterwards. I feel embarrassed that I cannot understand it myself; I do not know enough Bengali to hear this story from boro chacha’s own mouth.

I found my connection to Bangladesh when I was fourteen: the year I found out I was adopted. It wasn’t part of the plan – my white adoptive mother spilled the beans. It was within the family; my Bengali adoptive father brought me into the U.S. when his sister could not take care of me in Bangladesh. I became a child of diaspora by a twist of fate.

Even once I knew about the adoption and having another family somewhere, I still wasn’t “connected.” I didn’t live in a Bengali community and I didn’t know how to find one in Seattle, where I grew up. Even my dreams of being reunited with family were in sepia tones; I couldn’t imagine Bangladesh as anything but a dusty set of buildings and brown faces. The first time I had any contact with my biological family was in college – when my biological sister found me on Facebook. I became consumed with trying to visit, finally convincing my father that we needed to make the trip in my sophomore year.

I was then able to fill in the colors and sounds – the loud honking of horns in Dhaka streets and the bright salwaars that are the day-to-day wear of women in every class. I was, however, virtually unable to communicate. Despite finally being part of the ethnic majority, I was handicapped by my lack of language skills and had to be led everywhere by my sister. Still, I felt more connected there than anywhere else I have lived. When I had to return to snowy New York for the rest of my semester, only the determination that I would go back helped me to survive through that year.


I asked my father during one of our more recent marathon phone calls: “Have you ever felt conflicted about your identity now that you’ve lived so long in the U.S.?”

“No,” he said, not missing a beat, “I am always a Bangladeshi man – at best, I am an expatriate.” An expatriate. Like the Brits in our country. Not the stereotyped immigrant who has to relinquish all loyalty to their previous homeland for citizenship. No worries about weakening ties. Not a hint of hesitation.

I am jealous of my father’s stability. His feet are firmly planted not only in Bangladesh soil but specifically in our village home in Kushtia, though he has not been back there for more than a few days out of ten years. He knows where he is from.

Celebrating Bangladesh Independence Day feels different when your heritage is more fragile, when you never feel “Bengali enough.” Most days, I don’t feel “American enough” because of how often I am asked to comment on “India” or “South Asia” – just another variation on “where are you really from?” But on this day, I am reminded that although I take immense pride in Bengali literature, I cannot yet read it. On this day, I am reminded that despite my loyal lineage, I feel I am still crashing someone else’s party.

The second time I went back to Bangladesh, I decided I had to collect stories. I begged my Amma, my biological mother, to teach me our language from books for kids in class 1 and 2. I tried to soak in all the family legends and wrote pages and pages of description as if the memories would fall out of my head once I landed on U.S. territory. My curiosity – and insecurity – has pushed me to take classes and read endless articles and books on Bangladesh while I am away. And slowly, ever so slowly, I am getting plugged in to the radical Bengali community that exists in the U.S.

As I turned off the tape recorder, stories in hand, I realized I am still trying to define where I fit into this narrative of national origins. This is a day of recognition: recognition of our pain and struggle, and of our victory. Achieving independence meant defining ourselves by separation: here is what we are not. Now, more than forty years later, we are still defining what we are. It is tempting to feel trapped in insecurities, but on this day I will be gentle. “Once a Bangladeshi, always a Bangladeshi,” my father would say. I am filling in the details of my own story along the way.

Reading at the Eyes on Bangladesh Exhibit!

Monday, March 24, 2014



Calling all New Yorkers: I'm excited to announce that this Saturday at 6pm I will be reading as part of the Eyes on Bangladesh photography exhibit! The exhibit is showcasing the work of Bengali photographers who show a different side of Bangladesh not often seen in the West, and wants to begin a dialogue between first and second generation Bangladeshis.

I will be reading a piece written in response to one of the amazing photographers being shown, specifically the powerful Taslima Akhter, a labor rights activist who is most famously known for her work documenting the Rana factory collapse and the Tazreen factory fire. I am honored to be reading a piece inspired by her work and cannot wait to see what the other creators have to share as well!

Doors open at 5:30pm, so come early and I hope to see you there! Also, check out the rest of their programming over on the Eyes on Bangladesh website.

Mannequins: A Response to American Apparel and Americans in General

Friday, March 7, 2014


The woman in the photo is wearing no clothes. She has light brown skin, lighter than me, and her dark hair is swept back in a wave. Her breasts are emblazoned with the message “Made in Bangladesh.” It’s not shocking to me – I too am a child of diaspora, an American Bengali or Bengali American, whichever you’d like. She does not share my mother’s well-lined hands or the dark skin my cousin diligently bleaches each day to look just a fraction lighter. But except for a single sentence presented by American Apparel, she is just as much a non-participant in the stories that get told about our people as they are.

These are the stories I have been told about my people:

Poor starving people. Poor polluted people. Poor corrupt people. Poor people who cannot rely on themselves and thus need NGOs to do their social service work – because any white person will do. But no one wants to talk about any of the reasons that underage women are moving to the cities in droves just to sit in front of a sewing machine and send money home. No one, not even the President, wants to talk about the big grave diggers wringing their hands at the scene of the factory collapse, Walmart – the largest retailer in the world – among them. That would take too much dredging up of history.

The only other context in which I hear of nude Bengali women is when they are being shown as sex workers. The fantastical image is of naked brown bodies strewn across brothel beds like waiting products to be consumed (not often accurate). But, to a white Western eye, how much further till they’ve reached the limits of their knowledge of Bengali people?

