The New Season of Daredevil: Can You Love to Hate a Character?

The new season of Daredevil—the Marvel franchise—came out on Netflix, and guess what I did:  I spent the past week lying in bed, binge-watching it.  I watched it on my computer screen–the machine going on for so long late into the night that it left a warm spot on my bed.  How I loved that warm spot.  I would curl up on it and drift off to sleep.

Daredevil is a comic book series that chronicles the escapades of Matthew Murdock—lawyer by day, superhero by night—who patrols Hell’s Kitchen to dole out vigilante justice in a world overrun by violence.  Murdock is an extraordinary superhero because he is an ordinary man, and one, in fact, hampered with a disability—blindness.  But his disability also gives rise to enhanced sensory perceptions and superior fighting abilities.  He can hear heartbeats, the sound of a man breathing in another room.  And this makes the young esquire both ordinary and extraordinary, human and relateable.

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Daredevil first arrived on the scene in the 60’s, but the comic book enjoyed its greatest revival in the 80’s when comic juggernaut Frank Miller took control of the franchise.  The television show recasts Miller’s version of eighties New York—a time of extreme violence–somewhere in the nebulous zone between then and the here-and-now.

The 80’s is significant for the themes of the show:  vigilante-ism.  This was a time when Bernhard Goetz, a meek mild-mannered subway rider made national news and came to be known as the “subway vigilante” by gunning down four muggers in the rat-infested subways.  This is not the slick gentrified New York of Russian Oligarchs and Chinese playboys—the New York that has been polished and spit shined like a pair of banker’s wingtips.  This is the New York that is grittier—the New York of white flight and urban decay that spawned vigilante groups like the Guardian Angels:  ordinary citizens in red berets who took the law into their own hands.

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The show is definitely worth the viewing.  There’s a lot of action—a ton of violence.  The introduction of the Punisher and Elektra—two other superheroes with their own comic book franchises—means that there’s a lot of guns and stunts and acrobatics and martial arts.  Oh yeah, there are ninjas.  Did I tell you there are ninjas?  A whole lot of them.

My take-away from the show rests on this one interesting issue.  You see:  Daredevil has this one quirk.  He is a vigilante but he is not like Bernhard Goetz:  he has a code.  That code is to never take a life.  And he’s really uptight about it.  So he’ll beat the bejeezus out of a ninja but won’t actually follow through and kill him.  And he’ll bend over backwards to avoid killing anyone, as if he were some Honest to Goodness Buddhist monk.

Given a choice between saving twenty hostages or saving the world, guess what Daredevil will do.  Yup, he’s that shortsighted.  He will always go for the idiot choice:  saving the people who are immediately before him, the people in need.  It’s as if he were Charlie Brown–always running toward that football.

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The paradox is that, quite often, this means that a lot of people actually end up dying because Daredevil doesn’t dare kill.  Ninjas keep waking up from getting punched and, like characters in a video game, they’re back into play.  Or Daredevil will command one of his superhero cronies not to kill some random ninja…that stops them in their tracks…and then the ninja sticks a sword into them.

It makes you get really annoyed at the masked man in the red suit.  So much so that I started screaming at Daredevil to stop it already.  But at the same time, I wonder if that’s the mad genius of the show:  that Daredevil has a clearly defined through-line and this through-line is the source of dynamic tension.  The fact that we hate Daredevil because of this very predictable quirk also means that we feel for Daredevil…and some emotion is better than none at all.

What do you think?  Is making you hate a main character an important part of engaging an audience?  Is wanting to throw things at the computer screen a sign of getting a little too caught up?  Have you ever found yourself in a relationship with someone you can’t stand because they exasperate you?  Have you ever wanted to leave that person but decided to stay because, you know, at least you’re feeling something…and at least they’re keeping you warm in bed?

Crossing Borders: A Trip to the Yucatan

I’m about to take a trip to the Yucatan, that peninsula chock full of Mayan ruins, colonial cities and white sand beaches.  One way I do my tourism in Hispanic countries is to engage in a slightly tedious, focused task that will force me to hone my Spanish.  And I decided that the task on this occasion would be to get my favorite hat repaired.

I’m kind of a fledgling hat collector, and the Borsalino is an antique felt fedora–brown and battered–that looks like the sort Indiana Jones might have set upon his noggin.  It is a classic: the quintessential detective hat–the hat of manual typewriters and damsels in distress and bottles of whisky in a filing cabinet.

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But the hat has seen better days:  it shrank a bit from a week long stay in Mexico City where heavy torrents pummeled the mountain city every evening during the rainy season.  The embossed leather sweat band, which was once in cherry condition, deteriorated upon contact with water.  And the grosgrain ribbon, which is a silken oddity in a world that has gone full polyester, bears the powder white traces of the salt that comes from a decade of sweat.  I also probably shouldn’t have packed it in my check-in luggage.

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Embarking on a project like this does take some research.  You don’t want to run around the city with your hat in your hand.  You want to identify a reputable hat dealer who either offers those services or can send you in the right direction.  And you want to dispatch of the task immediately so that the artisans have enough time to perform the job properly.  You’ve got to do your due diligence.

So this leads me to the topic of this post, which is not so much about hats as it is about feet:  you see, the other day I was googling for hat leads and I came across an advertisement on a Mexican website for a pair of knock-off Toms shoes.  Toms shoes are those cruelty-free, vegan shoes that are supposed to make the NPR set feel less awful about themselves as global citizens living in the consuming-est corner of this planet:  for every Toms purchase, a child in deepest darkest Africa gets a pair of shoes, too.

So, in purchasing these shoes, you are also involved in a humanitarian cause:  helping a kid avoid all sorts of foot borne diseases, like parasitic worms.  Perhaps you are enabling a budding young scholar to get to school on those undeveloped roads, or allowing a mother speedy access to the only source of clean water for miles around.  One thing is certain:  you are making sure that animals are not harmed in the process.  What could be better?

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The curious thing about this advertisement came in the fact that the shoes were available either in fabric OR in leather.  And they were marketed not as a humanitarian item but as a symbol of Westernization—of wealth, of status.  So the vegan element, so crucial in the merchandising of footwear to the NPR set, became irrelevant to the aspirational Mexican upper middle class consumer.  And the promise to help the Third World–a promise that is always front and center–was nowhere to be seen.  This shoe was now simply a status symbol—a way to get something that remains difficult to procure (because of distribution and tariff) from the ever-elusive West, which lies far across a nearby border that is, increasingly, impenetrable.

By no means is this an attempt to make fun of well-heeled Mexicans.  Rather, this is to call attention to a phenomenon that I have encountered over and over again:  Third World products that imitate Western goods often seem a bit wonky.  And as I sat there in the dead of night, looking at a pair of shoes I would never want, I realized it had a lot to do with this simple fact: the act of translation often means subtle shifts in value and meaning.

