‘The Far Country’ Explores Memory, Family and Angel Island’s Detention Horrors
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Thien Pham's Graphic Novel Is an Immigration Story Told Through Food
Jane Kuo’s New Novel Captures What It’s Like to be an Undocumented Child
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Anti-War Russian Poets Come Together for a Reading at SF’s Globus Books
How a Ukrainian Mystic’s Ice-Water Cure Helped Me Cope With the Chaos of 2022
Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants
Mohammed Amer's New Series Explores the Tragedy and Comedy in the Refugee Experience
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When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1591205172","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13954195":{"type":"posts","id":"arts_13954195","meta":{"index":"posts_1591205157","site":"arts","id":"13954195","score":null,"sort":[1710531551000]},"guestAuthors":[],"slug":"the-far-country-berkeley-rep-angel-island-review","title":"‘The Far Country’ Explores Memory, Family and Angel Island’s Detention Horrors","publishDate":1710531551,"format":"standard","headTitle":"‘The Far Country’ Explores Memory, Family and Angel Island’s Detention Horrors | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>What if walls could talk?\u003c/p>\n\u003cp>In the case of \u003ca href=\"https://www.aiisf.org/poems-and-inscriptions\">Angel Island\u003c/a>, the walls do in fact talk. Imprisoned upon arrival in the early 20th century, Chinese immigrants etched their pain into the walls as poetry that has been preserved for posterity. \u003c/p>\n\u003cp>Berkeley Repertory Theatre’s harrowing production of Lloyd Suh’s Pulitzer-finalist play \u003cem>The Far Country\u003c/em> exists in a world where even the most remote and desolate land carries its own richness. The play’s magic, exposed by Jennifer Chang’s exquisite direction, is that it feels epic in scope, beautifully balanced between struggle, hope and decadent artistry.\u003c/p>\n\u003cfigure id=\"attachment_13954199\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Feodor Chin (Gee/Three), Aaron Wilton (Harriwell/Interpreter), and Whit K. Lee (Yip/One) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play begins on Angel Island, in the San Francisco Bay, in 1909. It’s 27 years after the implementation of the Chinese Exclusion Act, which severely limited Chinese immigration and brought horrific consequences.\u003c/p>\n\u003cp>Despite the conventional belief that Angel Island functioned similarly to Ellis Island in New York, the island was primarily a detention center, devoid of any romanticism for those yearning to breathe free. It is there where we first meet Gee (Feodor Chin) as he is interrogated by an American inspector (John Keebler), assisted by his interpreter (Aaron Wilton). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gee is charming and funny, stating that his paperwork proving American citizenship was destroyed in the infamous earthquake three years earlier. Through Chin’s commitment to each critical moment, Gee moves from professional groveler to shrewd businessman in the span of the exchange, making one wonder about his authenticity. Is he the soft soul that made the grizzled, white inspector smile, or a soulless heathen only interested in favorable transactions — or both? \u003c/p>\n\u003cfigure id=\"attachment_13954200\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tess Lina (Low/Two) and Tommy Bo (Moon Gyet) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having gained passage back to China, Gee makes a tempting offer to a widow, Low (Tess Lina). For a hefty fee, most of which is free labor, Gee will take Low’s son Moon Gyet (Tommy Bo) to the United States, where labor will become currency in the freedom of a new land. In multiple scenes, Lina oscillates between heartache and pragmatism, informed by each calculated thought with a regal smoothness. \u003c/p>\n\u003cp>It’s a pact with the devil, to be sure, and one where admission isn’t guaranteed — even the devil might not be able to crack Angel Island inspectors’ relentless interrogation. Admission for Moon Gyet and the many other Chinese migrants trying to enter the steel doors of America is dependent on the tiniest of details: How many steps were at your house? How about the steps at your school? Are these lies? \u003cem>Don’t they all lie\u003c/em>?\u003c/p>\n\u003cp>Suh’s use of language and translation in these scenes is exceptional, where exacting words in Angel Island’s interrogation room by both inspector and translator spoken within seconds of each other is a balancing act of delicate precision.\u003c/p>\n\u003cfigure id=\"attachment_13954201\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Bo (Moon Gyet) and Sharon Shao (Yuen/Four) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bo portrays Moon Gyet’s high-stakes game with steely, sharp resolve. Moon Gyet later makes his own transactional offer to Yuen (Sharon Shao): a marriage proposal that, as it turns out, dismisses her hopes of lifelong love (shaking hands after accepting the offer will do that). Shao plays tender and skittish charm beautifully, serving as an effective foil for Moon Gyet’s scheming.\u003c/p>\n\u003cp>As director, Chang is best when creating savory tableaus, pacing each moment with what’s necessary. In her hands, not only does the drama provide tension, but offers artistry and a clean blend of humor necessary for the audience to take a breath and process.\u003c/p>\n\u003cp>[aside postID='arts_13954121']Moments within Angel Island are loaded with desperate warmth, the details filled with artistic strokes incorporating Minjoo Kim’s wonderful lighting design. It is there where the hope of a people, those whose poetry sustained them within the most soul-crushing circumstances, rises beyond the clay that covers each word. \u003c/p>\n\u003cp>The story’s denouement offers critical lessons with humane subtlety. As one grows and ages, the totality of a life is clearest just before the memory starts to fade. No one will live forever, but a legacy can. Just listen to the walls — they will tell all. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Far Country’ runs now through April 14 at Berkeley Rep. \u003ca href=\"https://www.berkeleyrep.org/shows/the-far-country/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At Berkeley Rep, Lloyd Suh’s masterful, Pulitzer-finalist play is set during the Chinese Exclusion Act.","status":"publish","parent":0,"modified":1710531551,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":775},"headData":{"title":"Review: ‘The Far Country’ at Berkeley Rep and Angel Island’s Detention Horrors | KQED","description":"At Berkeley Rep, Lloyd Suh’s masterful, Pulitzer-finalist play is set during the Chinese Exclusion Act.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Review: ‘The Far Country’ at Berkeley Rep and Angel Island’s Detention Horrors %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"David John Chávez","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954195/the-far-country-berkeley-rep-angel-island-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if walls could talk?\u003c/p>\n\u003cp>In the case of \u003ca href=\"https://www.aiisf.org/poems-and-inscriptions\">Angel Island\u003c/a>, the walls do in fact talk. Imprisoned upon arrival in the early 20th century, Chinese immigrants etched their pain into the walls as poetry that has been preserved for posterity. \u003c/p>\n\u003cp>Berkeley Repertory Theatre’s harrowing production of Lloyd Suh’s Pulitzer-finalist play \u003cem>The Far Country\u003c/em> exists in a world where even the most remote and desolate land carries its own richness. The play’s magic, exposed by Jennifer Chang’s exquisite direction, is that it feels epic in scope, beautifully balanced between struggle, hope and decadent artistry.\u003c/p>\n\u003cfigure id=\"attachment_13954199\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_012-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Feodor Chin (Gee/Three), Aaron Wilton (Harriwell/Interpreter), and Whit K. Lee (Yip/One) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play begins on Angel Island, in the San Francisco Bay, in 1909. It’s 27 years after the implementation of the Chinese Exclusion Act, which severely limited Chinese immigration and brought horrific consequences.\u003c/p>\n\u003cp>Despite the conventional belief that Angel Island functioned similarly to Ellis Island in New York, the island was primarily a detention center, devoid of any romanticism for those yearning to breathe free. It is there where we first meet Gee (Feodor Chin) as he is interrogated by an American inspector (John Keebler), assisted by his interpreter (Aaron Wilton). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gee is charming and funny, stating that his paperwork proving American citizenship was destroyed in the infamous earthquake three years earlier. Through Chin’s commitment to each critical moment, Gee moves from professional groveler to shrewd businessman in the span of the exchange, making one wonder about his authenticity. Is he the soft soul that made the grizzled, white inspector smile, or a soulless heathen only interested in favorable transactions — or both? \u003c/p>\n\u003cfigure id=\"attachment_13954200\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_058-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tess Lina (Low/Two) and Tommy Bo (Moon Gyet) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having gained passage back to China, Gee makes a tempting offer to a widow, Low (Tess Lina). For a hefty fee, most of which is free labor, Gee will take Low’s son Moon Gyet (Tommy Bo) to the United States, where labor will become currency in the freedom of a new land. In multiple scenes, Lina oscillates between heartache and pragmatism, informed by each calculated thought with a regal smoothness. \u003c/p>\n\u003cp>It’s a pact with the devil, to be sure, and one where admission isn’t guaranteed — even the devil might not be able to crack Angel Island inspectors’ relentless interrogation. Admission for Moon Gyet and the many other Chinese migrants trying to enter the steel doors of America is dependent on the tiniest of details: How many steps were at your house? How about the steps at your school? Are these lies? \u003cem>Don’t they all lie\u003c/em>?\u003c/p>\n\u003cp>Suh’s use of language and translation in these scenes is exceptional, where exacting words in Angel Island’s interrogation room by both inspector and translator spoken within seconds of each other is a balancing act of delicate precision.\u003c/p>\n\u003cfigure id=\"attachment_13954201\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13954201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TFC_166-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Bo (Moon Gyet) and Sharon Shao (Yuen/Four) in Lloyd Suh’s ‘The Far Country’ at Berkeley Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bo portrays Moon Gyet’s high-stakes game with steely, sharp resolve. Moon Gyet later makes his own transactional offer to Yuen (Sharon Shao): a marriage proposal that, as it turns out, dismisses her hopes of lifelong love (shaking hands after accepting the offer will do that). Shao plays tender and skittish charm beautifully, serving as an effective foil for Moon Gyet’s scheming.\u003c/p>\n\u003cp>As director, Chang is best when creating savory tableaus, pacing each moment with what’s necessary. In her hands, not only does the drama provide tension, but offers artistry and a clean blend of humor necessary for the audience to take a breath and process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954121","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Moments within Angel Island are loaded with desperate warmth, the details filled with artistic strokes incorporating Minjoo Kim’s wonderful lighting design. It is there where the hope of a people, those whose poetry sustained them within the most soul-crushing circumstances, rises beyond the clay that covers each word. \u003c/p>\n\u003cp>The story’s denouement offers critical lessons with humane subtlety. As one grows and ages, the totality of a life is clearest just before the memory starts to fade. No one will live forever, but a legacy can. Just listen to the walls — they will tell all. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Far Country’ runs now through April 14 at Berkeley Rep. \u003ca href=\"https://www.berkeleyrep.org/shows/the-far-country/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954195/the-far-country-berkeley-rep-angel-island-review","authors":["byline_arts_13954195"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_22018","arts_1270","arts_1237","arts_1773","arts_585"],"featImg":"arts_13954202","label":"arts_140"},"arts_13937851":{"type":"posts","id":"arts_13937851","meta":{"index":"posts_1591205157","site":"arts","id":"13937851","score":null,"sort":[1699571264000]},"guestAuthors":[],"slug":"ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica","title":"A Team of All-Star Chefs Offers a ‘Multisensory Experience’ Inspired by Mexican Immigration","publishDate":1699571264,"format":"standard","headTitle":"A Team of All-Star Chefs Offers a ‘Multisensory Experience’ Inspired by Mexican Immigration | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">Emmanuel Galvan\u003c/a>, the Mexican American chef and founder of \u003ca href=\"https://www.instagram.com/bolitamasa/\">Berkeley’s Bolita Masa\u003c/a>, doesn’t know how to define home. It’s an elusive concept for the San Francisco resident who grew up in Napa Valley raised by Mexican immigrants.\u003c/p>\n\u003cp>“As the son of Jalisco, I don’t feel like I’m from there. I don’t feel Mexican enough,” Galvan says. “But I also don’t feel white enough to fit into [the United States]. As Mexican Americans, we’re battling that tension. [Food] is a way to address that.”\u003c/p>\n\u003cp>Luckily for the tortilla-loving gastronome, \u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">his recipes are a way to explore his origin\u003c/a>: What is it? What does it taste like? And who gets invited to the table to experience it?\u003c/p>\n\u003cp>On Nov. 18, Galvan will explore the various textures and ingredients of being Mexican American by hosting “Ofrendas: Neither Here Nor There.” Co-organized with Jacob Croom of \u003ca href=\"https://www.instagram.com/my.friend.fernando/\">My Friend Fernando\u003c/a> (a Chicano supper club that migrates around the East Bay), the event will showcase five chefs from around the U.S. and Mexico in a “multisensory hour” of small bites, drinks, cumbia music and art at the \u003ca href=\"https://www.kqed.org/arts/tag/institute-for-contemporary-art\">Institute of Contemporary Art\u003c/a> in San Francisco’s Dogpatch.\u003c/p>\n\u003cp>In addition to Galvan and Croom, “Ofrendas” will feature Luna Vela of the James Beard Award-winning \u003ca href=\"https://www.instagram.com/nixtataqueria/\">Nixta Taqueria\u003c/a> in Austin; \u003ca href=\"https://atlanta.eater.com/2022/5/12/23067797/atlanta-chef-maricela-vega-launching-masa-tortilla-business-chico\">Maricela Vega\u003c/a>, who cut her teeth as the executive chef at Atlanta’s 8ARM; and Tony Ortiz, who originally hails from Zacatecas and recently launched \u003ca href=\"https://www.instagram.com/chileconmiel/?hl=en\">Chile Con Miel\u003c/a> in New York City. The \u003ca href=\"https://www.instagram.com/bsidebrujas/?hl=en\">B-Side Brujas\u003c/a> will also be in the house, spinning Spanish music vinyls.\u003c/p>\n\u003cfigure id=\"attachment_13937892\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ofrendas-bowl.jpg\" alt=\"filled with Mexican soup presented against a bright pink backdrop\" width=\"1920\" height=\"2353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1253x1536.jpg 1253w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1671x2048.jpg 1671w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luna Vela’s tortilla bowls are an ode to childhood soups presented in an elevated form. \u003ccite>(Courtesy of Emmanuel Galvin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The meal itself won’t be a sit-down dinner. In fact, there won’t be any seating at all. Instead, guests are encouraged to mingle and explore — and to check out the artwork being displayed in the museum itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Through these projects we learn more about who we are and get to express that a little bit more,” says Galvan. “We don’t always explore the actual tensions and the disparity that exists in Mexico. We’re trying to present history through the romance of its ingredients. Some of us will address it more directly in our dishes. Some of it will happen through conversations.”