Showing posts with label bengali. Show all posts
Showing posts with label bengali. Show all posts

"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.

Visual: English in Bengali

Sunday, June 10, 2012

This sign says 'Friends Builders Limited' - in English, but with Bengali letters

Project x Project: Pressing the Record Button

Tuesday, April 5, 2011

A project that I have wanted to launch for a while, but have not yet dared to test out, is to read some of my work aloud and read them as podcast-like posts for this blog. Today I am taking the plunge. I will start with a story* that I wrote for a creative writing class I did last semester, since that seemed related to the previous post I put up about academics and creativity. Enjoy, and be sure to tell me how I did in the comments!


*This story will also be posted after the jump for people who choose to or can only read it rather than hear it. Yay!