This makes sense:  Imitation is not simply faithful reflection but a kind of distortion.  Put another way, nothing is the same once it crosses borders–not people, not ideas, not material objects.  For instance, a hat is a noteworthy object in Los Angeles where it can be seen almost as if it were a dandy affectation–the stuff of rock stars and movie actors–but in Mexico, a hat is a common item…so much so that it is taken for granted.  I suspect that people don’t even see hats anymore in that part of the world; they are so much embroidered into the quilt of the expected that all but the most outstanding ones are filtered out.

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Johnny Depp is known for his hat game and he favors Borsalino…

Encountering the Fake Toms made me think of the time I spent in Northern India in the tourist-heavy state of Rajasthan, which is colorful and bright.  The fancy hotels pay local young men to perform folk dances and music in traditional costumes–turbans and scarves and gowns that catch the light with their metallic threads.  But as soon as the performance is over, those guys rip off the costumes and put on machine-woven sweaters.  And on all these sweaters appear the words NIKE, drawn in magic marker:  crude, sloppy, counterfeit.

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It is in the imitation that we can learn a lot about the original–our prejudices, our hidden expectations:  the things we take for granted.  For these young men who must earn their upkeep somehow, the classic clothing of the Rajasthani musicians is simply a costume–a tourist-act.  It is this cruel hoax of life that, in making their way from the provinces to a tourist center with mighty hotels–an actual city–that is the center of modernity, they must pose as the backward native people that they thought they left behind…in order to get by.  And it is in the crude imitation of the Nike logo that we see the true selves of their best dreams spelled out.

The same phenomenon can be seen in so many tourist zones.  In Brasil, the music that tourists come to listen to is Bossa Nova.  It is played in the swank hotel lobbies for a mostly white audience.  But the real music that the blacks of Brasil love is Rastafarian fare.  That’s what is played in the backstreet cafes where only locals hang–those places where you set your hat down and smoke a joint with a sweating bottle of beer.

In Brasil, I once met a Rastafarian from Ghana.  He was spending time in the Northern Brasil stronghold of Salvador—a place that was once the land of plantations and is now filled with freed descendants of former slaves.  The Rasta had a British accent and excellent English, most likely because his country was at one point a British colony.  He invited me to his apartment, not far from the tourism center.  “You are a very trusting man.  And I appreciate it.  Not many tourists would go so far to this part of town with someone he just met.”

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Most people think that Rastas are the sign of a deep African-ness and indeed there is definitely a “back to Africa” element in the Rasta culture.  So it can seem a contradiction to see a true African attempting to return to African and free his mind by adopting the clothes and music of a people who had once been enslaved in Jamaica.

But my new friend had a good laugh and agreed with my assessment:  For me, a Rasta is the sign of the West—the sign of a person who has had a profound encounter with colonialism that he will spend a lifetime erasing and, paradoxically, reinforcing.  “When I come to a new place like Salvador, it is the Rasta who owns a cell phone,” I said.  “It is the Rasta who understands the international exchange rate, and the way the internet operates.”  It’s never the local people who quite often are oblivious to the way a global world works.

These were the thoughts that scuddered like rippling pebbles through the pond of my head as I trolled through the internet–pleasant memories of past travels–that interrupted my search.  Looking at those shoes–an imitation of a Western product flickering back at me through the pixilated images–made me wonder about the desires that come from the hat I put on my head–a hat that originally came from Italy, a hat that I encountered in a small shop in Chicago, a hat I carried with me to Los Angeles, a hat that now I was ferrying across the border to get fixed.

Easter Sunday and Robert Mapplethorpe

There was an eccentric woman in our church, who always dressed elaborately for Easter. She was a spinstress–tall–and dressed as if her frocks were sculpted out of the buttercream frosting on a wedding cake. That woman carried a huge Easter basket, filled with candy, which she gave to all us kids. If you spotted her, you knew you were getting candy. I can’t remember one sermon from church. But I still remember that eccentric woman with the Easter basket.

It’s funny what memories grip you–which cradle you, which return like a slap on the face.  I’m no longer much of a believer in the religion department but Easter Sundays, now, I like to go to the church of the mind:  the museum.  And look at the world the way that only museums teach us to look:  with clarity.

Recently, I was at the Getty Institute in Brentwood, doing some research in the archives.  And I popped over to the museum side during a lunch break to mill about with the tourists…and to take a quick peek at the Robert Mapplethorpe retrospective–a retrospective that is also occurring simultaneously at the Los Angeles County Museum of Art.

For those who don’t know, Mapplethorpe was the bad boy of art:  provocative, shameless, teasing.  If you walk into a Mapplethorpe gallery, you might see images of men in leather pissing into each other’s mouths.  Or a large black penis issuing forth from the unzipped trouser of a polyester suit.  These are the images that caused conservative politicians to turn him into the poster child of cultural degeneracy; they called for the end of the National Endowment for the Arts, the institution that funded his art; and ironically, launched him into the long snaking path of fame.

I first encountered Mapplethorpe’s work, though, through a reproduction in the late 80’s:  an image from the album cover of the alternative band The Swans.  He was already a big name by then, but the album cover displayed none of the pornographic imagery.  Instead, it showed the image of beautiful tulips, shot up close to reveal their fabulous, vaulted architecture–their chambers–undulating and elegant.  But I knew it was a Mapplethorpe because the Ken, the turtleneck-wearing kid who showed me the album, told me it was a Mapplethorpe.

“That’s a Mapplethorpe.  Isn’t it awesome?”  And who was I to doubt the coolest kid in the freshman dorm–a kid who never went to class and hated his parents for adopting him and who was deliberately getting F’s in class so he could drop out and go to art school.

Mapplethorpe was edgy and he was bad and he was everything that an upper middle class white kid rebelling against his parent’s Costco tract house strip mall life wanted. We knew those tulips to be pornographic, even if they were simply beautiful, detached formal exercises of shapes and tones and colors–like something out of an experiment from the Bauhaus movement, or the glamour photography of the thirties.  Those tulips had all the luster of advertisements selling nothing–nothing but desires yet unknown.

That’s what I look for when I look for art:  to see a creation that beckons like a woman in buttercream frosting or an effusion of tulips that sing the siren song of the dangerous and forbidden.  I’m going to get my hair cut today–in honor of Easter, of course.  And then I will make my way to church:  the Los Angeles County Museum, to catch the second half of this amazing exhibition.

Happy Easter!

 

My Daddy’s Suit: Bruce Boyer and Ivy Style

I’ve developed a recent fascination with the writer Bruce Boyer—an authority on men’s fashion.  Boyer worked as a professor, and he brings to the table an historian’s taste for detail and precision that I appreciate:  the kind of hairsplitting that is as soul-satisfying as a Scotch in a leather wingback chair by a roaring fireplace.  And though his writing affects the authority of the posh country gentleman, his observations are honed precisely because he is not:  he comes from working class stock and will always be a stranger in the house, always looking through a plate glass window at a party to which he is not entirely invited.