\u003c/p>\n\u003cp>The New York City–based Ortiz, for example, is preparing nicuatole, an indigenous Oaxacan corn gelatin dessert with fig leaf oil and quince. The red puree of his dish is intended to symbolize the loss of lives in \u003ca href=\"https://www.bbc.com/news/world-latin-america-67227493\">a tragic post-hurricane flood that recently devastated western Mexico\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13933138,arts_13931115,arts_13920076']\u003c/span>\u003c/strong>\u003c/b>For Galvan’s part, his approach to tamal making is inherently representative of what he feels it’s like to be Mexican American: “Tamales are covered, and [eating one] is an unraveling to see what’s inside. There is a level of complexity about what’s hidden inside for people who want to engage with that. But if you don’t want to, it’s also just a tasty bite to enjoy.”\u003c/p>\n\u003cp>Other dishes will include grilled oysters, star-shaped tortilla bowls filled with sopa de estrellitas, and enchiladas bathed in a squash and sikil’pak (Mayan pumpkin seed) sauce.\u003c/p>\n\u003cp>“Growing up, [indigenous Mexican cuisine] was seen as icky or not sexy,” says Galvan. “But now it’s food that every chef wants to eat or make. This is our offering. An ofrenda.”\u003c/p>\n\u003cp>Galvan and Croom are paying the up-front costs of the event themselves, and they hope to continue offering it as a regular series throughout the Bay Area — which, for now, is home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">“Ofrendas: Neither Here Nor There”\u003c/a> will take place at the ICA SF (901 Minnesota St., San Francisco) on Sat., Nov. 18 from 6 to 9 p.m. \u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">Tickets are $75\u003c/a> per person and will include five small dishes, two beverages and access to \u003ca href=\"https://www.icasf.org/exhibitions\">the museum’s galleries\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mexican American foodmakers from around the country will serve dishes that explore their migratory heritages.","status":"publish","parent":0,"modified":1705003111,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":711},"headData":{"title":"A Mexican American Pop-Up in SF Explores Immigration, Identity | KQED","description":"Mexican American foodmakers from around the country will serve dishes that explore their migratory heritages.","ogTitle":"A Team of All-Star Chefs Offers a ‘Multisensory Experience’ Inspired by Mexican Immigration","ogDescription":"","ogImgId":"","twTitle":"A Team of All-Star Chefs Offers a ‘Multisensory Experience’ Inspired by Mexican Immigration","twDescription":"","twImgId":"","socialTitle":"A Mexican American Pop-Up in SF Explores Immigration, Identity %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">Emmanuel Galvan\u003c/a>, the Mexican American chef and founder of \u003ca href=\"https://www.instagram.com/bolitamasa/\">Berkeley’s Bolita Masa\u003c/a>, doesn’t know how to define home. It’s an elusive concept for the San Francisco resident who grew up in Napa Valley raised by Mexican immigrants.\u003c/p>\n\u003cp>“As the son of Jalisco, I don’t feel like I’m from there. I don’t feel Mexican enough,” Galvan says. “But I also don’t feel white enough to fit into [the United States]. As Mexican Americans, we’re battling that tension. [Food] is a way to address that.”\u003c/p>\n\u003cp>Luckily for the tortilla-loving gastronome, \u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">his recipes are a way to explore his origin\u003c/a>: What is it? What does it taste like? And who gets invited to the table to experience it?\u003c/p>\n\u003cp>On Nov. 18, Galvan will explore the various textures and ingredients of being Mexican American by hosting “Ofrendas: Neither Here Nor There.” Co-organized with Jacob Croom of \u003ca href=\"https://www.instagram.com/my.friend.fernando/\">My Friend Fernando\u003c/a> (a Chicano supper club that migrates around the East Bay), the event will showcase five chefs from around the U.S. and Mexico in a “multisensory hour” of small bites, drinks, cumbia music and art at the \u003ca href=\"https://www.kqed.org/arts/tag/institute-for-contemporary-art\">Institute of Contemporary Art\u003c/a> in San Francisco’s Dogpatch.\u003c/p>\n\u003cp>In addition to Galvan and Croom, “Ofrendas” will feature Luna Vela of the James Beard Award-winning \u003ca href=\"https://www.instagram.com/nixtataqueria/\">Nixta Taqueria\u003c/a> in Austin; \u003ca href=\"https://atlanta.eater.com/2022/5/12/23067797/atlanta-chef-maricela-vega-launching-masa-tortilla-business-chico\">Maricela Vega\u003c/a>, who cut her teeth as the executive chef at Atlanta’s 8ARM; and Tony Ortiz, who originally hails from Zacatecas and recently launched \u003ca href=\"https://www.instagram.com/chileconmiel/?hl=en\">Chile Con Miel\u003c/a> in New York City. The \u003ca href=\"https://www.instagram.com/bsidebrujas/?hl=en\">B-Side Brujas\u003c/a> will also be in the house, spinning Spanish music vinyls.\u003c/p>\n\u003cfigure id=\"attachment_13937892\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ofrendas-bowl.jpg\" alt=\"filled with Mexican soup presented against a bright pink backdrop\" width=\"1920\" height=\"2353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1253x1536.jpg 1253w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1671x2048.jpg 1671w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luna Vela’s tortilla bowls are an ode to childhood soups presented in an elevated form. \u003ccite>(Courtesy of Emmanuel Galvin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The meal itself won’t be a sit-down dinner. In fact, there won’t be any seating at all. Instead, guests are encouraged to mingle and explore — and to check out the artwork being displayed in the museum itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Through these projects we learn more about who we are and get to express that a little bit more,” says Galvan. “We don’t always explore the actual tensions and the disparity that exists in Mexico. We’re trying to present history through the romance of its ingredients. Some of us will address it more directly in our dishes. Some of it will happen through conversations.”\u003c/p>\n\u003cp>The New York City–based Ortiz, for example, is preparing nicuatole, an indigenous Oaxacan corn gelatin dessert with fig leaf oil and quince. The red puree of his dish is intended to symbolize the loss of lives in \u003ca href=\"https://www.bbc.com/news/world-latin-america-67227493\">a tragic post-hurricane flood that recently devastated western Mexico\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933138,arts_13931115,arts_13920076","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>For Galvan’s part, his approach to tamal making is inherently representative of what he feels it’s like to be Mexican American: “Tamales are covered, and [eating one] is an unraveling to see what’s inside. There is a level of complexity about what’s hidden inside for people who want to engage with that. But if you don’t want to, it’s also just a tasty bite to enjoy.”\u003c/p>\n\u003cp>Other dishes will include grilled oysters, star-shaped tortilla bowls filled with sopa de estrellitas, and enchiladas bathed in a squash and sikil’pak (Mayan pumpkin seed) sauce.\u003c/p>\n\u003cp>“Growing up, [indigenous Mexican cuisine] was seen as icky or not sexy,” says Galvan. “But now it’s food that every chef wants to eat or make. This is our offering. An ofrenda.”\u003c/p>\n\u003cp>Galvan and Croom are paying the up-front costs of the event themselves, and they hope to continue offering it as a regular series throughout the Bay Area — which, for now, is home.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">“Ofrendas: Neither Here Nor There”\u003c/a> will take place at the ICA SF (901 Minnesota St., San Francisco) on Sat., Nov. 18 from 6 to 9 p.m. \u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">Tickets are $75\u003c/a> per person and will include five small dishes, two beverages and access to \u003ca href=\"https://www.icasf.org/exhibitions\">the museum’s galleries\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_1297","arts_1773","arts_14985","arts_14089","arts_1146","arts_21729","arts_585"],"featImg":"arts_13937891","label":"source_arts_13937851"},"arts_13930458":{"type":"posts","id":"arts_13930458","meta":{"index":"posts_1591205157","site":"arts","id":"13930458","score":null,"sort":[1687295942000]},"guestAuthors":[],"slug":"thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry","title":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","publishDate":1687295942,"format":"standard","headTitle":"Thien Pham’s Graphic Novel Is an Immigration Story Told Through Food | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Nothing sustains a community more than food. It’s where all memories of home begin, and it’s how anyone who has ever been separated from their roots finds a way back — eventually.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">Thien Pham\u003c/a>, an Oakland-based graphic novelist, \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">comics\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13905153/underground-vietnamese-restaurants-social-media-san-jose\">artist\u003c/a> and high school educator, it took more than 40 years after fleeing his home country, Vietnam, to gather the right ingredients needed for his life’s work: \u003ci>Family Style\u003c/i>. Packed with life lessons about family, friendship, assimilation and \u003ca href=\"https://www.kqed.org/sanjosefood\">life in San Jose\u003c/a> as a refugee, the graphic novel also serves as a love letter to his most memorable meals, from Southeast Asia to Northern California.\u003c/p>\n\u003cp>Each chapter of the story presents a thematic dish that encapsulates Pham’s experience at the time, from the “Rice and Fish” he ate as a child refugee living on a boat to the luxurious “Steak and Potatoes” he enjoyed after first arriving to the United States — and many unexpected food combinations in between.\u003c/p>\n\u003cp>Though the book grapples with traumatic topics of forced migration and diasporic displacement, it’s largely centered on the joy of communal gathering, shared culinary knowledge and family-sustained recipes for dishes like his mother’s bánh cuốn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Image of a thin rice crepe on a plate. Text reads, "Put the pork filling in the middle, then roll, fold the rice paper with the bamboo stick. 2) A woman reaches into a bowl, assembling the banch cuon. Text reads, "Top with the fried onions, garlic, and veggies." 3) She holds out a plate with the finished banh cuon. "Add fish sauce at the end. And that's it. Here, try it." 4) Another woman in a red blouse picks up a piece with chopsticks. 5) She eats it with her eyes closed in pleasure. "It tastes like home," she says. 6) The panel zooms out to show the two of them sitting in front of a small stall made up of various cooking implements. "So do you think you're ready to do this?" the woman who prepared the banh cuon asks.\" width=\"1920\" height=\"2326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-800x969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1020x1236.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-768x930.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1268x1536.jpg 1268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1691x2048.jpg 1691w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>There’s one poignant scene when Pham eats his first bag of potato chips with his family after they’ve worked as migrant field laborers picking strawberries. Later as an adult, he memorizes important dates in U.S. history in order to pass his citizenship test while eating lunch in the teacher’s lounge. Often, food is at the center of it all, helping to nourish Pham’s identity and feed his family’s aspirational immigrant dreams.\u003c/p>\n\u003cp>On the eve of his national book launch, I spoke with Pham about his memories of growing up in the Bay Area, his favorite San Jose restaurant and the beauty of being an immigrant.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: \u003c/b>\u003cb>\u003ci>Family Style \u003c/i>\u003c/b>\u003cb>is a graphic novel about food, family, diaspora, teenage angst, American assimilation and more. As a visual storyteller, where did you begin, and how long did it take to complete?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thien Pham: \u003c/b>I’ve wanted to tell this family story for a long time, but there were things preventing me from it in the past. I never had a tight enough connection with my parents to get the full story, my art style wasn’t where I wanted it to be and I didn’t have a fresh enough perspective. Coming to America as a Vietnamese immigrant has been told before. It’s a universal immigration story, and I didn’t know how to tell it at the level I thought it could be. I needed time to figure it all out.\u003c/p>\n\u003cp>During the pandemic, it just intersected for me in a weird way. I finally spent time with my parents and talked to them about it all, and we were all old enough to talk about the truth. I also felt at that point my art was at a level that could do the story justice. When I talked to my mom, I realized that what I told her was mostly food related. As soon as I got that last piece, I knew that was the angle for me to approach it: immigration told through food. It was the missing piece; it was already inside me.\u003c/p>\n\u003cp>After that, I just did it page by page. It was fast, in terms of drawing comics; it wasn’t agonizing or dragged out. It’s not often I get that. Maybe two or three times in my life I’ve had that feeling. That’s one of the reasons this book is so special to me. Who knows if I’ll ever have all that coming together so perfectly again? At the end of the book, there are strips of me talking to my parents and explaining how the book was created. I wanted to capture that in the book. It was magical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg\" alt='Panels excerpted from a graphic novel: 1) A boat pulls up to a larger freighter ship. 2) A man on the boat says, \"They said they can take us as far as they can, and give us food and water for some money...\" 3) The Vietnamese refugees on the boat look stunned to receive this news. 4) They line up to receive food from a man in a baseball cap. 5) When she reaches the front of the line, one woman says, \"We have five people. Can we get some more?\" as he hands her a plate of squid and a slice of watermelon. 6) The woman and her two small children look overwhelmed as someone approaches offering two additional plates of squid and rice.' width=\"1920\" height=\"2315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1020x1230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1699x2048.jpg 1699w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Your first graphic novel, \u003c/b>\u003cb>\u003ci>Sumo\u003c/i>\u003c/b>\u003cb>, was published over a decade ago. When did you realize you were ready to illustrate and write \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>Everybody has stories in them, but it’s about recognizing when it’s time to share it. That’s crucial. I didn’t have any idea about my next big graphic novel. I would start and stop with things and nothing really stuck. I can only create when I feel a major emotional pull to do it. But between those graphic novels I’ve been drawing. I did short stories, \u003ca href=\"https://eastbayexpress.com/comic-strip-i-like-eating-2-1/\">food magazines\u003c/a>. I was always honing my craft. Through these smaller projects I really found how to tell stories in my own voice. By the time the inspiration finally hit me, I was ready in terms of art and storytelling. I was at the point I could tell the story in the style I wanted.\u003c/p>\n\u003cp>\u003cb>The book includes references to recipes related to your family’s experiences. What have you realized about the connection between food and family?\u003c/b>\u003c/p>\n\u003cp>I always wanted to cook my mom’s food. I missed it. During the pandemic, you couldn’t just go to Vietnamese restaurants, so I started learning how to do it. Every day I tried to make something my mom made me when I was a kid. This is a very metaphoric thing in the book. I thought these simple meals she used to make were easy and took no time, and they were delicious. She made meals in 15 minutes for the family in between her work shifts. But when she described to me how they were made, I realized simple meals are very, very nuanced, and there are so many more things to it I never thought about.