We aren’t given options for who exploits us. It isn’t a choose-your-own-adventure book – you can’t go to page 2 for the Western philanthropist who swoops in to save trafficked women or page 13 for the photographer/liberator paying this woman to take off her clothes. Liberal Americans of my generation only hear of Bangladesh as a place where people are destitute or just another set of violent Muslims. To be sure, the emphasis that is placed on the model Maks being a “former Muslim” tells us that she has made the leap: she’s not fitting the “conventional narrative” anymore. She’s come out of the darkness. The types of exploitation may differ vastly, but they all make our brown bodies into mannequins with moveable parts that only serve to make our voices even further unheard.

So this ad for me is not titillating, not liberating, and most certainly not a commentary that makes me want to buy more goods. Instead it reminds me that my body and the bodies of my family members will always be seen as objects for consumption – whether by individual sex tourists, exploitative philanthropy groups, or corporations out for cheap labor. This image, like all those catered to white eyes, speaks volumes about how my peoples’ stories are constructed by the American media. My only hope is that they can direct people to challenge themselves to move past the borders of their limited knowledge, and instead look to other resources where these women are not mannequins, and they speak for themselves.

For a very small sample, check out the work of Kalpona Akhter, a Bengali activist who organizes women working in factories for better pay. You can also click any of the links in this article for further expansion on these issues.

Stay tuned for the post I wanted to put out this week on diasporic identities and Mother Language Day.

Remembering: Narratives as Social Justice

Monday, June 10, 2013

There have been dozens of endings happening as of late. I graduated college, won a few writing prizes, met some unforgettable people, and settled into my first post-grad apartment. I launched an Asian American social justice online magazine called As[I]Am (check it out!). So many congratulations and thanks are in order! But for now, a quick "state of the nation."

Writers with stories feel like they're itching to get words on the page - even if they're the wrong words in the wrong places. Blocked writers, on the other hand, are too terrified even to set their fingers in motion to pound out those missteps. I've been oscillating between the two lately, thinking more than writing.

In the month preceding my graduation, a factory collapsed in Bangladesh. It was mentioned by the president of our university at commencement - a lamentable political one-liner that was meant to encourage us to change our world for the better, but to me fell short. It holds true that the media attention to this tragedy is important for activists to organize and for stories to be remembered. It is true also that for things to change, they must be challenged. But I saw in every piece of news coverage a new spin on something that made me incredibly sad. I sat uncomfortably with my privilege as a college graduate and watched the numbers of dead rise into the thousands.

There was the story of one woman who survived for more than two weeks. There was the story of the jailed local boss who was a pawn in the hands of larger corporations. And the question of why the government didn't request foreign aid. And the resulting benefits for garment workers worldwide. Stories and stories and stories, each new one drying up ink in my own pens.


I've been working for months now on a novel about Bangladesh and the United States and the complex ways in which they are interwoven through personal connections, not just politics and economics. Something about the factory collapse shook me. Whose stories are being told? How are we using them? What are they covering up?

I was stopped up for other reasons as well, of course. Art is not the same thing as news, and even if I were on some kind of deadline, it would have been pushed out by all the noise of my final month at college, the launch of my online magazine, or some other event. Thoughts and lost sleep may pave the way for good dreams, but maybe not good work.

As the media winds down about the factory collapse, I am interested to see how it will resurface again in my own stories. My empathetic heart won't release them. I know that they are only the most public part of a hundred other undeserved tragedies; in some ways, the novel I am writing is also a lament for them as well as a remembrance. And even though our stories' effects aren't tangible, like a donation or direct aid, I'd like to think that pounding out the words will honor the nameless victims beyond just a line in a commencement speech. They will tell us a little more about ourselves as media consumers, just as much as they will tell about the people involved. And they will make people like me a little more uncomfortable - so uncomfortable, in fact, that they find it not only encouraged, but necessary to act.

Visual: What We Are

Sunday, October 7, 2012


Visual: In the Library

Sunday, September 23, 2012

Library books in Dhaka University

Visual: Goat Reaching for Sky

Monday, September 17, 2012


(Somehow this didn't get posted on Sunday, so it's going up today! More written content later)

Peacock Metal

Sunday, August 26, 2012


PuranDhaka (Old Dhaka in Bangladesh)

Friday, August 24, 2012

Armenian Church 1

Boro Katra

Lalbagh Fort (Mughal Empire)

Buriganga 1 (river)

Signs (in Bangladesh)

Thursday, August 23, 2012




Animals (in Bangladesh)

Wednesday, August 22, 2012




Visual: Sleepy Cow

Sunday, August 12, 2012

This sleepy-looking cow sums up all my feelings about traveling.

Heading Home!

Friday, August 10, 2012

Tomorrow, I will be embarking on my journey home to the United States. As such, there will be a hold on new written posts until a week from now (as I recover from jetlag and all the residual sadness of leaving. However! You can enjoy a series of photo posts from my trip for the next week, starting on Sunday. Tomorrow a quote, then a picture, then all the pictures of scenes I'll miss/I found interesting while living in Dhaka, Bangladesh for the last three months. Enjoy!

Best Learned Lessons from Being Abroad

Wednesday, August 8, 2012


I talked a bit about appreciating my American identity while being abroad, but now that we are down to the very last wire, I wanted to share some of the other lessons that I've taken away from this trip. Here it goes:

Visual: Funny Sign

Sunday, August 5, 2012


Appreciating Food through Its Politics

Tuesday, July 31, 2012


I want to lighten it up a little as we enter this week. I've been writing on heavy topics (both on the blog and in my private writing) because it's better to let them out than to keep them rattling around in my head. However, I think we all deserve a good diet of sweet with our bitter, dessert with our vegetables and all that. And perhaps one of the easiest ways to do that is to talk about my love of food.