Boyer’s bailiwick is conservative men’s fashion–the classic fashion that hasn’t changed for over a hundred years:  East Coast Ivy League Style.  He is the kind of guy who will explain, with gusto and relish, the exact reason why button-down collars are buttoned down (spoiler: because Polo players didn’t want their collars blowing in their face).  Or the history of khaki pants (it entered into America’s closets as military uniform during the Spanish-American War and became a part of campus clothing after World War II when the GI Bill brought the huddled masses to campus).

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What was the impetus for this intellectual Odyssey?  I was driving one Saturday through the posh, scenic section of Pasadena and, on a whim, decided to stop by an estate sale in one of those old houses that imitate the grandeur of the English country gentleman.  It was the last day–the mosh-pit-free-for-all–when you can scoop up great deals, and everything was picked through, sad and empty.  There was a sign on the lawn:  TUTOR HOUSE FOR SALE.

I walked through the back patio.  An Armenian gentleman was bargaining ruthlessly for a discount on a Persian rug of tribal origin and things were getting kind of, well, insulting.  “I’m Armenian.  I must always ask for a discount,” said the paunchy man with a walrus moustache.

“Why do you say that?  I’m Armenian, too.  I never ask for a discount,” rejoined the woman who stood behind the Costco fold-out table with the steel money box.  She held out her bony arm.  “What, you want blood from me?”

I was about to leave when I spotted a glen plaid suit—a suit with subtle lines of blue moving in and out of its criss-cross of black and white.  It had a label–Southwick Atkinson–sewn into the lining.  I immediately decided I must buy it.  And after some research, the desire to determine its history brought me to Bruce Boyer, this fashion guru:  I learned to my delight that Southwick was the premier purveyor of quality mens’ clothing and Atkinson, one of its great retailers.

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I no longer buy vintage at this stage in my life but, darn it, the suit fit me like a glove.  It was in mint condition.  And it is still entirely stylish—kind of Mad-Men-ish.  These are all things that recommended it, despite the fact that it was hanging in that dark closet, in a paneled room that held a tiny twin bed and an afghan in the corner.

“I think this one was disabled,” said a woman casually as she looked at the various electronic devices hooked up to the bed.  I wasn’t creeped out.  The suit was one of many suits–all exactly the same–but all worn down like a pencil to its nub.  This was the best suit–the cherry one–and I knew one thing about this man:  He had decided on a style and stuck with it.

That glen plaid suit reminded me of my father who wore this exact kind of suit, day in and day out, carrying a hard grey attache case with important papers in it.  So seeing this suit made me think of the many years my father worked before he saved enough money to start his own business and lift us into a world of ski vacations.  His suit at that time was not his own, most probably.  It was probably a suit that a nice church member gave him when we first arrived into this country–penniless refugees adrift.

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Still, he made the suit his own and, in making that suit his own, it became a part of him–a phantom limb. I never thought of it as anything but his suit, until that moment standing before a stranger’s closet when I realized the profound fact that this could not possibly be the case. So, I bought the suit just as if it were my father’s suit, handed down to me.  It was a steal at eight dollars—even if it belonged to a dead man.

Boyers might say that the suit belongs to West Coast Ivy Style—that cool “hep” style of privileged men who dispersed from the East Coast establishments of privilege, colonizing the landscape of the West coast—men who liked to snap their fingers and listen to the jazz stylings of Chet Baker during a time when America was a post-war juggernaut, men who still knew that their loyalties lay with the East Coast establishment and its Anglophilia and its love of the old school and the venerable.  These are the kind of men who would judge you by the collar of your shirt and the seat of your pants.

Can you judge a man by his suit of clothes?  The opening epigraph to Bruce Boyer’s most recent book True Style is a quotation from Sir Arthur Conan Doyle’s “A Case of Identity,” and the lengthy quotation ends with this finger-wagging pronouncement  of the great detective to his sidekick, Dr. Watson:  “I can never bring you to realize the importance of sleeves, the suggestiveness of thumb-nails, or the great issues that may hang from a boot-lace.”  So, clothes are the very business of great detective work and at the heart of man–at the heart of the art of ratiocination–which is concerned above all else with the practice of uncovering our place in this world that is pure surface–even if that place is as empty as a suit that contains nothing but phantom memories in a closet full of moths.

 

Echo Park: The Gentrification of the Eastside

I did a little detective work this weekend, visiting parts of the city I enjoy but don’t often hang around in:  the string of neighborhoods, like pearls on silk cord–Silverlake, Los Feliz, Echo Park–that sit on Sunset Boulevard.  They are all part of the gentrifying LA.

I wish I could say that this was intentional.  But basically,  I missed the movie time at my favorite old-timey theater—the Vista—so instead, I wandered through that part of town aimlessly, poking my nose into everybody’s stew pot, and finding myself at my favorite thrift store in one of LA’s up-and-coming neighborhoods—Echo Park.

For those who don’t know, Echo Park is one of those old neighborhoods in LA that fell into disrepair, gang-land violence, and slumminess.  Its main attraction is its amazing man-made lake, which anchors a park–a park that has now been revamped, conveniently, the moment a certain demographic of moneyed professionals started refurbishing the large, lumbering housing stock.

The park is a jewel.  You can feed ducks and geese, or ride a pedal boat into the spume of the fountained center.  You can fish.  There are lotuses that bloom and a yearly lotus festival that has a Chinese-y flavor.  I still remember going, once upon a time in a distant childhood, to the park and seeing the strange people and their ungodly ways.

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Echo Park is far east from the beach communities—so close to downtown that it could make out with its towering skyline and give it a nice hickey.  Word of caution:  You shouldn’t say it’s the “eastside” because that might get a lot of true eastsiders upset.  For true eastsiders, the “east LA” designation refers to the line east of the LA river—a red line spelled out in concrete that developers only allowed brown people (Mexicans, Japanese, Blacks) to live in.

Downtown is still technically west of the river, so anything west of downtown is the westside.  This makes for a lot of high feelings among people who feel that gentrification is all around us, pushing us in all directions–taking and scattering and spitting in our faces.

Still, celebrities like James Franco, Madonna, Zoe Deschanel—they all have chosen to live on the eastside for specific reasons that have everything to do with the way the ordinal points of the city are imagined.  To live in Echo Park is to live in the Eastside as a state of mind.  It is to wear buffalo plaid and a beard and tattoos.  It is to deliberately reject the polo shirt and the Mercedes Benz.

Madonna's House in Los Feliz

Madonna’s House in Los Feliz

The French might say that it is a gesture of “epater la bourgeoisie”…thumbing their noses at the straitjacket of conventionality, often as a way to achieve an elite status–the status of the bohemian.  Many decades ago, the writer Paul Fussell described this very French provocative-ness as something akin to walking on a plane in a see-through blouse without wearing a bra.  I would update this by saying it’s like doing all that and not shaving your armpits and tattooing that hairy armpits are cool in calligraphy on the side of your neck.