\u003c/p>\n\u003cp>For example, something I thought was just fish sauce also had sugar and coconut soda and star anise. When I ate it I never picked up on those things. I realized how it mirrored our trip to America. My mom just says, “Yeah, we were on a boat and got here, and it was this and that.” But when you sit with the details, it’s like the nuance of a recipe with so much more happening. That made me realize that my parents were constantly trying to protect us when we were kids by making it look easy. Whether it’s not telling us about their hardships or making light of the work they did to provide dinner, they were trying to shield us. [pullquote size=\"large\" align=\"right\" citation=\"Thien Pham\"]“Immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other.”[/pullquote]\u003c/p>\n\u003cp>Now, at 48 years old, I realize what an amazing cook and person my mom was. I think I always took that for granted.\u003c/p>\n\u003cp>\u003cb>What were the challenges of writing and illustrating \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>, which invariably deals with intense immigrant hardships?\u003c/b>\u003c/p>\n\u003cp>My dad surprised me when I asked him about how he maintained his hope through hardships: He said it wasn’t hard. Looking back, he’ll now admit it was tough, but in the moment he said it was so much joy and fun, even in the refugee camps while living in shacks with nothing. Because at least you have friends and family, and everyone is there and making the best of it. He recalls the refugee camps as some of his best times. When he told me that, it made me realize how immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other. I wanted to write a story full of that hope and joy.\u003c/p>\n\u003cp>If there was a challenge, it was to convey some of the challenges while keeping a tone of joy. I didn’t want it to be about only the hardships, but seeing the fortunate side of things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Kids eating lunch at a table in the cafeteria. A smiling, gap-toothed boy says, "Hey Thien! How's your first day of school going?" 2) Thien, with a perplexed expression, responds, "Okay, but for some reason everyone's calling me 'Tin.' The gap-toothed boy responds, "Ha! That's your new name! At least it sorta sounds like your name. They call me 'Tony'!" 3) Thien examines a plastic-wrapped carton of food. "What's this?" 4) While chewing, gap-toothed boy responds, "It's called sals-buree steak. Try it. I think you'll like it!" 5) Thien warily peels back the plastic wrap. 6) As prepares to put a spork-ful in his mouth, he says, "You sure? It smells funny..." "Okay, here goes..."\" width=\"1920\" height=\"2307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1278x1536.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1704x2048.jpg 1704w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Community is a major part of immigrant survival for any group. In your family’s case, you met Chu Nhan, a neighbor and social advocate, who helped you move into an apartment complex with other Viet families. I’m curious, what’s the Vietnamese community in the Bay Area currently like, and do these networks still exist for newcomers? So much has changed since your family’s arrival in 1980.\u003c/b>\u003c/p>\n\u003cp>For research, I went back to that exact apartment complex where we started. It’s still very much filled with immigrants. The immigrants aren’t only Vietnamese but Hispanic and Indian as well. So it’s more diverse, but it’s still there. It’s really great.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13905153,arts_13904835,arts_13926136']\u003c/span>That was one of the most defining moments of my childhood — to find a community of kids. When we first came here, we were latchkey kids in kindergarten and were home all the time. Our neighbors checked in on us, and our friends were all from around the street, and we just hung around until 9 at night when our parents finally came home from work.\u003c/p>\n\u003cp>In the Bay Area, I would say the South Bay is where most Vietnamese people live. But as I was writing this book and traveling around to promote it, I’m seeing Vietnamese immigrant populations all over the United States. I know of San Jose and Orange County, of course. But I recently discovered Houston has a huge population, and their food scene is amazing. Same with New Orleans. They brought Viet Cajun, which is one of my favorite things — those boils. There are pockets everywhere. I think that’s great. They all have their own flair and personality. California Vietnamese. Louisiana Vietnamese.\u003c/p>\n\u003cp>\u003cb>If you had to add a new chapter and dish to the book to reflect your current living situation, what would it be and why?\u003c/b>\u003c/p>\n\u003cp>I would definitely do a sushi chapter. I’m a huge sushi fan. Or tacos. I love tacos, too. The Jalisco Marisco truck in LA is one of my favorite things to eat. Or pasta. Spaghetti can be an amazing artisan experience.\u003c/p>\n\u003cp>\u003cb>As an immigrant living in the U.S., how have your experiences with food changed over time?\u003c/b>\u003c/p>\n\u003cp>I used to think Chili’s was high-end (laughs). I used to think that was making it in life. Then, when I first started dating my ex-wife, she took me to a Michelin-star restaurant in San Francisco. It blew my mind, and for so long I was looking for those beautifully refined restaurants. But I’ve journeyed back to my roots and discovered the nuance of phở or a birria taco. Those kinds of things.\u003c/p>\n\u003cp>\u003cb>You regularly contribute food-related comics to publications like \u003c/b>\u003ca href=\"https://www.kqed.org/author/tpham\">\u003cb>KQED\u003c/b>\u003c/a>\u003cb> and the \u003c/b>\u003ca href=\"https://eastbayexpress.com/author/thien-pham/\">\u003cb>\u003ci>East Bay Express\u003c/i>\u003c/b>\u003c/a>\u003cb>. You also grew up in \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">\u003cb>San Jose’s diverse immigrant food communities\u003c/b>\u003c/a>\u003cb>. You’re a true OG foodie. Where do you go to eat when you’re in the mood for a soul-satisfying meal?\u003c/b>\u003c/p>\n\u003cp>I go to San Jose every Saturday. I have two nephews who have a single mother, and since the oldest has been in fourth grade, I come to see them for phở. We’ve gone to the same place for 20 years now: \u003ca href=\"https://www.instagram.com/dacphucsanjose/\">Dac Phuc\u003c/a>. One of the nephews just got married and the other just graduated from San Jose State and got a job. And the restaurant has always been there. I think it’s the best hands down. Yelp doesn’t always agree; it’s not the most fancy place (laughs). But for me and my family, there’s no better phở. It’s nostalgia. [pullquote size=\"large\" align=\"right\" citation=\"Thien Pham\"]“It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.”[/pullquote]\u003c/p>\n\u003cp>I just went on a trip to Detroit, and when I got home, all I wanted was Dac Phuc. I feel the most at home there. Whenever I miss those Saturdays, it knocks me off kilter. We still do it every weekend. I love San Jose.\u003c/p>\n\u003cp>\u003cb>It’s a marathon to finish any sustained creative process, so I’m sure you’re recharging your battery. But when the time arrives, what other projects or potential book ideas do you have?\u003c/b>\u003c/p>\n\u003cp>When I finished \u003ci>Family Style\u003c/i> I was thinking of how to follow it up. A really cool way felt like the opposite of what I did. This book is about me as a child immigrating from Vietnam to America, but I’ve been here for 40 years now and have never been back to Vietnam. People tell me I need to eat Vietnamese food in Vietnam. I’m told I haven’t had the real thing yet.\u003c/p>\n\u003cp>Recently, I had a life changing event when my grandma passed away. She took care of me the most in Vietnam. My relatives told me that her house, the same house where I grew up, is still there and owned by my family. I want to go back and discover the history that I don’t know about in Vietnam. I want to try the food I love at the source. It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci> will be reading excerpts from \u003c/i>Family Style\u003ci> at \u003ca href=\"https://www.eventbrite.com/e/thien-pham-in-store-launch-for-his-new-ya-graphic-novel-family-style-tickets-546643624797\">Mrs. Dalloway’s\u003c/a> (2904 College Ave., Berkeley) on Tues., June 20 at 7 p.m. He will also appear at the \u003ca href=\"https://portal.cca.edu/events-calendar/thien-pham/\">California College of Arts\u003c/a> (1111 8th St., San Francisco) on Fri., July 14 and Hicklebee’s Bookstore (1378 Lincoln Ave., San Jose) on Sun., July 16. \u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Pham is currently also doing a \u003ca href=\"https://www.eventbrite.com/e/cartoonists836m-exhibition-opening-tickets-612684324307\">four-month artist’s residency\u003c/a> and exhibition at 836M Gallery (836 Montgomery St., San Francisco), with a focus on the history of San Francisco’s neighborhoods.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"'Family Style' documents the author's refugee journey from Vietnam to San Jose.","status":"publish","parent":0,"modified":1705005358,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":2441},"headData":{"title":"Thien Pham's Graphic Novel 'Family Style' Tells His Immigration Story Through Food | KQED","description":"'Family Style' documents the author's refugee journey from Vietnam to San Jose.","ogTitle":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","ogDescription":"","ogImgId":"","twTitle":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","twDescription":"","twImgId":"","socialTitle":"Thien Pham's Graphic Novel 'Family Style' Tells His Immigration Story Through Food %%page%% %%sep%% KQED"},"source":"¡Hella Hungry!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Nothing sustains a community more than food. It’s where all memories of home begin, and it’s how anyone who has ever been separated from their roots finds a way back — eventually.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">Thien Pham\u003c/a>, an Oakland-based graphic novelist, \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">comics\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13905153/underground-vietnamese-restaurants-social-media-san-jose\">artist\u003c/a> and high school educator, it took more than 40 years after fleeing his home country, Vietnam, to gather the right ingredients needed for his life’s work: \u003ci>Family Style\u003c/i>. Packed with life lessons about family, friendship, assimilation and \u003ca href=\"https://www.kqed.org/sanjosefood\">life in San Jose\u003c/a> as a refugee, the graphic novel also serves as a love letter to his most memorable meals, from Southeast Asia to Northern California.\u003c/p>\n\u003cp>Each chapter of the story presents a thematic dish that encapsulates Pham’s experience at the time, from the “Rice and Fish” he ate as a child refugee living on a boat to the luxurious “Steak and Potatoes” he enjoyed after first arriving to the United States — and many unexpected food combinations in between.\u003c/p>\n\u003cp>Though the book grapples with traumatic topics of forced migration and diasporic displacement, it’s largely centered on the joy of communal gathering, shared culinary knowledge and family-sustained recipes for dishes like his mother’s bánh cuốn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Image of a thin rice crepe on a plate. Text reads, "Put the pork filling in the middle, then roll, fold the rice paper with the bamboo stick. 2) A woman reaches into a bowl, assembling the banch cuon. Text reads, "Top with the fried onions, garlic, and veggies." 3) She holds out a plate with the finished banh cuon. "Add fish sauce at the end. And that's it. Here, try it." 4) Another woman in a red blouse picks up a piece with chopsticks. 5) She eats it with her eyes closed in pleasure. "It tastes like home," she says. 6) The panel zooms out to show the two of them sitting in front of a small stall made up of various cooking implements. "So do you think you're ready to do this?" the woman who prepared the banh cuon asks.\" width=\"1920\" height=\"2326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-800x969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1020x1236.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-768x930.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1268x1536.jpg 1268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1691x2048.jpg 1691w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>There’s one poignant scene when Pham eats his first bag of potato chips with his family after they’ve worked as migrant field laborers picking strawberries. Later as an adult, he memorizes important dates in U.S. history in order to pass his citizenship test while eating lunch in the teacher’s lounge. Often, food is at the center of it all, helping to nourish Pham’s identity and feed his family’s aspirational immigrant dreams.\u003c/p>\n\u003cp>On the eve of his national book launch, I spoke with Pham about his memories of growing up in the Bay Area, his favorite San Jose restaurant and the beauty of being an immigrant.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: \u003c/b>\u003cb>\u003ci>Family Style \u003c/i>\u003c/b>\u003cb>is a graphic novel about food, family, diaspora, teenage angst, American assimilation and more. As a visual storyteller, where did you begin, and how long did it take to complete?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thien Pham: \u003c/b>I’ve wanted to tell this family story for a long time, but there were things preventing me from it in the past. I never had a tight enough connection with my parents to get the full story, my art style wasn’t where I wanted it to be and I didn’t have a fresh enough perspective. Coming to America as a Vietnamese immigrant has been told before. It’s a universal immigration story, and I didn’t know how to tell it at the level I thought it could be. I needed time to figure it all out.\u003c/p>\n\u003cp>During the pandemic, it just intersected for me in a weird way. I finally spent time with my parents and talked to them about it all, and we were all old enough to talk about the truth. I also felt at that point my art was at a level that could do the story justice. When I talked to my mom, I realized that what I told her was mostly food related. As soon as I got that last piece, I knew that was the angle for me to approach it: immigration told through food. It was the missing piece; it was already inside me.\u003c/p>\n\u003cp>After that, I just did it page by page. It was fast, in terms of drawing comics; it wasn’t agonizing or dragged out. It’s not often I get that. Maybe two or three times in my life I’ve had that feeling. That’s one of the reasons this book is so special to me. Who knows if I’ll ever have all that coming together so perfectly again? At the end of the book, there are strips of me talking to my parents and explaining how the book was created. I wanted to capture that in the book. It was magical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg\" alt='Panels excerpted from a graphic novel: 1) A boat pulls up to a larger freighter ship. 2) A man on the boat says, \"They said they can take us as far as they can, and give us food and water for some money...\" 3) The Vietnamese refugees on the boat look stunned to receive this news. 4) They line up to receive food from a man in a baseball cap. 5) When she reaches the front of the line, one woman says, \"We have five people. Can we get some more?\" as he hands her a plate of squid and a slice of watermelon. 6) The woman and her two small children look overwhelmed as someone approaches offering two additional plates of squid and rice.' width=\"1920\" height=\"2315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1020x1230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1699x2048.jpg 1699w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Your first graphic novel, \u003c/b>\u003cb>\u003ci>Sumo\u003c/i>\u003c/b>\u003cb>, was published over a decade ago. When did you realize you were ready to illustrate and write \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>Everybody has stories in them, but it’s about recognizing when it’s time to share it. That’s crucial. I didn’t have any idea about my next big graphic novel. I would start and stop with things and nothing really stuck. I can only create when I feel a major emotional pull to do it. But between those graphic novels I’ve been drawing. I did short stories, \u003ca href=\"https://eastbayexpress.com/comic-strip-i-like-eating-2-1/\">food magazines\u003c/a>. I was always honing my craft. Through these smaller projects I really found how to tell stories in my own voice. By the time the inspiration finally hit me, I was ready in terms of art and storytelling. I was at the point I could tell the story in the style I wanted.\u003c/p>\n\u003cp>\u003cb>The book includes references to recipes related to your family’s experiences. What have you realized about the connection between food and family?\u003c/b>\u003c/p>\n\u003cp>I always wanted to cook my mom’s food. I missed it. During the pandemic, you couldn’t just go to Vietnamese restaurants, so I started learning how to do it. Every day I tried to make something my mom made me when I was a kid. This is a very metaphoric thing in the book. I thought these simple meals she used to make were easy and took no time, and they were delicious. She made meals in 15 minutes for the family in between her work shifts. But when she described to me how they were made, I realized simple meals are very, very nuanced, and there are so many more things to it I never thought about.\u003c/p>\n\u003cp>For example, something I thought was just fish sauce also had sugar and coconut soda and star anise. When I ate it I never picked up on those things. I realized how it mirrored our trip to America. My mom just says, “Yeah, we were on a boat and got here, and it was this and that.” But when you sit with the details, it’s like the nuance of a recipe with so much more happening. That made me realize that my parents were constantly trying to protect us when we were kids by making it look easy. Whether it’s not telling us about their hardships or making light of the work they did to provide dinner, they were trying to shield us. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“Immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Thien Pham","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, at 48 years old, I realize what an amazing cook and person my mom was. I think I always took that for granted.\u003c/p>\n\u003cp>\u003cb>What were the challenges of writing and illustrating \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>, which invariably deals with intense immigrant hardships?\u003c/b>\u003c/p>\n\u003cp>My dad surprised me when I asked him about how he maintained his hope through hardships: He said it wasn’t hard. Looking back, he’ll now admit it was tough, but in the moment he said it was so much joy and fun, even in the refugee camps while living in shacks with nothing. Because at least you have friends and family, and everyone is there and making the best of it. He recalls the refugee camps as some of his best times. When he told me that, it made me realize how immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other. I wanted to write a story full of that hope and joy.\u003c/p>\n\u003cp>If there was a challenge, it was to convey some of the challenges while keeping a tone of joy. I didn’t want it to be about only the hardships, but seeing the fortunate side of things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Kids eating lunch at a table in the cafeteria. A smiling, gap-toothed boy says, "Hey Thien! How's your first day of school going?" 2) Thien, with a perplexed expression, responds, "Okay, but for some reason everyone's calling me 'Tin.' The gap-toothed boy responds, "Ha! That's your new name! At least it sorta sounds like your name. They call me 'Tony'!" 3) Thien examines a plastic-wrapped carton of food. "What's this?" 4) While chewing, gap-toothed boy responds, "It's called sals-buree steak. Try it. I think you'll like it!" 5) Thien warily peels back the plastic wrap. 6) As prepares to put a spork-ful in his mouth, he says, "You sure? It smells funny..." "Okay, here goes..."\" width=\"1920\" height=\"2307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1278x1536.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1704x2048.jpg 1704w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Community is a major part of immigrant survival for any group. In your family’s case, you met Chu Nhan, a neighbor and social advocate, who helped you move into an apartment complex with other Viet families. I’m curious, what’s the Vietnamese community in the Bay Area currently like, and do these networks still exist for newcomers? So much has changed since your family’s arrival in 1980.\u003c/b>\u003c/p>\n\u003cp>For research, I went back to that exact apartment complex where we started. It’s still very much filled with immigrants. The immigrants aren’t only Vietnamese but Hispanic and Indian as well. So it’s more diverse, but it’s still there. It’s really great.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905153,arts_13904835,arts_13926136","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>That was one of the most defining moments of my childhood — to find a community of kids. When we first came here, we were latchkey kids in kindergarten and were home all the time. Our neighbors checked in on us, and our friends were all from around the street, and we just hung around until 9 at night when our parents finally came home from work.\u003c/p>\n\u003cp>In the Bay Area, I would say the South Bay is where most Vietnamese people live. But as I was writing this book and traveling around to promote it, I’m seeing Vietnamese immigrant populations all over the United States. I know of San Jose and Orange County, of course. But I recently discovered Houston has a huge population, and their food scene is amazing. Same with New Orleans. They brought Viet Cajun, which is one of my favorite things — those boils. There are pockets everywhere. I think that’s great. They all have their own flair and personality. California Vietnamese. Louisiana Vietnamese.\u003c/p>\n\u003cp>\u003cb>If you had to add a new chapter and dish to the book to reflect your current living situation, what would it be and why?\u003c/b>\u003c/p>\n\u003cp>I would definitely do a sushi chapter. I’m a huge sushi fan. Or tacos. I love tacos, too. The Jalisco Marisco truck in LA is one of my favorite things to eat. Or pasta. Spaghetti can be an amazing artisan experience.\u003c/p>\n\u003cp>\u003cb>As an immigrant living in the U.S., how have your experiences with food changed over time?\u003c/b>\u003c/p>\n\u003cp>I used to think Chili’s was high-end (laughs). I used to think that was making it in life. Then, when I first started dating my ex-wife, she took me to a Michelin-star restaurant in San Francisco. It blew my mind, and for so long I was looking for those beautifully refined restaurants. But I’ve journeyed back to my roots and discovered the nuance of phở or a birria taco. Those kinds of things.\u003c/p>\n\u003cp>\u003cb>You regularly contribute food-related comics to publications like \u003c/b>\u003ca href=\"https://www.kqed.org/author/tpham\">\u003cb>KQED\u003c/b>\u003c/a>\u003cb> and the \u003c/b>\u003ca href=\"https://eastbayexpress.com/author/thien-pham/\">\u003cb>\u003ci>East Bay Express\u003c/i>\u003c/b>\u003c/a>\u003cb>. You also grew up in \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">\u003cb>San Jose’s diverse immigrant food communities\u003c/b>\u003c/a>\u003cb>. You’re a true OG foodie. Where do you go to eat when you’re in the mood for a soul-satisfying meal?\u003c/b>\u003c/p>\n\u003cp>I go to San Jose every Saturday. I have two nephews who have a single mother, and since the oldest has been in fourth grade, I come to see them for phở. We’ve gone to the same place for 20 years now: \u003ca href=\"https://www.instagram.com/dacphucsanjose/\">Dac Phuc\u003c/a>. One of the nephews just got married and the other just graduated from San Jose State and got a job. And the restaurant has always been there. I think it’s the best hands down. Yelp doesn’t always agree; it’s not the most fancy place (laughs). But for me and my family, there’s no better phở. It’s nostalgia. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Thien Pham","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I just went on a trip to Detroit, and when I got home, all I wanted was Dac Phuc. I feel the most at home there. Whenever I miss those Saturdays, it knocks me off kilter. We still do it every weekend. I love San Jose.\u003c/p>\n\u003cp>\u003cb>It’s a marathon to finish any sustained creative process, so I’m sure you’re recharging your battery. But when the time arrives, what other projects or potential book ideas do you have?\u003c/b>\u003c/p>\n\u003cp>When I finished \u003ci>Family Style\u003c/i> I was thinking of how to follow it up. A really cool way felt like the opposite of what I did. This book is about me as a child immigrating from Vietnam to America, but I’ve been here for 40 years now and have never been back to Vietnam. People tell me I need to eat Vietnamese food in Vietnam. I’m told I haven’t had the real thing yet.\u003c/p>\n\u003cp>Recently, I had a life changing event when my grandma passed away. She took care of me the most in Vietnam. My relatives told me that her house, the same house where I grew up, is still there and owned by my family. I want to go back and discover the history that I don’t know about in Vietnam. I want to try the food I love at the source. It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci> will be reading excerpts from \u003c/i>Family Style\u003ci> at \u003ca href=\"https://www.eventbrite.com/e/thien-pham-in-store-launch-for-his-new-ya-graphic-novel-family-style-tickets-546643624797\">Mrs. Dalloway’s\u003c/a> (2904 College Ave., Berkeley) on Tues., June 20 at 7 p.m. He will also appear at the \u003ca href=\"https://portal.cca.edu/events-calendar/thien-pham/\">California College of Arts\u003c/a> (1111 8th St., San Francisco) on Fri., July 14 and Hicklebee’s Bookstore (1378 Lincoln Ave., San Jose) on Sun., July 16. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Pham is currently also doing a \u003ca href=\"https://www.eventbrite.com/e/cartoonists836m-exhibition-opening-tickets-612684324307\">four-month artist’s residency\u003c/a> and exhibition at 836M Gallery (836 Montgomery St., San Francisco), with a focus on the history of San Francisco’s neighborhoods.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_12276"],"tags":["arts_10278","arts_10629","arts_17573","arts_1773","arts_9054","arts_1143","arts_19019","arts_1084","arts_585","arts_2473","arts_4385","arts_15126"],"featImg":"arts_13930717","label":"source_arts_13930458"},"arts_13929021":{"type":"posts","id":"arts_13929021","meta":{"index":"posts_1591205157","site":"arts","id":"13929021","score":null,"sort":[1685462440000]},"guestAuthors":[],"slug":"jane-kuo-land-of-broken-promises-undocumented-immigrant-1980s","title":"Jane Kuo’s New Novel Captures What It’s Like to be an Undocumented Child","publishDate":1685462440,"format":"standard","headTitle":"Jane Kuo’s New Novel Captures What It’s Like to be an Undocumented Child | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It can be hard to make your way to a new country, but sometimes even harder to stay in it. Both of these travails are the subject of Chinese and Taiwanese American writer \u003ca href=\"https://janekuo.com/\">Jane Kuo\u003c/a>’s most recent middle grade novels. In 2022 she released \u003cem>\u003ca href=\"https://www.harpercollins.com/products/in-the-beautiful-country-jane-kuo?variant=40744992473122\">In the Beautiful Country\u003c/a>\u003c/em>, a story of a Taiwanese family who leaves their home country to relocate to the United States — referred to in Chinese as ‘meiguo,’ literally, “the beautiful country.” The story is set in 1980 and told from the first-person perspective of their 10-year-old daughter Zhang Ai Shi as she experiences the highs and lows of forging a new life and identity as Anna Zhang. In a town northeast of Los Angeles, her parents have poured all of their life savings and hope into owning and operating a fast-food restaurant. \u003c/p>\n\u003cp>Now, Kuo is following up on Anna’s story with \u003cem>\u003ca href=\"https://www.harpercollins.com/products/land-of-broken-promises-jane-kuo?variant=40693938946082\">Land of Broken Promises\u003c/a>\u003c/em>, set in 1982, nearly two years after the events of \u003cem>In the Beautiful Country\u003c/em>. \u003cem>Land of Broken Promises\u003c/em> charts the rich emotional landscape of a now-11-year-old Anna and her parents — whom she refers to only as Ma and Ba. The family thought they had settled into a routine in America only to one day realize that their immigration visas had expired. The news hits like an earthquake, destabilizing the household as they process the guilt of forgetting to renew something so important, and the swamping fear of what it means to live in the country illegally, their young daughter now undocumented. \u003c/p>\n\u003cp>The story is close to home for Kuo, who lives with her family in the Bay Area but once lived the experience she is writing about. For a period in the 1980s Kuo was an undocumented immigrant. “Anything that’s really significant, any emotional resonance in the book, all of those things are true,” Kuo explains. “I just move dates around.” \u003c/p>\n\u003cfigure id=\"attachment_13929065\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/unnamed-scaled.jpg\" alt=\"Blurry photograph of five people standing in front of a Dino's Bar-B-Q sign.\" width=\"2560\" height=\"1824\" class=\"size-full wp-image-13929065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-1920x1368.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child in front of the family restaurant; Jane Kuo is second from right. \u003ccite>(Courtesy the author)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the dates are significant too; Kuo’s writing is informed by both her personal experience and real historical events. In 1986 then-president Ronald Reagan signed the Immigration Reform and Control Act into law, extending temporary legal status to millions of undocumented people in the country — including Kuo and her family — so long as they had entered the country before 1982. \u003c/p>\n\u003cp>“In the story it’s really just a year in the girl’s life,” Kuo says of the book’s timeline, “but I’ve condensed down probably five or six years of experience.” Though fictional, Anna’s story grants readers entry into a very real circumstance for undocumented people: living in an indefinitely liminal space while waiting to get their immigration status approved, renewed or denied.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13923665,arts_13921830,arts_13918778' label='More book reviews']Also helping to tell this condensed story is its stylization. The book is written as a novel-in-verse with short lyrical pages. “I’m interested in just saying what I have to say, and allowing for a lot of white space on the page for that to sit with folks,” says Kuo. Each page packs an emotional punch. Simple sentences encapsulate oceans of meaning: “We try to outdo each other’s worry, as if worrying is just another way to say \u003cem>I love you\u003c/em>.” \u003c/p>\n\u003cp>Realizations like “sadness is a part of love” which may seem axiomatic to adults, feel particularly melancholy when they come from Anna, who is arriving at them after experiencing far too much far too young. “I’m illegal,” Anna says after hearing a lawyer explain their family situation as “fei fa” and translating it. “English words are like riddles in small type.”\u003c/p>\n\u003cp>The results of Kuo’s verbal economy are remarkable. Place is set swiftly and effectively. Kuo vividly evokes Los Angeles’ sprawl by using the city’s extensive freeway network to tell a short but full story. Anna’s memorization of the route from their home to the lawyer’s office, “210 to 110 then 10 to downtown LA,” is a reminder that belonging is established through repetition, but also of how far her family has to travel daily even now, even after thinking they’ve arrived. Anna and her family will always be travelers.\u003c/p>\n\u003cp>Though both of her most recent books are middle grade fiction, Kuo doesn’t defer to her audience. The story wasn’t tailored to young people, it’s just being told to them. “To tell you the truth, I just write,” Kuo explains. “I’m not trying to write down or dumb it down at all. A lot of folks in young people’s literature talk about, ‘Hey, if a kid’s experienced it, then you can write about it.’ Actually, kids have experienced a lot of things.” \u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Jane Kuo']‘Because of my immigration background and the people that I associate with, I wanted to make the book as accessible as possible.’[/pullquote]Though told entirely via Anna’s interior life, the book deals in heavy subject matter that includes the complexities of the naturalization process, navigating cross-cultural friendship, the isolation and fear attached to the ‘undocumented’ label, and even an explanation of how American immigration policy was explicitly Sinophobic in the 1800s. \u003c/p>\n\u003cp>Still, Kuo distinguishes between what she calls ‘kid voice’ and ‘adult voice’ and explains why she values the approachability of the former. “Because of my immigration background and the people that I associate with, I wanted to make the book as accessible as possible,” she says. “For example, my mom’s read [the first] book, and she’s understood it. She never would’ve been able to if I had written it as a memoir with a lot of musing and a lot of summary and a lot of adult voice looking back on my experience.”