The eastside self-consciously rejects the westside–with its conventionality and its prime real estate and its striving lux-ness.  And Echo Park has been the last part of the steady spill-over of gentrifying neighborhoods—each like dominoes adjacent to the other; each producing their own refugees seeking better parking, better rents and gentrifying the neighboring outskirts a bit faster.

First, there was Los Feliz where Leonardo de Caprio grew up; Madonna put it on the map and it was made.  Second, there was Silverlake where our current mayor Eric Garcetti bought a home; it was at one time the home of punk and is now the home of postpunk parents with six-figure jobs and toddlers in onesies that bear the image of punk rock icons and “fuck-the-establishment” aphorisms.  Third, there was Echo Park, which has experienced the fastest boom; the housing stock is bigger and better as you close in on the city core.  Eric Garcetti–our great mayor—bought another home here and chooses to live in this corner of the city, eschewing the mayoral mansion in staid Hancock Park, which is too historic, too stodgy, too old-money.

Whenever I’m in Echo Park, I make a bee-line to my favorite thrift store—Out of the Closet.  It’s a really great place for books, because graduate students—those bellwethers of gentrification—live there.  Academic books that go for fifty to a hundred dollars often will be available for a buck.  Also grad students are very selective book hounds, so their abandoned collections are usually well thought-through:  not only excellent titles but standard editions.  “I want to stop in here for a minute,” I said to my wife after a coffee at the fancy schmancy Blue Bottle–a shrine to cold drip coffee, subway tiling, and sleek modernist lines.

I wanted an out of print book that was already on special order for me in the mail but which had not yet arrived and I was sure that Out of the Closet would have it.  When you have that kind of lust for a book, you will search it out like a serial rapist with an uncontrollable compulsion and a wandering, wondering eye.

“You’re such a saint,” I said, as we walked past the workers offering free AIDS tests.  “I know you hate these places.” The sign on their little table–a table covered with freebie condoms and pamphlets–announced in bubble letters that if you take a test, they will give you a ten dollar Metro Pass.  Echo Park is on a major transportation line and it is the epicenter of the bike lane movement–its zero-emission sensibility somehow aligned with its trophy-veganism.  My wife takes the Metro from downtown once a day, so she could use a few extra swipes.  Still, I was on a mission.  There was no time to spare.

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But no such luck.  The book selection was actually terrible.  I walked through the neat racks and did come across some amazing finds:  a Jil Sander suit that normally retails for 4K, a Brooks Brother’s special edition Women’s suit that would look great with pearls, an Ungaro Camel Hair Coat made in Italy.

I took none of it home but I did try the Jil Sander suit on.  I have that exact same suit in glen plaid, so I know how much it costs full retail.  And this Jil Sander suit fit me better than my own. Except this one had scuff marks–as if somebody had fallen off a motorcycle during a weekend heroin binge, one that would get them fired from their job as an executive in one of the glittering towers in the distance.  “If I was in a punk rock band, I would buy this suit and put patches all over the fucked up parts.”

“This would make a very stylish zombie outfit for Halloween,” said my wife, looking at the price tag.  “Even at 50 dollars, it’s a steal.”  I could hear the mockery in her tone.

So what is my take-away?  The writing is on the wall:  the graduate students have moved out.  The yuppies have moved in.  Home prices here are already past the million dollar mark.  This is the common wisdom repeated over and over again.  But a million dollars is too abstract for my little mind.

I guess I should have known all along.  But for me, this thrift shop is the tell-tale footprint by the back alley entryway.  It is the splash of blood on the hem of a skirt—the dog howling late in the late of the night.  It is the sound of crunching on gravel that startles you awake after a fitful sleep.

Death Valley Superblooms & Oscar Night

Sorry I’m late about doing this blog post. Usually I try to post regularly, but I had to make a choice this weekend: Write a blog post or go to Death Valley to see the Superblooms.

What are the Superblooms? The Superblooms are a wildflower event that happens once every decade or so, in Death Valley. Death Valley is on the eastern border of California and Nevada. It is one of the driest places on earth.  It only gets 2 inches of rain a year. But not this year.

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This year was the year of El Niño or the Super El Niño which didn’t quite happen in Los Angeles–because of a high pressure system that blocked the flow of the jetstream–that would have transported rain our way.  El Niño did happen in a big way in other parts of the state.

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This means that Death Valley–a desert basin where the Panamint mountains deposit their minerals on a sinking floor and where pioneers crossing the California landscape met the road block of ill fortune that gives Death Valley its forboding name– is now awash with wildflowers. The wildflowers are golden and purple and white.  They are lacey and bulbous and spiny.  Some are hearty colonizers.  Some bloom one night, seeking shade underneath the umbrella of other plants, and fade the next day.

But the dominant color is gold–everywhere–gold.  The most common flower, the Desert Gold, boasts an uncommon beauty.  It looks like a cross between a dandelion and a sunflower with serrated petals that are cadmium yellow up against a pollen-y center that is exactly like the amber of a runny egg.

All of these wildflowers have existed dormant on the valley floor waiting for rain, and even though they do pop up regularly during the Spring, this Superbloom is super crazy.  There are vast ribbons of yellow in some spots like a beautiful girl who is suddenly confident in the first blush of her beauty.  There are sprinkles and dustings and scatters in other spots–spots that remind you of the barren-ness of this, the hottest place on earth, a place that is cracked and barren and toxic.

Death Valley

One of the great things about going to a National Park is that you meet a lot of interesting people from all casts of life.  And this time, there was an added bonus that made these people really cool: They were the kind of folks who are going to the National Forest not as your run-of-the-mill tourists.  Rather, they were people who know that this event is important– that it only happens once in a blue moon.  They were pilgrims with a purpose.

I met a man at a gas station–the last stop for a fill-up in the town of Baker, just outside of the park– who was Vietnamese like me. “Are you Vietnamese?”  I didn’t need to ask.  I could tell by his accent.  I could also tell by his clothes:  unflashy, utilitarian, practical.  He was dressed for the theme of the outing:  khaki shorts and a clean pressed souvenir shirt from Yellowstone National Forest.

“Yes,” he told me.   “This is been so exciting.  This is only time I see the Superblossom.”  He told me that he missed it fifteen years ago and had been kicking himself ever since, checking the reports every year and every year, disappointed.   “So this time, it come, I say ‘oh boy’ you better jump on this opportunity.”  He made me promise that we would drive into the National Park together, right after he took his kid to the bathroom to take a leak.

I could understand his enthusiasm.  I had missed the poppies last year in the Antelope Valley, just north of LA, where they go on a riot of display in March.  Legend had it that last year was the best of any other year–and I kept putting off the drive out of sheer laziness–and then a hot spell descended upon the Southland and destroyed those delicate gold flowers in less than a day. Moral of the story:  Wildflowers don’t negotiate.  They wait for no one.  They just don’t give a fuck.

At the end of the day we met two sisters– Belgian – who were on the way from Las Vegas to Los Angeles. The younger sister was finishing her PhD in Aquaculture, and the other sister was a court stenographer working underneath a famous judge.  We met around a fire pit at the local watering hole.  And we watched them quietly and diplomatically fend off two men who could have been their fathers.