\u003c/p>\n\u003cp>Seeing through the eyes of a child, rather than hampering the book’s lyrical tone, actually magnifies it. There’s a certain kind of accidental poetry children create when they want to express more than their limited vocabularies and understandings of the world will allow. While brushing up on Chinese characters to respond to her father’s fear that her Chinese is fading, Anna notes, incidentally, and beautifully, “Sky is \u003cem>tian\u003c/em>, 天 / a line with a big person, 大, / underneath.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Land of Broken Promises’ is out from Harper Collins on June 6. \u003ca href=\"https://www.harpercollins.com/products/land-of-broken-promises-jane-kuo?variant=40693938946082\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"‘Land of Broken Promises’ draws from firsthand experience to depict the inner life of a young Taiwanese immigrant in 1980s LA.","status":"publish","parent":0,"modified":1705005444,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1165},"headData":{"title":"‘Land of Broken Promises’: Growing Up Undocumented in 80s LA | KQED","description":"‘Land of Broken Promises’ draws from firsthand experience to depict the inner life of a young Taiwanese immigrant in 1980s LA.","ogTitle":"Jane Kuo’s New Novel Captures What It’s Like to be an Undocumented Child","ogDescription":"","ogImgId":"","twTitle":"Jane Kuo’s New Novel Captures What It’s Like to be an Undocumented Child","twDescription":"","twImgId":"","socialTitle":"‘Land of Broken Promises’: Growing Up Undocumented in 80s LA %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Naomi Elias","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"Yes","articleAge":"0","path":"/arts/13929021/jane-kuo-land-of-broken-promises-undocumented-immigrant-1980s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It can be hard to make your way to a new country, but sometimes even harder to stay in it. Both of these travails are the subject of Chinese and Taiwanese American writer \u003ca href=\"https://janekuo.com/\">Jane Kuo\u003c/a>’s most recent middle grade novels. In 2022 she released \u003cem>\u003ca href=\"https://www.harpercollins.com/products/in-the-beautiful-country-jane-kuo?variant=40744992473122\">In the Beautiful Country\u003c/a>\u003c/em>, a story of a Taiwanese family who leaves their home country to relocate to the United States — referred to in Chinese as ‘meiguo,’ literally, “the beautiful country.” The story is set in 1980 and told from the first-person perspective of their 10-year-old daughter Zhang Ai Shi as she experiences the highs and lows of forging a new life and identity as Anna Zhang. In a town northeast of Los Angeles, her parents have poured all of their life savings and hope into owning and operating a fast-food restaurant. \u003c/p>\n\u003cp>Now, Kuo is following up on Anna’s story with \u003cem>\u003ca href=\"https://www.harpercollins.com/products/land-of-broken-promises-jane-kuo?variant=40693938946082\">Land of Broken Promises\u003c/a>\u003c/em>, set in 1982, nearly two years after the events of \u003cem>In the Beautiful Country\u003c/em>. \u003cem>Land of Broken Promises\u003c/em> charts the rich emotional landscape of a now-11-year-old Anna and her parents — whom she refers to only as Ma and Ba. The family thought they had settled into a routine in America only to one day realize that their immigration visas had expired. The news hits like an earthquake, destabilizing the household as they process the guilt of forgetting to renew something so important, and the swamping fear of what it means to live in the country illegally, their young daughter now undocumented. \u003c/p>\n\u003cp>The story is close to home for Kuo, who lives with her family in the Bay Area but once lived the experience she is writing about. For a period in the 1980s Kuo was an undocumented immigrant. “Anything that’s really significant, any emotional resonance in the book, all of those things are true,” Kuo explains. “I just move dates around.” \u003c/p>\n\u003cfigure id=\"attachment_13929065\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/unnamed-scaled.jpg\" alt=\"Blurry photograph of five people standing in front of a Dino's Bar-B-Q sign.\" width=\"2560\" height=\"1824\" class=\"size-full wp-image-13929065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/unnamed-1920x1368.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child in front of the family restaurant; Jane Kuo is second from right. \u003ccite>(Courtesy the author)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the dates are significant too; Kuo’s writing is informed by both her personal experience and real historical events. In 1986 then-president Ronald Reagan signed the Immigration Reform and Control Act into law, extending temporary legal status to millions of undocumented people in the country — including Kuo and her family — so long as they had entered the country before 1982. \u003c/p>\n\u003cp>“In the story it’s really just a year in the girl’s life,” Kuo says of the book’s timeline, “but I’ve condensed down probably five or six years of experience.” Though fictional, Anna’s story grants readers entry into a very real circumstance for undocumented people: living in an indefinitely liminal space while waiting to get their immigration status approved, renewed or denied.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923665,arts_13921830,arts_13918778","label":"More book reviews "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Also helping to tell this condensed story is its stylization. The book is written as a novel-in-verse with short lyrical pages. “I’m interested in just saying what I have to say, and allowing for a lot of white space on the page for that to sit with folks,” says Kuo. Each page packs an emotional punch. Simple sentences encapsulate oceans of meaning: “We try to outdo each other’s worry, as if worrying is just another way to say \u003cem>I love you\u003c/em>.” \u003c/p>\n\u003cp>Realizations like “sadness is a part of love” which may seem axiomatic to adults, feel particularly melancholy when they come from Anna, who is arriving at them after experiencing far too much far too young. “I’m illegal,” Anna says after hearing a lawyer explain their family situation as “fei fa” and translating it. “English words are like riddles in small type.”\u003c/p>\n\u003cp>The results of Kuo’s verbal economy are remarkable. Place is set swiftly and effectively. Kuo vividly evokes Los Angeles’ sprawl by using the city’s extensive freeway network to tell a short but full story. Anna’s memorization of the route from their home to the lawyer’s office, “210 to 110 then 10 to downtown LA,” is a reminder that belonging is established through repetition, but also of how far her family has to travel daily even now, even after thinking they’ve arrived. Anna and her family will always be travelers.\u003c/p>\n\u003cp>Though both of her most recent books are middle grade fiction, Kuo doesn’t defer to her audience. The story wasn’t tailored to young people, it’s just being told to them. “To tell you the truth, I just write,” Kuo explains. “I’m not trying to write down or dumb it down at all. A lot of folks in young people’s literature talk about, ‘Hey, if a kid’s experienced it, then you can write about it.’ Actually, kids have experienced a lot of things.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Because of my immigration background and the people that I associate with, I wanted to make the book as accessible as possible.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Jane Kuo","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Though told entirely via Anna’s interior life, the book deals in heavy subject matter that includes the complexities of the naturalization process, navigating cross-cultural friendship, the isolation and fear attached to the ‘undocumented’ label, and even an explanation of how American immigration policy was explicitly Sinophobic in the 1800s. \u003c/p>\n\u003cp>Still, Kuo distinguishes between what she calls ‘kid voice’ and ‘adult voice’ and explains why she values the approachability of the former. “Because of my immigration background and the people that I associate with, I wanted to make the book as accessible as possible,” she says. “For example, my mom’s read [the first] book, and she’s understood it. She never would’ve been able to if I had written it as a memoir with a lot of musing and a lot of summary and a lot of adult voice looking back on my experience.”\u003c/p>\n\u003cp>Seeing through the eyes of a child, rather than hampering the book’s lyrical tone, actually magnifies it. There’s a certain kind of accidental poetry children create when they want to express more than their limited vocabularies and understandings of the world will allow. While brushing up on Chinese characters to respond to her father’s fear that her Chinese is fading, Anna notes, incidentally, and beautifully, “Sky is \u003cem>tian\u003c/em>, 天 / a line with a big person, 大, / underneath.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Land of Broken Promises’ is out from Harper Collins on June 6. \u003ca href=\"https://www.harpercollins.com/products/land-of-broken-promises-jane-kuo?variant=40693938946082\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929021/jane-kuo-land-of-broken-promises-undocumented-immigrant-1980s","authors":["byline_arts_13929021"],"categories":["arts_1","arts_73"],"tags":["arts_7446","arts_10278","arts_1773"],"featImg":"arts_13929063","label":"arts"},"arts_13928085":{"type":"posts","id":"arts_13928085","meta":{"index":"posts_1591205157","site":"arts","id":"13928085","score":null,"sort":[1682034932000]},"guestAuthors":[],"slug":"no-borders-just-flavors-immigrant-cooking-show-united-we-dream","title":"Young Immigrants Are the Stars of a New Cooking Competition Show","publishDate":1682034932,"format":"standard","headTitle":"Young Immigrants Are the Stars of a New Cooking Competition Show | KQED","labelTerm":{},"content":"\u003cp>For years, I watched televised cooking competitions like \u003ci>Top Chef\u003c/i> religiously. The amateur home cook in me would nerd out over knife skills and ad hoc sous vide contraptions. The romantic in me loved seeing chefs pay heartwarming homage to treasured family recipes.\u003c/p>\n\u003cp>Like so much of American reality television, however, over time these shows began to feel \u003ca href=\"https://screenrant.com/top-chef-most-creative-branded-challenges\">overly corporatized\u003c/a> and, at times, actively toxic — \u003ca href=\"https://www.nytimes.com/2023/03/09/dining/top-chef-season-20.html\">a microcosm of the restaurant industry itself\u003c/a>. They didn’t seem to understand non-European cuisines at all. One favorite chef contestant was \u003ca href=\"https://www.texasmonthly.com/food/paul-qui-problem-redemption-narratives/\">outed as an alleged domestic abuser\u003c/a>. At least two others were \u003ca href=\"https://www.washingtonian.com/2018/11/26/the-inside-story-of-mike-isabellas-fallen-empire/\">accused of\u003c/a> \u003ca href=\"https://www.gawker.com/culture/whatever-happened-to-gabe-erales-the-sex-pest-who-won-top-chef-season-18\">sexual harassment\u003c/a>.\u003cspan style=\"font-weight: 400\">[aside postID='arts_13904835,arts_13927103']\u003c/span>\u003c/p>\n\u003cp>I tuned out.\u003c/p>\n\u003cp>A new web series led by young immigrants is giving me reason to tune back in. Produced not by one of the big cable networks or streaming services, \u003ca href=\"https://unitedwedream.org/nobordersjustflavors/\">\u003ci>No Borders, Just Flavors!\u003c/i>\u003c/a> is instead the creation of the nonprofit advocacy group \u003ca href=\"https://unitedwedream.org/\">United We Dream\u003c/a>, which touts itself as the largest immigrant youth network in the United States. The organization is mostly known for its work pushing for a pathway for citizenship for young undocumented folks.\u003c/p>\n\u003cp>But a cooking show? Why not? After all, the food of one’s cultural heritage is the throughline for so many immigrant experiences — a theme that comes up again and again in each of the show’s four 15-minute episodes, the first of which debuts on April 20.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CbFu2w8EeRc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The show is only a “competition” in the most nominal sense, in that each episode features two contestants — immigrants in their 20s or late teens — who have come prepared to cook a dish that fits the chosen theme of the day (e.g. “stews” or “hand-rolled and fried”). The judges taste each dish and declare a winner, but there’s no big cash prize — or even bragging rights, really — at stake. (In an email, Catherine Lee, a United We Dream spokesperson, clarified that the contestants were fairly compensated for their participation.) Nor is there much focus on complicated cooking methods or technical prowess.\u003c/p>\n\u003cp>Instead, \u003ci>No Borders, Just Flavors! \u003c/i>is mostly a vehicle for storytelling centered on each amateur chef’s cultural identity. In the first episode, Emmanuel Gonzalez Perez, a DACA recipient from Sacramento, talks about how his mother’s carne en su jugo recipe is one of the only ways he’s able to feel connected to his family in Guadalajara, Mexico, since he’s unable to cross the border to visit. In another episode, Betsabe Perez Mertija talks movingly about the little papas rellenas stand that her grandfather used to run in Cuba before coming to the U.S. as a political asylee.\u003c/p>\n\u003cfigure id=\"attachment_13928088\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg\" alt=\"A stew made with bacon, onion, beans and avocado, served with a bowl of tostadas on the side.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Contestant Emmanuel Gonzalez Perez’s carne en su jugo is made with bacon, onions, avocado and beans. The dish is a tribute to the cook’s mother and his Guadalajaran roots. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the contestants are just so darn \u003ci>likable\u003c/i>. Even the show’s handful of goofy, lo-fi cooking competition gimmicks — like a button you press to force your opponent to stop what they’re doing to help you — wind up turning into sweet moments of cross-cultural connection instead of cutthroat contention.\u003c/p>\n\u003cfigure id=\"attachment_13928092\" class=\"wp-caption alignright\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928092 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Dru-scaled.jpg\" alt=\"A headshot of a young Indonesian-Chinese immigrant with long dyed hair and an infectious smile.\" width=\"1424\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-scaled.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-800x1438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1020x1834.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-768x1381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-854x1536.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1139x2048.jpg 1139w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">Dru Lay participated in the show’s first episode, representing his Indonesian and Chinese cultural identities. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Dru Lay, a Chinese-Indonesian contestant in the first episode, puts it, “Being an immigrant almost automatically means we have a lot in common.”\u003c/p>\n\u003cp>For those of us who’ve grown accustomed to every reality TV series having a handful of token Black, brown and Asian contestants who all get eliminated halfway through the season, a show like \u003ci>No Borders, Just Flavors! \u003c/i>is a breath of fresh air. Nearly \u003ci>everyone\u003c/i> involved in the show is an immigrant or person of color — the contestants, host, director, producers and art directors. Some of the crew members are undocumented immigrants and DACA recipients themselves.\u003c/p>\n\u003cp>That approach is reflected in the show’s intended audience, too: Host Morelys De Los Santos Urbano ends each episode by asking contestants if they have any words of wisdom they’d like to offer to the immigrant youth who might be watching.\u003c/p>\n\u003cp>Indeed, the main point of the show, for United We Dream, seems to be to flip the script on the typical ways that immigrants — whether they’re documented or not — tend to get portrayed.