Be-map

“I have some…”  Then he put his thumb and index together and let the air out from between his lips, while pressing his fingers to his mouth–the international sign of marijuana.

“Maybe later,” said the aquaculturalist.  But I knew there would be no later.  There would be no sexual Superblossoms in the desert night of Death Valley, at least not for these hopeful gentlemen.

The man put his hand on the young woman’s shoulder and gave it a good shake.  “Maybe we’ll see you later at the campsite, then.  After dinner.”  And the two old men walked into the overpriced sit-down restaurant where only old men with jobs and bank accounts can afford to eat–the restaurant where young men eat, only if they are with their parents.

The younger sisters remained by the fire eating their nachos and chicken wings.  I was drinking a beer and sneaking swigs of whiskey that I had poured into a tiny Perrier bottle.  And they told us about their itinerary.

perrier

The pair had flown to Las Vegas for an International Conference on Aquaculture and the younger sister was going through an anxious time at a major moment in her life:  she was about to start filing her dissertation. It would take the remainder of the academic school year and she named all the steps toward the final goal–the proposal, exam, defense, submission–toward that moment of achievement and release.  Afterwards, she was going to travel with her age-appropriate boyfriend throughout the world for year.

“Do you know how I know somebody is really done with their dissertation?” I asked.

“Tell me.”  The young woman was truly interested.  She stopped eating her chicken wing, which she held like a baton.

“When they start talking about their signatures.”  This is actually a crucial moment, because most people talk about filing their dissertations for years and never get to the final stage.  “If they are talking about writing something perfect, I know they are still very early in their progress.  But if they are talking about signatures, that means they will file within weeks, if not days.”

That got us onto a discussion about traveling. You see, my wife and I also traveled after I filed my dissertation.  We actually traveled for a few years, because we thought this would be the one opportunity to do this kind of adventure.  So this launched a kayak into the ocean of conversation, and we compared notes about different places: some of the crossovers in the Venn Diagram of our itineraries, some of the things to avoid, some of the pitfalls–how, for instance, to avoid getting drugged in India.

My wife and I cast before them the pearls of experience.  My tip for dealing with people in India (bribe them). What the what the money situation is like in Argentina (lousy). And what the situation is like in Bolivia (deeply inconvenient but immensely rewarding).  These were all points in a conversation that unfolded naturally and pleasantly as the sky emptied itself of its color and our faces caught the light of a flickering fire pit.

venice

“We will be staying in Venice Beach when we leave for LA the next morning,” the younger sister told me.  While the other sister–the stenographer– took notes, I recommended a few places for them to tour, and I suggested to them a few options in the event they wanted to be among people for the Academy Awards, which were to occur that following evening.

They were thrilled to be lodging in Venice.  It was where Janis Joplin had her ashes scattered and they wanted to walk into the ocean that was her final resting place.  And they wondered about what happens to the landscape of the city when an event like the Academy Awards sweeps into its plains–a hard driving rain waking the people from a world built around the somnambulism of dreams.

We are all Lotos Eaters in Los Angeles.  We are all addicted to our opium dreams.  That at least is common wisdom.

That night, I looked up through the transparent fabric of my tent and was amazed to see that I could see to see, quite clearly, the Big Dipper and the wide expanse of the Milky Way.  The ranger guide says that half the park happens at night–that the firmament is its own display just as spectacular as wildflowers…though perhaps not nearly so evanescent.  And then I realized I had to get back to the city because I had dinner plans for Oscar Night.

 

Why I Can’t Stand to Speak French!

The French just announced that they will make some major changes to their language.  They will get rid of a lot of words.  They will simplify some spellings.  They will even get rid of the circumflex.

This is a major move.

You see:  the French are not only the great bastion of culture, they are the great bastion of high culture, mainly because they were the first culture to specifically engineer their language so that it would not change.  And that is why their culture remains with us—constant, immutable–a monkey embryo preserved in the cloudy formaldehyde room of specimens.

mokey

The puissance of the French language came about during a time when they had reached the height of their power and saw within the periphery, a great decline in the wasteland that is the future.  This happened in the 18th Century when the French would produce all that god-awful Rococo furniture and emerge with the crowning achievement of verbiage:  la dictionnaire.

In that cultural monument,  they foresaw what was to come:  England and America and Russia and China would sweep them into the great dustbin of history, a repository of tourist kitsch and puzzling fashion choices.  Like a society woman in a shabby subway, the turn to language engineering was their way of clutching their pearls to their chest.

pearl-clutching

Still, the decline of French was a long way off.  And for a time, the French language became the great ambassadorial language of the modern age.  And there is a reason for that:  France had—and still holds—a vast empire that hopscotches through the continents of India, of Asia, of America, of Africa.  French is still the most widely spoken language in the world, mainly because of a deep colonial past in Africa, and it will remain a language spoken with gusto because Africans reproduce at a rate that makes the rest of the world uneasy.

I speak French but refuse to speak French.  It is one of the ways that my mouth is branded—a mouth not made mine, a thousand times unspooled.  I choose not to speak French because I want to erase a bit of this colonial past, as if I were a priest in a bare chamber involved in a tedious act of self-abnegation—with my hairshirt, my cat of nine tales, my breviary.  I will make myself clean.

cat o nine tales

But here’s a paradox:  I can’t stand to speak French to an American (the accent is just awful, the dog-like need to display facility—grating).  I can’t stand to speak French to a Frenchman (there is too much history there and I would rather make the French uncomfortable and deal with the fact that he has to speak to me in English—a comeuppance, of sorts).  The Canadians can hardly be said to speak French at all (at least a French I can understand).  I’ll speak to Africans (out of solidarity but only if I need directions).

The Vietnamese language was first transcribed by the Chinese over a millennium ago, when they occupied the land.  Later, a Portuguese priest named Alexandre de Rhodes arrived and translated the Bible, ensuring that the process known as Romanization would crystallize.  By the time the French arrived to begin their great colonizing project, a system was in place that would allow the native people to be easily exploited…that is to say, “educated.”

Alexandre-de-Rhodes-1591-1660

There is a double-edged sword to Romanization—all mighty Falls carry with them the sword and the rainbow:  Romanization meant that literacy spread to 95% percent of the population—a quantum leap over the mere 5% that could use Chinese letters.  And it is in the Romanization—the agent of oppression—that there came to arise a language of liberation.

I can deal with the change in spellings–the simplifications, which are simply an acknowledgment that we are all barbarians in our own way.  But I don’t know exactly how to feel about the loss of the circumflex, which is a hold-over from ancient conventions of spelling that are no longer relevant.  The circumflex is something iconic.