\u003c/p>\n\u003cp>“All too often, we hear immigrant stories as told by people other than immigrants themselves,” says Lee of United We Dream. “The immigration headlines are dominated by stories of struggle, suffering and survival. But there’s another side of the immigrant story that’s rarely represented in mainstream media: our joy, our courage and vision.”\u003c/p>\n\u003cp>And if these four snack-sized episodes serve as proof of concept that America is ready for a more immigrant-centric approach to food television? I’ll be ready to tune in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>The first episode of \u003c/i>\u003cem>‘No Borders, Just Flavors!\u003c/em>’ \u003ca href=\"https://www.youtube.com/playlist?list=PLTahl_sx9fesEeRvIbZEESALwbdlBWs0U\">\u003ci>debuts on YouTube\u003c/i>\u003c/a>\u003ci> on April 20, at 5 p.m. PST. A new episode will go up online every Thursday night for the next three weeks after that.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"‘No Borders, Just Flavors!’ flips the script on how immigrants are portrayed in the U.S.","status":"publish","parent":0,"modified":1705005601,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":908},"headData":{"title":"Young Immigrants Are the Stars of United We Dreams' New Cooking Show | KQED","description":"‘No Borders, Just Flavors!’ flips the script on how immigrants are portrayed in the U.S.","ogTitle":"Young Immigrants Are the Stars of a New Cooking Competition Show","ogDescription":"","ogImgId":"","twTitle":"Young Immigrants Are the Stars of a New Cooking Competition Show","twDescription":"","twImgId":"","socialTitle":"Young Immigrants Are the Stars of United We Dreams' New Cooking Show %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"/food/","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928085/no-borders-just-flavors-immigrant-cooking-show-united-we-dream","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years, I watched televised cooking competitions like \u003ci>Top Chef\u003c/i> religiously. The amateur home cook in me would nerd out over knife skills and ad hoc sous vide contraptions. The romantic in me loved seeing chefs pay heartwarming homage to treasured family recipes.\u003c/p>\n\u003cp>Like so much of American reality television, however, over time these shows began to feel \u003ca href=\"https://screenrant.com/top-chef-most-creative-branded-challenges\">overly corporatized\u003c/a> and, at times, actively toxic — \u003ca href=\"https://www.nytimes.com/2023/03/09/dining/top-chef-season-20.html\">a microcosm of the restaurant industry itself\u003c/a>. They didn’t seem to understand non-European cuisines at all. One favorite chef contestant was \u003ca href=\"https://www.texasmonthly.com/food/paul-qui-problem-redemption-narratives/\">outed as an alleged domestic abuser\u003c/a>. At least two others were \u003ca href=\"https://www.washingtonian.com/2018/11/26/the-inside-story-of-mike-isabellas-fallen-empire/\">accused of\u003c/a> \u003ca href=\"https://www.gawker.com/culture/whatever-happened-to-gabe-erales-the-sex-pest-who-won-top-chef-season-18\">sexual harassment\u003c/a>.\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904835,arts_13927103","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>I tuned out.\u003c/p>\n\u003cp>A new web series led by young immigrants is giving me reason to tune back in. Produced not by one of the big cable networks or streaming services, \u003ca href=\"https://unitedwedream.org/nobordersjustflavors/\">\u003ci>No Borders, Just Flavors!\u003c/i>\u003c/a> is instead the creation of the nonprofit advocacy group \u003ca href=\"https://unitedwedream.org/\">United We Dream\u003c/a>, which touts itself as the largest immigrant youth network in the United States. The organization is mostly known for its work pushing for a pathway for citizenship for young undocumented folks.\u003c/p>\n\u003cp>But a cooking show? Why not? After all, the food of one’s cultural heritage is the throughline for so many immigrant experiences — a theme that comes up again and again in each of the show’s four 15-minute episodes, the first of which debuts on April 20.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CbFu2w8EeRc'\n title='//www.youtube.com/embed/CbFu2w8EeRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The show is only a “competition” in the most nominal sense, in that each episode features two contestants — immigrants in their 20s or late teens — who have come prepared to cook a dish that fits the chosen theme of the day (e.g. “stews” or “hand-rolled and fried”). The judges taste each dish and declare a winner, but there’s no big cash prize — or even bragging rights, really — at stake. (In an email, Catherine Lee, a United We Dream spokesperson, clarified that the contestants were fairly compensated for their participation.) Nor is there much focus on complicated cooking methods or technical prowess.\u003c/p>\n\u003cp>Instead, \u003ci>No Borders, Just Flavors! \u003c/i>is mostly a vehicle for storytelling centered on each amateur chef’s cultural identity. In the first episode, Emmanuel Gonzalez Perez, a DACA recipient from Sacramento, talks about how his mother’s carne en su jugo recipe is one of the only ways he’s able to feel connected to his family in Guadalajara, Mexico, since he’s unable to cross the border to visit. In another episode, Betsabe Perez Mertija talks movingly about the little papas rellenas stand that her grandfather used to run in Cuba before coming to the U.S. as a political asylee.\u003c/p>\n\u003cfigure id=\"attachment_13928088\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928088\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg\" alt=\"A stew made with bacon, onion, beans and avocado, served with a bowl of tostadas on the side.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Emmanuel_s-Dish-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Contestant Emmanuel Gonzalez Perez’s carne en su jugo is made with bacon, onions, avocado and beans. The dish is a tribute to the cook’s mother and his Guadalajaran roots. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the contestants are just so darn \u003ci>likable\u003c/i>. Even the show’s handful of goofy, lo-fi cooking competition gimmicks — like a button you press to force your opponent to stop what they’re doing to help you — wind up turning into sweet moments of cross-cultural connection instead of cutthroat contention.\u003c/p>\n\u003cfigure id=\"attachment_13928092\" class=\"wp-caption alignright\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928092 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Dru-scaled.jpg\" alt=\"A headshot of a young Indonesian-Chinese immigrant with long dyed hair and an infectious smile.\" width=\"1424\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-scaled.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-800x1438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1020x1834.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-160x288.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-768x1381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-854x1536.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Dru-1139x2048.jpg 1139w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">Dru Lay participated in the show’s first episode, representing his Indonesian and Chinese cultural identities. \u003ccite>(Courtesy of United We Dream)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Dru Lay, a Chinese-Indonesian contestant in the first episode, puts it, “Being an immigrant almost automatically means we have a lot in common.”\u003c/p>\n\u003cp>For those of us who’ve grown accustomed to every reality TV series having a handful of token Black, brown and Asian contestants who all get eliminated halfway through the season, a show like \u003ci>No Borders, Just Flavors! \u003c/i>is a breath of fresh air. Nearly \u003ci>everyone\u003c/i> involved in the show is an immigrant or person of color — the contestants, host, director, producers and art directors. Some of the crew members are undocumented immigrants and DACA recipients themselves.\u003c/p>\n\u003cp>That approach is reflected in the show’s intended audience, too: Host Morelys De Los Santos Urbano ends each episode by asking contestants if they have any words of wisdom they’d like to offer to the immigrant youth who might be watching.\u003c/p>\n\u003cp>Indeed, the main point of the show, for United We Dream, seems to be to flip the script on the typical ways that immigrants — whether they’re documented or not — tend to get portrayed.\u003c/p>\n\u003cp>“All too often, we hear immigrant stories as told by people other than immigrants themselves,” says Lee of United We Dream. “The immigration headlines are dominated by stories of struggle, suffering and survival. But there’s another side of the immigrant story that’s rarely represented in mainstream media: our joy, our courage and vision.”\u003c/p>\n\u003cp>And if these four snack-sized episodes serve as proof of concept that America is ready for a more immigrant-centric approach to food television? I’ll be ready to tune in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>The first episode of \u003c/i>\u003cem>‘No Borders, Just Flavors!\u003c/em>’ \u003ca href=\"https://www.youtube.com/playlist?list=PLTahl_sx9fesEeRvIbZEESALwbdlBWs0U\">\u003ci>debuts on YouTube\u003c/i>\u003c/a>\u003ci> on April 20, at 5 p.m. PST. A new episode will go up online every Thursday night for the next three weeks after that.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928085/no-borders-just-flavors-immigrant-cooking-show-united-we-dream","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_2370","arts_10278","arts_16105","arts_1773","arts_585","arts_2792","arts_4554"],"featImg":"arts_13928087","label":"source_arts_13928085"},"arts_13926826":{"type":"posts","id":"arts_13926826","meta":{"index":"posts_1591205157","site":"arts","id":"13926826","score":null,"sort":[1679613714000]},"guestAuthors":[],"slug":"disbelief-anti-war-russian-poets-reading-globus-books","title":"Anti-War Russian Poets Come Together for a Reading at SF’s Globus Books","publishDate":1679613714,"format":"aside","headTitle":"Anti-War Russian Poets Come Together for a Reading at SF’s Globus Books | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13926832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/disbelief-800x1054.jpeg\" alt=\"\" width=\"800\" height=\"1054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-800x1054.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-1020x1344.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-160x211.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-768x1012.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-1166x1536.jpeg 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-1555x2048.jpeg 1555w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief.jpeg 1711w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Disbelief: 100 Russian Anti-War Poems,’ edited by Julia Nemirovskaya. \u003ccite>(Smokestack Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Student journalists sentenced to two years of \u003ca href=\"https://www.theguardian.com/world/2022/apr/13/russian-student-journalists-sentenced-to-labour-over-freedom-of-assembly-video\">forced labor\u003c/a>. Artists labeled “\u003ca href=\"https://www.latimes.com/world-nation/story/2021-12-30/russia-labels-pussy-riot-member-others-as-foreign-agents\">foreign agents\u003c/a>.” People arrested for \u003ca href=\"https://www.newsweek.com/russia-ukraine-war-invasion-protests-police-arrest-activists-holding-blank-signs-paper-1687603\">holding up blank signs\u003c/a>. Russia’s war in Ukraine has accompanied a war on free expression within its own country. And for immigrants like me, there’s a pervasive sense of alienation, a \u003ca href=\"https://www.washingtonpost.com/world/2023/02/13/russia-diaspora-war-ukraine/\">fear of returning home\u003c/a>. So we turn to art to try to wrap our minds around the atrocities, to feel less alone and to find a path forward.\u003c/p>\n\u003cp>Bilingual, Moscow-born author \u003ca href=\"https://julianemirovskaya.wixsite.com/nemirovskaya\">Julia Nemirovskaya\u003c/a>, a professor at the University of Oregon, has edited a new poetry anthology, \u003ca href=\"https://smokestack-books.co.uk/book.php?book=228\">\u003ci>Disbelief: 100 Russian Anti-War Poems\u003c/i>\u003c/a>, featuring the works of Russian-speaking authors in Ukraine, Russia and in the diaspora. Their stirring words reckon with the generational legacies of violence, resistance, displacement and feelings of helplessness.\u003c/p>\n\u003cp>\u003ci>Disbelief\u003c/i> follows a deep history of Russian wartime poetry. Smokestack Books, the publisher of this collection, also released \u003ca href=\"https://smokestack-books.co.uk/book.php?book=185\">\u003ci>Russia is Burning\u003c/i>\u003c/a>, which features World War II-era writings by soldiers, civilians, immigrants and gulag prisoners grappling with grief, trauma, fights against fascism and the war’s effects on society. [aside postid='arts_13872976']\u003c/p>\n\u003cp>Four immigrant authors from \u003ci>Disbelief\u003c/i>, Polina Barskova, Anna Krushelnitskaya, Andrei Burago and Dmitri Manin, will read their works at \u003ca href=\"https://www.globusbooks.com/\">Globus Books\u003c/a>, San Francisco’s 50-year-old Russian-language bookstore, on April 7. The \u003ca href=\"https://www.globusbooks.com/pages/events/71/disbelief-100-russian-anti-war-poems\">bilingual event\u003c/a>, held in the intimate, Richmond District space, will include readings and a Q&A, and copies of \u003ci>Disbelief\u003c/i> will be available for purchase.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Polina Barskova, Anna Krushelnitskaya, Andrei Burago and Dmitri Manin read from ‘Disbelief: 100 Russian Anti-War Poems’ at Globus Books (332 Balboa St., San Francisco) on April 7 at 5 p.m. This event is free and will be livestreamed. \u003ca href=\"https://www.globusbooks.com/pages/events/71/disbelief-100-russian-anti-war-poems\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 50-year-old immigrant-centric bookstore hosts a reading from ‘Disbelief: 100 Russian Anti-War Poems.’","status":"publish","parent":0,"modified":1705005705,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":310},"headData":{"title":"Anti-War Russian Poets Read from ‘Disbelief’ at Globus Books | KQED","description":"The 50-year-old immigrant-centric bookstore hosts a reading from ‘Disbelief: 100 Russian Anti-War Poems.’","ogTitle":"Anti-War Russian Poets Come Together for a Reading at SF’s Globus Books","ogDescription":"","ogImgId":"","twTitle":"Anti-War Russian Poets Come Together for a Reading at SF’s Globus Books","twDescription":"","twImgId":"","socialTitle":"Anti-War Russian Poets Read from ‘Disbelief’ at Globus Books %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926826/disbelief-anti-war-russian-poets-reading-globus-books","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13926832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/disbelief-800x1054.jpeg\" alt=\"\" width=\"800\" height=\"1054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-800x1054.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-1020x1344.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-160x211.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-768x1012.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-1166x1536.jpeg 1166w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief-1555x2048.jpeg 1555w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/disbelief.jpeg 1711w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Disbelief: 100 Russian Anti-War Poems,’ edited by Julia Nemirovskaya. \u003ccite>(Smokestack Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Student journalists sentenced to two years of \u003ca href=\"https://www.theguardian.com/world/2022/apr/13/russian-student-journalists-sentenced-to-labour-over-freedom-of-assembly-video\">forced labor\u003c/a>. Artists labeled “\u003ca href=\"https://www.latimes.com/world-nation/story/2021-12-30/russia-labels-pussy-riot-member-others-as-foreign-agents\">foreign agents\u003c/a>.” People arrested for \u003ca href=\"https://www.newsweek.com/russia-ukraine-war-invasion-protests-police-arrest-activists-holding-blank-signs-paper-1687603\">holding up blank signs\u003c/a>. Russia’s war in Ukraine has accompanied a war on free expression within its own country. And for immigrants like me, there’s a pervasive sense of alienation, a \u003ca href=\"https://www.washingtonpost.com/world/2023/02/13/russia-diaspora-war-ukraine/\">fear of returning home\u003c/a>. So we turn to art to try to wrap our minds around the atrocities, to feel less alone and to find a path forward.