The circumflex always makes me think of the subjugation of my people through the act of translation. My mother always made me know about the circumflex, which she called the “petit chapeau”–a little hat; and my childhood was spent looking for it in every word.  For me, the “petit chapeau” was not a Western hat that dapper gentlemen wore but the conical hats that conjure the familiarity of rice patties and white egrets and peasants working in the muddy water.

hat

The circumflex always seemed like such a powerful word to me as a child, because there was also that part of it that had to do with making a muscle, and all boys–small boys–want muscles. All boys are called upon to “flex.” Then, it makes me think of a camera–a Rolleiflex–in a sad Brasilian Bossa Nova. The song was written by Tom Jobim. The lyrics are about ingratitude. It is also about sadness and nostalgia. But chiefly it is about love, I think.

conical hat

The Working of a Criminal Mind

Back in my salad days–also known as grad school–I got a windfall: my family bought me a sports car.  It was a shiny silver sports car back when silver was a hot new color. The car looked just like a futuristic insect–all mandibles and antennae and exoskeleton–and it allowed me to upgrade the second-hand car that was my dreary graduate student life and enter into a glittering world where the hoi polloi gawked at me on the street.

boxster

I kid you not:  for a month, I  would rev my engine up to pretty girls and suddenly slow down–almost to a crawl–and give them a long, hard stare…and then speed up.  I almost felt kind of like a movie star, styling and profiling.

Valets game me a look of recognition when I tossed them my keys.  One of my friends visited LA for her mother’s funeral and during the long procession to the cemetery, she spurned all other cars–even those of family–to sit in my very own passenger seat and listen to Brasilian music blasting from my tricked out speakers.

There was one catch to my new change in station: I had to pay for my own insurance. This was no easy feat for a few reasons. First, my rates skyrocketed with the zoom of a flashy new car in my life. Second, I was dirt poor–ghetto fabulous–the condition of almost all idiots who decide to give up the money-making life and chase the dragon that is a Ph.D.

I had one resource at my disposal:  the English department had a listserv–an e-mail notice that reported the events of the department (books published and awards received and promotions gotten); at the end, there was a list of odd jobs that would come available: editing, tutoring, researching, grading, babysitting, ghostwriting–that kind of stuff. Sometimes it was touch and go: a lot of the offers could be scams; nobody really vetted the list; any fool could call in a job.  During my brief moments as a user of this list, I had already learned one hard-and-fast rule:  you had to watch out for the people who wanted you to help them with their memoir. They were crazy and always stiffed you.

Department of English

It was at this time that my eyes ran across an advertisement put up by a private party: a job doing some “research.” I called up and the man on the other line told me he was a detective.  I would never meet him in real life, and he preferred it that way.  “I represent another party who has engaged me to find someone qualified to handle a job of considerable delicacy–a job for someone with unusual skill sets.”

The man spoke just like those private dicks of pulp fiction: furtive and macho. I pictured him with a potbelly and a silk tie painted with the image of a hula girl. He had a voice that sounded like a leather shoe on a gravel drive way.  He said things like “Are you at liberty to talk?”

Silk Tie

Finally, he let the cat out of the bag: the so-called “research” involved looking at somebody–a Senator’s–doctoral dissertation and finding instances of plagiarism. “I represent a prominent doctor who is to testify before Congress and he will pay 50 dollars for each instance of plagiarism.”  The detective let it slip that the doctor was a proponent of universal healthcare and needed this evidence in his back pocket so that he could feel empowered when he was to stand before a committee of some sort.  “He guarantees that you will find at least a few thousand dollars worth of plagiarism.”

There were a lot of people out to get the doctor, people who worked for the Senator.  They were hounds and he needed this evidence to keep them at bay.  He wasn’t necessarily going to use it.  He just wanted it at his disposal.  My work for him–should I choose to accept it–was a gun in his pocket on a dark dreary night in a barren landscape of shadows.

Senate

My guess is that the detective was not being entirely straightforward.  My guess is that that last part was just a flourish, like a piece of scrollwork on fake antiqued furniture–designed to convince some bleeding-heart liberal in a world class English department (some idiot like me who clearly did not much care for the cash money that was raining down on the rest of the nineties) to take the job for the good of mankind.

But the private dick didn’t really need to add icing to this cake. You see:  Graduate students may make the decision to not really care about money but that decision was made a long time ago.  And then when they find out they have no money–that they live a hand-to-mouth existence–they are like drug addicts at the prospect of an angry fix.

My mind reeled. 50 bucks a pop! I could easily find forty to fifty instances of plagiarism.  If there was plagiarism, I was sure there was multiple instances of it.  I was sure that I could get a few thousand dollars.  “I’ll guarantee that you will make at least 800 dollars,” said the man with the hardboil potbelly voice–the man who voice was like a red silk tie with a hula girl painted with a meticulous hand.  A few thousand dollars would not only pay for my car insurance for a year, but it could also finance a few dates!

“Sure.”  I was all-in. That very day, a courier showed up at my house by the museum and delivered a copy of a thick dissertation–a dissertation that was so old, it had actually been typed.  I drove my shiny new car to the sad South Campus Medical Library, with its plastic sculpture of kidneys standing sentry before the door.  I checked out a hundred books from the bibliography listed at the back of the dissertation. Then, I rolled them out on a dolly.

stacks

I figured I would start off with the first hundred books and then come back for another hundred at a time.  There was no use in overwhelming myself.  And besides, I parked illegally in a little known spot that only gave me a 30 minute window of opportunity.  I would wait until the meter maid finished her cigarette and then when she left, I knew I had exactly that amount of time to get what I needed before she returned from her ticketing circle around the perimeter of the campus.  There was no way I could afford to pay the twenty bucks for my own parking, and I never thought to ask the man with the silk-tie tongue to front me the dough to get the job done.

Well, it was slow-going–almost like doing a puzzle. I set up a collapsible table in my dining room, facing the wall, with the stacks of books around me and started looking for patterns of plagiarism: key words, diagrams.  Plagiarists are like criminals:  they return to the same M.O. over and over again.  If you know how to shimmy a window, you keep doing that.  If you are a teller at a window who pockets the money and shorts the bank with a deft flick of the wrist, you keep doing what works.

And plagiarists, it is always true, always return to the scene of the crime.  They keep using the same works to plagiarize in the same manner.  This seems simple and straightforward in hindsight, but bear in mind that there is no manual for this kind of work–no book in the library about catching people who copy books in the library.  I just had to operate with this theory and hope that this theory was true.

And this is what I did for hours at a time.  The day disappeared before me like those exotic tropical flowers that shrink to the touch.  Long shadows cast themselves in the little dining room and I would look up and realize that the street lights had come on, and I would walk over to the kitchen and pour myself a whiskey on the rocks.

Looking for something like plagiarism is a purely mechanical form of reading. Yes, you have to decide upon a conceptual framework for your “fishing expedition.”  But once you do that, you are not really reading more than you are setting out the vast nets of your eyes to dredge from the deep all manner of oddities:  the double-faced irregular footnote that lies like the flounder in the deep; the block quote that appears like a puffer fish at odd intervals to fix your eye like a sphinx.

This is a special kind of reading.  It is almost a sloppy reading.  But it is a controlled sloppy reading that all academics can do up to a certain point, but that literary critics are actually trained to do so that they can consume huge tracts of books that cover the real estate of vast stacks like the lost continents of the Paleolithic era.

One saving grace that kept my brain afloat was this:  Every scholar has a workhorse in his bibliography and among the thousand odd books are a few that do the heavy lifting. This is the low hanging fruit.

I turned my attention especially to ferreting out the favorite works that the soon-to-be Senator returned to over and over again–the touchstones of his magnum opus. And I hoped and prayed that he didn’t do what I would do: omit the one work that he plagiarized from his official bibliography.  If he did that, I wasn’t necessarily screwed–my plan took that into account–but it would mean that I would have to look at the bibliographies of other books…book which would open into other books, exponentially, a fun house of mirrors that reflected upon each other into the theoretical possibility of something you might call “infinity.”  I hoped to God that the search would be easy and not hard, that the road would be a short one and I could find myself in the hard exoskeleton new-car loveliness of my little silver insect.

My new roommate would pass through with his visiting girlfriend.  He was a fresh-faced Midwesterner.  His fresh-faced Midwestern girlfriend, who was doing the Peace Corps thing in deepest darkest Africa, was visiting. “Hey there.  It’s beautiful outside.”  And I would think to myself about how sad and mis-spent the shriveled prune of my life was.  The roommate had just started grad school and he still looked young, with the elasticity of new dewy skin.  I suddenly remembered that it was Spring outside and that I had never bothered to notice.

When you are only half-reading and you are simply a human scanner, you can think a lot about how soul-crushing your life is, how you could still go to law school, how the condition of being human is the condition of intense loneliness–the condition of being one of a thousand dust motes floating through a room of long, darkening shadows.  In my darkest moments, I thought about running off to Africa, of selling my car and helping a small village with their water problem…in the blissful company of my roommate’s Peace Corps girlfriend.

Africa

The Senator, it turns out, was not so sly or conniving as I am.  He did indeed list the work that he plagiarized.  And so my work itself took a full week. And it was probably three days before I started finding some clues. Here’s what you need to know about the mindset of this work:  You get to looking and you don’t see anything and you hope to dear God that you will eventually see something but you know that something will only happen in a Eureka moment–not in drips and drabbles but in a terrible deluge.  And then you wonder if that Eureka moment is just a rationalization to keep you working on a job that has no end, like the ceaseless meander of footsteps across the dunes of a midnight desert–the traces of a lost traveler.

I wanted to quit more than once, but once I started to see a pattern–favorite strategies, intellectual watering holes–I got to seeing what kind of cerebellum this Senator had in his noggin. You see: everybody has a favorite move–the jump shot, the right hook, the knee to the groin.  Every move says something about its perpetrator.  And there was something that was reckless about a man who would plagiarize in such a brash way.

This is a man who knew he would never get caught–a man who knew that even in the unlikely event that he did get caught, he would never ever be adequately punished.  I could see his silhouette in the doorways of my mind:  private school, doting parents, nannies, housekeeper.  I was sure he went to one of those schools like Exeter, where they train up mediocrity among the gentleman class.

Exeter

I met the good doctor–a skinny balding man–in his fancy office in the nice part of Encino where everything is made of a higher grade of stucco. He was a Persian man and reeked of as much wealth as he did, cologne. He went through my meticulously collated list of plagiarism instances–well over 50 documented cases–and told me he wouldn’t pay for the penny ante ones. Then, he said he might: “I won’t pay for it unless you put your findings down on department stationery and write up a letter.”

This was a dirty trick–forcing me to work a week, forcing me to drive an hour on the 101 freeway during rush hour traffic to spring this on me. I refused–not only because I was pissed but, also, because I foresaw all the crappy things I’d have to do: first, I’d have to steal the letterhead kept under lock and key by the departmental secretaries; second, I would have to participate in an unsavory lie in which I misrepresented my role as a department spokesperson of some sort to people whom I would never know. I wasn’t going to do something even vaguely unethical when I just spent a week uncovering something, well, something patently unethical.

Standing in that office with its smell of chemicals, I took my little stand and told the good doctor that I could not comply.  And I knew that if didn’t take this stand now, I would be destined to not take any other stands in my life.  With my luck, some private dick would hire an ass-hole like me to dig up some shittiness in a letter I wrote long ago during a time consigned to the dustbin of my history when I was desparate to be carried through the world with precision and speed like a quicksilver arrow shot into an endless horizon.

money

In the end, I got the money. I didn’t have to write the letter. I don’t know if the doctor was a doctor or if he was even going to testify before Congress. For all I know, this could have been an elaborate ruse. Hell, this could have been part of a blackmail scheme of some sort. At the time, I didn’t think about it much. I was too busy counting out the dough and zipping about the city in my fully paid for–and temporarily insured–sports car.

The doctor, the detective, the senator–they are all a distant memory:  mere shadows on the wall of a dining room blackening with the greeting of an unforgiving evening.  But now and again, I will think of that moment–one of the strangest moments of grad school–as the moment I learned a little bit about the grasping, self-centered, desperate tunnel vision of a certain kind of criminal mind:  a mind that will stop at nothing to feed its lusts and get at what wants it wants.

The Parrot Should Be the New State Bird of California

There are parrots in my neighborhood—feral creatures who were once domesticated, tamed, and now free.  If you’ve never seen feral parrots, here is what you need to know:  They are loud mother-fuckers and they fly in great packs of emerald and vermillion, like thugs from a gang with outlandish colors.  If you have ever been in the presence of parrots like these, you will know it.

Aratinga_erythrogenys-feeding_feral_parrots

There was a time when feral parrots wandered all over Los Angeles.  I still remember them as a kid on the posh Westside, making their wild unmistakable ruckus.  It is one of my earliest memories in a refugee childhood where, somehow, through the grace of God and the whim of circumstance, I ended up in a good place with great schools and clean water.  This is not always the case with refugees, something my parents never let me forget.

I still remember playing in my back yard, smelling dinner, but resisting the urge to come in–the sky still had not darkened.  When one of those birds land, all of them land—and they stake out a tree or a telephone wire and, like a meeting of Shriner’s with little red Fez plumage, hang out in the arbor of their make-shift hotel lobby, yucking it up with their chums.

Photography of 2012 July 4th Parade hosted by Shriners in Charlotte NC

Those strange birds pretty much disappeared from the Westside at a certain point—a victim of the overexpansion of the city.  The Ballona wetlands, a marshland that served as a wildlife sanctuary–now covered in concrete, probably their resting place—is now stucco condos and strip malls…despite loud protest from conservationists.   The parrots have been displaced further east and their sanctuary has become the digs of new birds of passage:  tech workers and movie industry grunts who want to build their nests within striking distance of the seagull beaches.

I’ve long since left the Westside and my gritty new neighborhood to the East–Highland Park–still has some open spaces that haven’t been bulldozed.  There is Griffith Park—the largest urban park in the nation—that still is home to rattlesnakes and coyotes and cougars. There is the Audubon Center, nestled up against the hills and bounded by the freeway.  There is Eugene V. Debs park with its man-made reservoir.  And so when I moved to this area just a few years ago, I was surprised to suddenly see, to suddenly hear, these reminders of another time, another place.