\u003c/p>\n\u003cp>Bilingual, Moscow-born author \u003ca href=\"https://julianemirovskaya.wixsite.com/nemirovskaya\">Julia Nemirovskaya\u003c/a>, a professor at the University of Oregon, has edited a new poetry anthology, \u003ca href=\"https://smokestack-books.co.uk/book.php?book=228\">\u003ci>Disbelief: 100 Russian Anti-War Poems\u003c/i>\u003c/a>, featuring the works of Russian-speaking authors in Ukraine, Russia and in the diaspora. Their stirring words reckon with the generational legacies of violence, resistance, displacement and feelings of helplessness.\u003c/p>\n\u003cp>\u003ci>Disbelief\u003c/i> follows a deep history of Russian wartime poetry. Smokestack Books, the publisher of this collection, also released \u003ca href=\"https://smokestack-books.co.uk/book.php?book=185\">\u003ci>Russia is Burning\u003c/i>\u003c/a>, which features World War II-era writings by soldiers, civilians, immigrants and gulag prisoners grappling with grief, trauma, fights against fascism and the war’s effects on society. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13872976","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Four immigrant authors from \u003ci>Disbelief\u003c/i>, Polina Barskova, Anna Krushelnitskaya, Andrei Burago and Dmitri Manin, will read their works at \u003ca href=\"https://www.globusbooks.com/\">Globus Books\u003c/a>, San Francisco’s 50-year-old Russian-language bookstore, on April 7. The \u003ca href=\"https://www.globusbooks.com/pages/events/71/disbelief-100-russian-anti-war-poems\">bilingual event\u003c/a>, held in the intimate, Richmond District space, will include readings and a Q&A, and copies of \u003ci>Disbelief\u003c/i> will be available for purchase.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Polina Barskova, Anna Krushelnitskaya, Andrei Burago and Dmitri Manin read from ‘Disbelief: 100 Russian Anti-War Poems’ at Globus Books (332 Balboa St., San Francisco) on April 7 at 5 p.m. This event is free and will be livestreamed. \u003ca href=\"https://www.globusbooks.com/pages/events/71/disbelief-100-russian-anti-war-poems\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926826/disbelief-anti-war-russian-poets-reading-globus-books","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_73"],"tags":["arts_10278","arts_1773","arts_1496","arts_585"],"featImg":"arts_13926831","label":"arts_140"},"arts_13922047":{"type":"posts","id":"arts_13922047","meta":{"index":"posts_1591205157","site":"arts","id":"13922047","score":null,"sort":[1669754672000]},"guestAuthors":[],"slug":"russia-ukraine-war-porfiriy-ivanov-ice-water","title":"How a Ukrainian Mystic’s Ice-Water Cure Helped Me Cope With the Chaos of 2022","publishDate":1669754672,"format":"standard","headTitle":"How a Ukrainian Mystic’s Ice-Water Cure Helped Me Cope With the Chaos of 2022 | KQED","labelTerm":{},"content":"\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, during a year of violence and tumult in her home country, editor Nastia Voynovskaya finds herself reconnecting with old ways to help reckon with the increasingly precarious present.\u003c/em>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen Russia invaded Ukraine in February, visceral panic spread through my immigrant community as we watched bombings and evacuations playing out live on social media. Some of my friends had relatives fleeing the attacks, and they waited for WhatsApp updates with worry and fear.\u003c/p>\n\u003cp>Many \u003ca href=\"https://www.kqed.org/arts/13909903/for-many-former-soviet-immigrants-russias-war-on-ukraine-is-horrific\" target=\"_blank\" rel=\"noopener noreferrer\">Russians and Ukrainians are literally kin\u003c/a>, as we are in my blended family, and the war began to tear us apart. Clashing views led to schisms in relationships. Russians like me who didn’t support the invasion were forced to reexamine the foundations of our identity.\u003c/p>\n\u003cp>My reexamination came about in a somewhat unexpected way — yet maybe one that was predestined.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13922061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Nastia.bio_.thumbnail.jpg\" alt=\"\" width=\"160\" height=\"184\">Assimilation comes with a sense of loss. Immigrants acquire a new accent, and new habits, and grow alienated from our old ways of life. I’ve held on, trying to find a bicultural identity in the aisles of Russian markets, in music and in books. But I’ve had to make a concerted effort to stay in touch with my culture as I get older and more American. After the war started, questions began to run through my mind. \u003cem>Was it actually worth the struggle to prove I belong to something that seems so hateful? Wouldn’t erasing my identity because of shame become its own form of pain?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was grieving on multiple levels. My grandfather, my last grandparent, passed away in St. Petersburg a week before the invasion. As economic sanctions, flight cancellations and mass arrests of anti-war protesters \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">sparked chaos in Russia\u003c/a>, it began to sink in that I had no idea when I might be able to safely return to my hometown.\u003c/p>\n\u003cp>My Russian group chat lit up with \u003ca href=\"https://novaukraine.org/en/homepage/\" target=\"_blank\" rel=\"noopener noreferrer\">relief\u003c/a> \u003ca href=\"https://upogau.org/\" target=\"_blank\" rel=\"noopener noreferrer\">fundraisers\u003c/a> and updates, and even as I tried to find productive ways to help, my anxiety showed no signs of letting up. I knew I needed to get grounded, to get back into my body.\u003c/p>\n\u003cp>In March, I was invited to a wedding in snowy Utah, where my outdoorsy friends incorporated skiing into their nuptials. I had only skied a handful of times in my life, so I was unaccustomed to how the cold air numbed my chin, and how snow felt going down my ski pants when I fell. But as I descended the slopes at speeds way beyond my comfort zone, I had no choice but to be present. Gripping my ski poles in simultaneous awe and terror, I flew past green pines glistening with puffs of powdery snow, and watched snowflakes swirl as wind and fog drifted in over a mountain ridge in the distance. After a few hours, my jaw unclenched and my brows unfurrowed. And as I defrosted in the shower, I realized that the cold air had filled me with an aliveness that I hadn’t felt in months.\u003c/p>\n\u003cp>I had to do it again.\u003c/p>\n\u003cp>The snow trip unlocked a deep memory, and I remembered that cold temperatures were my people’s ally. When I was a kid in St. Petersburg, my mom, like many Russian mothers, poured buckets of cold water on me and my sister after baths. It was part of a cultural belief that controlled exposure to cold temperatures would boost your immunity and make you more resilient \u003cspan style=\"font-weight: 400\">—\u003c/span> the same reason people take their children swimming in the \u003ca href=\"https://www.ruptly.tv/en/videos/20170129-037-Russia-Mothers-and-children-plunge-into-near-frozen-Lake-Baikal-\" target=\"_blank\" rel=\"noopener noreferrer\">frozen waters of Siberia’s Lake Baikal\u003c/a>. In Russian it’s called “zakalivaniye organizma,” or hardening of the body. And it was preached as an integral part of a healthy lifestyle by a controversial Ukrainian-Russian mystic with a Zeus-like beard, whose teachings helped me understand my experience on the slopes.\u003c/p>\n\u003cp>[dropcap]P[/dropcap]orfiriy Ivanov was \u003ca href=\"https://www.rbth.com/history/333017-porfiriy-ivanov-russian-yogi-or-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">an eccentric character born in 1898 in the Luhansk Region of Ukraine\u003c/a>, which was then part of the Russian Empire and is currently on contested land. An ice-water evangelist, he claimed to have cured himself of cancer by \u003ca href=\"http://kaznovsky.chat.ru/ogonyek.htm\" target=\"_blank\" rel=\"noopener noreferrer\">dousing himself in cold water\u003c/a> and walking in the snow barefoot. Throughout his long life, he wore shorts in freezing temperatures. His nonconformist attitude and allusions to supernatural powers were so controversial that he was tortured by Nazis during World War II. Later, he was twice sentenced to a brutal Soviet mental institution. After he died in 1983, the Russian Orthodox church labeled him a heretic.\u003c/p>\n\u003cp>My mom had been one of Ivanov’s followers in the early ’90s. I had always regarded this as a quirky fact of our lives in the old country, but my recent exposure to the cold made me wonder if this strange healer’s methods might have a place in my life.\u003c/p>\n\u003cp>Blasting myself with cold water at the end of a shower became a hack for treating anxiety. The sheer physical shock forced me to breathe deeply and enter a Zen state that I rarely had the patience to achieve through meditation. When I took turns roasting myself in the sauna and jumping into the freezing cold plunge at San Francisco’s Russian bathhouse, Archimedes Banya, the extreme temperatures banished my intrusive thoughts like a lobotomy.\u003c/p>\n\u003cp>Could this be the cure for my chronic affliction of overthinking? Newly emboldened by my cold water tolerance, and thanks to the encouragement of a surfer friend, I recently immersed myself in the chilly waters of the Pacific Ocean — in November. The waves thrashed me around as I attempted to get up on a board, and even though I only made it to my knees, I felt proud. Once again, the cold temperature put me in an altered state where sensory experiences felt more real: My eyes widened, and I was conscious of my heartbeat. Amid the intensity, I felt a calm that’s hard to come by on an average day of consuming news on social media.\u003c/p>\n\u003cfigure id=\"attachment_13922052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922052\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/IMG_6631-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nastia Voynovskaya attempts to surf in Pacifica. \u003ccite>(Joi Ward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe Porfiriy Ivanov had a point: Cold water makes you more resilient. I had started 2022 feeling spiritually weakened. After two years of the pandemic, and then a war, I felt lost and hopeless. Every now and again, I remembered the memes about 2016 being the worst year ever. Then 2017, and 2018, and so on. After 2020, many of us began to accept that life is simply full of turmoil.\u003c/p>\n\u003cp>Not to leave you with the bleak ending of a Russian novel, but isn’t there power in knowing the difficult truth? I’m a realist, but I’m an optimist too: Accepting things as they are doesn’t have to mean resignation, so long as you have a constructive way to cope.\u003c/p>\n\u003cp>Otherwise, reality can hit you like an icy bucket of water.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Faced with the uncertainty of the pandemic and a war, I rediscovered a way to ground myself. ","status":"publish","parent":0,"modified":1705006120,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1185},"headData":{"title":"How a Ukrainian Mystic’s Ice-Water Cure Helped Me Cope With the Chaos of 2022 | KQED","description":"Faced with the uncertainty of the pandemic and a war, I rediscovered a way to ground myself. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"One Beautiful Thing From 2022","sourceUrl":"https://www.kqed.org/arts/tag/one-beautiful-thing","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13922047/russia-ukraine-war-porfiriy-ivanov-ice-water","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, during a year of violence and tumult in her home country, editor Nastia Voynovskaya finds herself reconnecting with old ways to help reckon with the increasingly precarious present.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Russia invaded Ukraine in February, visceral panic spread through my immigrant community as we watched bombings and evacuations playing out live on social media. Some of my friends had relatives fleeing the attacks, and they waited for WhatsApp updates with worry and fear.\u003c/p>\n\u003cp>Many \u003ca href=\"https://www.kqed.org/arts/13909903/for-many-former-soviet-immigrants-russias-war-on-ukraine-is-horrific\" target=\"_blank\" rel=\"noopener noreferrer\">Russians and Ukrainians are literally kin\u003c/a>, as we are in my blended family, and the war began to tear us apart. Clashing views led to schisms in relationships. Russians like me who didn’t support the invasion were forced to reexamine the foundations of our identity.\u003c/p>\n\u003cp>My reexamination came about in a somewhat unexpected way — yet maybe one that was predestined.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13922061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Nastia.bio_.thumbnail.jpg\" alt=\"\" width=\"160\" height=\"184\">Assimilation comes with a sense of loss. Immigrants acquire a new accent, and new habits, and grow alienated from our old ways of life. I’ve held on, trying to find a bicultural identity in the aisles of Russian markets, in music and in books. But I’ve had to make a concerted effort to stay in touch with my culture as I get older and more American. After the war started, questions began to run through my mind. \u003cem>Was it actually worth the struggle to prove I belong to something that seems so hateful? Wouldn’t erasing my identity because of shame become its own form of pain?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was grieving on multiple levels. My grandfather, my last grandparent, passed away in St. Petersburg a week before the invasion. As economic sanctions, flight cancellations and mass arrests of anti-war protesters \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">sparked chaos in Russia\u003c/a>, it began to sink in that I had no idea when I might be able to safely return to my hometown.\u003c/p>\n\u003cp>My Russian group chat lit up with \u003ca href=\"https://novaukraine.org/en/homepage/\" target=\"_blank\" rel=\"noopener noreferrer\">relief\u003c/a> \u003ca href=\"https://upogau.org/\" target=\"_blank\" rel=\"noopener noreferrer\">fundraisers\u003c/a> and updates, and even as I tried to find productive ways to help, my anxiety showed no signs of letting up. I knew I needed to get grounded, to get back into my body.\u003c/p>\n\u003cp>In March, I was invited to a wedding in snowy Utah, where my outdoorsy friends incorporated skiing into their nuptials. I had only skied a handful of times in my life, so I was unaccustomed to how the cold air numbed my chin, and how snow felt going down my ski pants when I fell. But as I descended the slopes at speeds way beyond my comfort zone, I had no choice but to be present. Gripping my ski poles in simultaneous awe and terror, I flew past green pines glistening with puffs of powdery snow, and watched snowflakes swirl as wind and fog drifted in over a mountain ridge in the distance. After a few hours, my jaw unclenched and my brows unfurrowed. And as I defrosted in the shower, I realized that the cold air had filled me with an aliveness that I hadn’t felt in months.\u003c/p>\n\u003cp>I had to do it again.\u003c/p>\n\u003cp>The snow trip unlocked a deep memory, and I remembered that cold temperatures were my people’s ally. When I was a kid in St. Petersburg, my mom, like many Russian mothers, poured buckets of cold water on me and my sister after baths. It was part of a cultural belief that controlled exposure to cold temperatures would boost your immunity and make you more resilient \u003cspan style=\"font-weight: 400\">—\u003c/span> the same reason people take their children swimming in the \u003ca href=\"https://www.ruptly.tv/en/videos/20170129-037-Russia-Mothers-and-children-plunge-into-near-frozen-Lake-Baikal-\" target=\"_blank\" rel=\"noopener noreferrer\">frozen waters of Siberia’s Lake Baikal\u003c/a>. In Russian it’s called “zakalivaniye organizma,” or hardening of the body. And it was preached as an integral part of a healthy lifestyle by a controversial Ukrainian-Russian mystic with a Zeus-like beard, whose teachings helped me understand my experience on the slopes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>orfiriy Ivanov was \u003ca href=\"https://www.rbth.com/history/333017-porfiriy-ivanov-russian-yogi-or-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">an eccentric character born in 1898 in the Luhansk Region of Ukraine\u003c/a>, which was then part of the Russian Empire and is currently on contested land. An ice-water evangelist, he claimed to have cured himself of cancer by \u003ca href=\"http://kaznovsky.chat.ru/ogonyek.htm\" target=\"_blank\" rel=\"noopener noreferrer\">dousing himself in cold water\u003c/a> and walking in the snow barefoot. Throughout his long life, he wore shorts in freezing temperatures. His nonconformist attitude and allusions to supernatural powers were so controversial that he was tortured by Nazis during World War II. Later, he was twice sentenced to a brutal Soviet mental institution. After he died in 1983, the Russian Orthodox church labeled him a heretic.