Chicken boy is the emblem of the latest hipster transplants in Highland Park!

Chicken boy is the emblem of the latest hipster transplants in Highland Park!

There are 13 species of wild parrot that were brought from South America to the United States as pets.  Some speculate, that a major fire in Bel Air—that rich part of Los Angeles filled with sheiks and movie moguls—is the genesis of these creatures who were released into the urban-scape by their owners who saw no other way to save them in the face of natural disaster.

But to the people who live in my largely Latino neighborhood, the parrots are not the mascots of the wealthy, but metaphors of the immigrant spirit—its persistence, its hardiness, its collectivity.  There is a mural on a portal to one of our iconic stairways, upon which is painted the parrots that are supposed to be stand-in’s for the Mexicans, Guatemalans, Salvadorans that have come from further South to find their home.

This mural sits on the main boulevard and decorates the entry to one of the many stairways in our area. Can you spot the parrots on this mural?

This mural sits on the main boulevard and decorates the entry to one of the many stairways in our area. Can you spot the parrots on this mural?

I am personally tempted to see the parrot as a metaphor of immigration.  The first time I re-encountered the feral parrots–a huge convocation of them–was in the city of Orange, a picturesque little town, anchored by Chapman University in Orange County.  Orange County is the adoptive home to Vietnamese refugees and houses its largest population outside of the United States.  And it is on the bucket list of every Vietnamese immigrant to visit the Little Saigon that is only a twenty minute drive from downtown Orange.

I was also an immigrant of sorts:  I had  just returned to California after a few years in the Midwest and, to be confronted with this spectacle in such a place as Orange County, made me immediately realize that the parrots are some kind of a symbol not only of my own migrations across the continent but, also, of the migration of my people across the globe:  we are the exotic domesticated–the feral and the invasive—incapable of being caged.

But now I realize that this is just me reading into things—reading into things with the kind of chauvinism that centers myself upon the looking glass of myself.  After all, Los Angeles is not just the place where parrots thrive.  Neither is the Southland.  Rather, we find parrots all over California.  And indeed there is even a documentary about the parrots of San Francisco, which makes San Francisco parrots more famous than their thug cousins in Southern California…even though we are so much closer to the movie industry.

Cape-parrot_Poicephalus_robustus-flock_Photo-Colleen_Downs (1)

And so the parrot is really a metaphor of our great state—of migrants in general, whether they are Midwestern bohunks who come to become actors in the machine of the movie studios, or sheiks from Saudi Arabia who buy up mansions that they will demolish and rebuild in Bel Air, or Guatemalans who cross to the other side to find new homes, or Vietnamese who wheel through the world in search of a place to land.  The parrot is our great State Bird.

Vietnamese Food/Vietnamese Art

A few days ago, I found myself in the desert of the city suddenly filled with an incredible thirst that can only come of walking:  I was parched.  I wandered into one of those mega-Ralph’s—bigger and better than your average supermarket—and looked at the long bank of overpriced drinks.  And there it was, next to the Almond Milk and the Kombucha:  “Soda Chanh”—a Vietnamese drink made of all-natural lime flavors.

It says "authentic," so it must be true!

Great packaging, no?

For me, a big sign that you’ve made it in mainstream American culture is when your food becomes turned into a convenience product for the busy-bee worker.  The Italians did it way back in the 80’s when their humble mom-and-pop eateries ushered in an era of carbs.  Now, we have frozen pizza, bottled spaghetti sauce, garlic bread—you name it.  Now, Italians are as American as apple pie.

Growing up as a Vietnamese immigrant among mostly white kids (or Jewish kids who didn’t make a big deal of the religion thing), I was pretty self-conscious of the kind of weirdo items that I brought to school:  their smells, their colors.  And I always made sure to fit in with a nice, absolutely tasteless bologna sandwich on white bread.

bologna

So, when all the Asian foods started showing up in the frozen food section, I began wondering:  Will there ever come a moment when Vietnamese food takes center stage?

Well, that day is coming.  We have that Sriracha sauce that has taken the world by storm (so much so that I see people wearing tee shirts with the rooster logo emblazoned on it).  And we have begun to see the slow creep of the banh mi sandwich (there is an entire cookbook dedicated to it, and an incredibly successful fast food chain “Lee’s Sandwiches” expanding from its base on the West Coast).

We even have Sriracha packets now!

We even have Sriracha packets now!

Even the pretty sucky attempts at using Vietnamese flavors by Western chefs is a positive sign–a sign of integration.  So what if Rachel Ray’s “Phunky Pho” is an atrocity that uses canned soup as its base.  At least we’re on television and someone in Peoria knows that we exist.

For me, though, the acceptance of foods also signals an acceptance of the Vietnamese presence in other sectors, namely art.  Will our film and literature take us out of the ghetto of doctoring and computer science?  Will we produce truly great art or compromise our art to pander to a Western palette?

dragonfish

We’ve had some astounding successes, too, in the past few years in terms of art–successes that have mounted and snowballed.  Just this year, the prize-winning writer Vu Tran debuted with a literary detective novel–Dragonfish.  And my good friend Viet Nguyen came out with a book–The Sympathizer–that has garnered critical acclaim.  In fact, he’s won several awards, including the Center For Fiction’s First Novel Award, and he’s an honest-to-goodness nominee for the esteemed EDGAR AWARD.

winnernguyen3

I feel humbled to be in their orbit in my small space dust way.  Both are luminaries shining bright and professors of English at top-rate institutions like USC and University of Chicago.  Of The Sympathizer, T.C. Boyle writes:  “The Sympathizer is destined to become a classic and redefine the way we think about the Vietnam War and what it means to win and to lose.”  And apparently, both of these novels–and novelists–are teaching the general public more about winning then losing.

I highly recommend these two novels.  The writing is amazing–crisp, clean, delicious. But thinking through this problem of creativity under the rubric of food also brings up some really important questions.  Have we watered down our distinctive flavor to pander to the masses?  Are we substituting flavor profiles for actual flavors?

This is not a question that can be resolved in the moment.  The moment is like that sandwich you bite into and enjoy for all its sensations.  The moment is not really that intellectual.  That only comes later when you can intellectualize the delight of the taste buds and talk about the talk of the mind.

Rachael Ray's Phunky Pho is an atrocity on too many levels.

Rachael Ray’s Phunky Pho is an atrocity on too many levels.

I have no readymade answers.  And I probably won’t have much to say on the topic until a few decades have passed.  All I can say is that I’m glad that there is more stuff out there to enjoy–more stuff that the American public can delight from.

As for that soda.  I bought it.  It wasn’t that great.  It was a watered down version of a drink I’ve known forever.  But it was all natural.  It came in a pretty package.  And it came with a big guarantee up-front that it was “authentic.”