\u003c/p>\n\u003cp>My mom had been one of Ivanov’s followers in the early ’90s. I had always regarded this as a quirky fact of our lives in the old country, but my recent exposure to the cold made me wonder if this strange healer’s methods might have a place in my life.\u003c/p>\n\u003cp>Blasting myself with cold water at the end of a shower became a hack for treating anxiety. The sheer physical shock forced me to breathe deeply and enter a Zen state that I rarely had the patience to achieve through meditation. When I took turns roasting myself in the sauna and jumping into the freezing cold plunge at San Francisco’s Russian bathhouse, Archimedes Banya, the extreme temperatures banished my intrusive thoughts like a lobotomy.\u003c/p>\n\u003cp>Could this be the cure for my chronic affliction of overthinking? Newly emboldened by my cold water tolerance, and thanks to the encouragement of a surfer friend, I recently immersed myself in the chilly waters of the Pacific Ocean — in November. The waves thrashed me around as I attempted to get up on a board, and even though I only made it to my knees, I felt proud. Once again, the cold temperature put me in an altered state where sensory experiences felt more real: My eyes widened, and I was conscious of my heartbeat. Amid the intensity, I felt a calm that’s hard to come by on an average day of consuming news on social media.\u003c/p>\n\u003cfigure id=\"attachment_13922052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922052\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/IMG_6631-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/IMG_6631-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nastia Voynovskaya attempts to surf in Pacifica. \u003ccite>(Joi Ward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe Porfiriy Ivanov had a point: Cold water makes you more resilient. I had started 2022 feeling spiritually weakened. After two years of the pandemic, and then a war, I felt lost and hopeless. Every now and again, I remembered the memes about 2016 being the worst year ever. Then 2017, and 2018, and so on. After 2020, many of us began to accept that life is simply full of turmoil.\u003c/p>\n\u003cp>Not to leave you with the bleak ending of a Russian novel, but isn’t there power in knowing the difficult truth? I’m a realist, but I’m an optimist too: Accepting things as they are doesn’t have to mean resignation, so long as you have a constructive way to cope.\u003c/p>\n\u003cp>Otherwise, reality can hit you like an icy bucket of water.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922047/russia-ukraine-war-porfiriy-ivanov-ice-water","authors":["11387"],"categories":["arts_1","arts_2303"],"tags":["arts_2767","arts_10342","arts_10278","arts_9988","arts_1773","arts_19127","arts_16761"],"featImg":"arts_13922049","label":"source_arts_13922047"},"arts_13920483":{"type":"posts","id":"arts_13920483","meta":{"index":"posts_1591205157","site":"arts","id":"13920483","score":null,"sort":[1666124238000]},"guestAuthors":[],"slug":"flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry","title":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants","publishDate":1666124238,"format":"standard","headTitle":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When most people think of Silicon Valley, they tend to think of the white-collar aspects — the self-driving Teslas, search engine startups and mega-billionaire corporations. But who is in those office buildings after hours, wiping down desks and taking out the trash? Who is cooking meals for campuses filled with six- and seven-figure earning employees? Who is tending the nearby fields and orchards? And why is \u003ca href=\"https://sanjosespotlight.com/joint-venture-report-highlights-silicon-valley-wealth-gaps-and-tech-booms-san-jose-santa-clara-county/\">the gap here between the affluent and working class, particularly in Spanish-speaking households\u003c/a>, among the worst in the nation?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Flor Martinez Zaragoza, a 27-year-old activist, influencer and community advocate — probably best known for her Instagram account, \u003c/span>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003cspan style=\"font-weight: 400\">@flowerinspanish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where she has 128,000 followers — has long been acutely aware of those discrepancies. She grew up in San Martin, a small town 25 miles south of San Jose that felt worlds apart from the ritzy tech campuses of Apple, Facebook and Google. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Living outside of the city, there’s a crazy cultural difference driving around [Highway] 101,” she says. “It’s all farmworkers from Gilroy towards Salinas. Then you get to San Jose, Oakland, SF and it’s more industrial.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As an undocumented immigrant with \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">Deferred Action for Childhood Arrivals\u003c/a>\u003cspan style=\"font-weight: 400\"> (DACA) status, Martinez Zaragoza picked grapes for wineries during her summers as a teenager, along with her family. Throughout her life, she has had to toggle between being an undocumented Mexicana with deep Bay Area roots and just trying to make ends meet in one of the world’s most expensive places to live. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For immigrants like her, it can feel impossible to voice any concerns, as they’re largely overshadowed by the larger forces of Silicon Valley and being undocumented. But \u003c/span>\u003cspan style=\"font-weight: 400\">Martinez Zaragoza is no longer keeping quiet about her community’s needs. In 2020 — as wildfires swept across Northern California, putting thousands of mostly undocumented farm workers in harm’s way — she began using social media as a tool to educate others about the hardships of a workforce population that is, and has been, aggressively exploited. It’s where she comes from.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since then, she has used her \u003ca href=\"https://www.tiktok.com/@flowerinspanish\">rising platform\u003c/a> to spotlight farm workers, undocumented business owners and independent, immigrant-owned restaurants around Northern and Central California. Her goal is to change California laws and improve pathways for thousands like her. I hung out with Flor at a few of her favorite restaurants around San Jo to learn more about her work and mission.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: \u003c/b>\u003ca href=\"https://www.kqed.org/news/11923693/farmworkers-24-day-march-culminates-in-sacramento-pressuring-newsom-to-sign-union-bill\">\u003cb>You participated in a 24-day United Farm Workers march\u003c/b>\u003c/a>\u003cb> that ended in Sacramento — a protest that successfully pressured Governor Gavin Newsom to sign \u003c/b>\u003ca href=\"https://openstates.org/ca/bills/20212022/AB2183/\">\u003cb>a piece of legislation expanding farm workers’ union rights\u003c/b>\u003c/a>\u003cb>. Can you tell us about that bill and your role in it?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bill, AB 2183, is for farm workers to vote for union representation freely and fairly without fear of intimidation or threat from employers. Many of them are undocumented. They’ve been able to unionize before, but [in the past] they’ve been fearful about it. Many leaders who work in the field would be dismissed or fired [for their involvement]. They didn’t have much protection: They had to vote on site, in the field. But now this bill allows farm workers to vote from home and use their voice without being targeted. They’re the most vulnerable workforce in the nation. That bill passed right before they were about to go on strike.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get involved in this work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I migrated to the U.S. [from Jalisco, México] when I was three, but I’ve lived in the Bay Area for most of my life. I’ve mostly lived in Gilroy and San Martin, near Morgan Hill, and I moved to San Jose six years ago. I used to be a farm worker when I was 14 years old. I worked in Gilroy, Watsonville and Santa Cruz, picking wine grapes with my parents and sister. I did it for a couple summers and then I had to focus on high school and stopped working in the fields. My grandpa was a \u003c/span>\u003ca href=\"https://video.kqed.org/video/oregon-experience-the-braceros/\">\u003cspan style=\"font-weight: 400\">bracero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, too. He worked in Lodi, where we [recently] marched through. My grandpa broke his rib when he was working, and they sent him back to México. No compensation. They’re still treated like that today. If a worker gets hurt on the job, they don’t have work insurance. They’re so undervalued — sprayed with pesticides, without representation. They don’t have the money to get health care. There are lots of Mexicanos and Central Americans in the fields. They’re undocumented. There’s no hazard pay.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/ChfIb_jFZhL/\u003c/p>\n\u003cp>\u003cb>What’s your inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was probably about 12 years old when I started advocating for immigration reform. My mom has always been a big advocate for educational rights for marginalized students. I would go to district meetings and events and use my English to speak for the women who only spoke in Spanish. I was their voice, and it introduced me to public speaking and advocating for others at an early age. Seeing my mom speaking broken English for women who spoke no English … that inspired me. They fought for charter schools to support students who didn’t know English — they would just get put into special ed, and it impacted their futures. A group of Latina moms fought for smaller classes with more attention and resources. And they won. I was a part of that. They sent me to Nashville and I was part of a leadership convention summit. I was the youngest one there with other leaders around the country. I learned how to be a voice and help my people. I’ve just been non-stop ever since.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has social media helped you to share your messages and experiences with others?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a tool that previous generations didn’t have. The bill that just passed for farmworkers was largely due to social media. The United Farm Workers introduced the bill, and the farmworkers supported it. Many people told me they learned about what was happening because of the content being put out on social media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Flor Martinez Zaragoza\"]“There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation.”[/pullquote]If some of us didn’t go hard on social media, lots of people wouldn’t be aware. TikTok platforms allow younger generations to listen and tell their story and others can be more active. I’ve seen the immense difference in how this younger generation stands up and makes videos. It’s about the education of people and spreading the message as influencers on [social media]. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re vocal about supporting local businesses like \u003c/b>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003cb>Tostadas\u003c/b>\u003c/a>\u003cb> and its sister restaurants, the coffeeshop \u003c/b>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003cb>Con Azúcar Cafe\u003c/b>\u003c/a>\u003cb> and the newly opened \u003c/b>\u003ca href=\"https://www.instagram.com/tostadasprime/\">\u003cb>Tostadas Prime\u003c/b>\u003c/a>\u003cb>. What do you like about these restaurants?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These locations are Latino-owned. When we put money back into our communities instead of corporations, that’s a resource. Our communities don’t always have much of it. These places provide jobs for people, and they outsource their ingredients responsibly. Having a Latino coffee shop [like Con Azúcar] is important. There are thousands of Starbucks in San Jose. But you can go around the corner and keep the money in your community. These places are doing it responsibly and giving back. For example, they support my nonprofit, \u003c/span>\u003ca href=\"https://opencorporates.com/companies/us_ca/C4574861\">\u003cspan style=\"font-weight: 400\">Celebration Nation Inc\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. We have had multiple times when they let me borrow equipment for my toy drive. We help each other, repost our stuff, anything we need from each other. The owners have \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">DACA\u003c/a>\u003cspan style=\"font-weight: 400\"> like me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tostadas is one of my favorite places. They’ve been around for a while. They have vegan options, and it’s very cultural. The pandemic took a hit on them, but they’re still around. \u003ca href=\"https://www.instagram.com/reel/CjtyUQrNYsG/?utm_source=ig_web_copy_link\">Tostadas Prime\u003c/a>] is more luxury. If people order a certain dish, a percentage will go to a nonprofit and help farm workers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These restaurants employ around 200 people. It’s important to put money back into our community. When we shop for food, it’s usually corporate. It’s a business and there are lots of chains. It takes a toll on our bodies and health. They’re mass producing on demand and introducing pesticides and poison. I’m vocal about eating organic. It helps us and the farm workers. Big corporations profit from us. We need to go back to how our ancestors were eating, harvesting whatever they could and sharing it with their neighbors, keeping it local and small batch. If San Jose had its own food system, that would be massive.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920530\" class=\"wp-caption alignnone\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/flor-mural.jpg\" alt=\"A young Latina stands in front of a mural painted inside a restaurant, depicting two undocumented Latino brothers shaking hands\" width=\"1928\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1920x1266.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">One of Martinez Zaragoza’s favorite restaurants, Tostadas, is owned by DACA recipient brothers Alex and Victor Garcia, portrayed here in a mural. \u003ccite>(Jordan Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You mentioned your nonprofit. Tell us more about it.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started a nonprofit [\u003ca href=\"https://www.celebration-nation.org/\">Celebration Nation\u003c/a>] to support farm workers. We have a food bank program for them. We serve about 10,000 workers every month, across six towns in California. It’s volunteer-run. It’s basically to fill the gap around food insecurity with farm workers. There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation. Their families suffer. [They usually get served] food that lacks nutrition, which leads to health issues in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We serve different languages, including Triqui and Mixtec. We have translators to prevent language barriers for accessing food banks. There are lots of reasons that farm workers get excluded from assistance. Having worked in the field helps me to get trust and know what’s going on. I went viral in 2020 during the fires, smoke, heat waves, pandemic. \u003c/span>\u003ca href=\"https://www.instagram.com/p/CDzEYHhpbEC/?utm_source=ig_web_copy_link\">\u003cspan style=\"font-weight: 400\">I expressed my frustration during the conditions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003ca href=\"https://www.instagram.com/p/CEGjH1_pNjz/?utm_source=ig_web_copy_link\">I was telling people to pick their own vegetables\u003c/a>. I used to be a worker so I have insight into the details.\u003c/span>\u003c/p>\n\u003cp>Our next project is creating an educational program accessible on Web.3 and we will be utilizing blockchain technology to educate marginalized youth.\u003c/p>\n\u003cp>\u003cb>You currently have \u003c/b>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">\u003cb>DACA\u003c/b>\u003c/a>\u003cb>. How has that impacted your life?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It has honestly helped me so much. It allowed me to get a driver’s license and a Social Security number. It shielded me from deportation. It lets me go about my day more comfortably. I have to renew it every two years. Having [Social Security] literally allows me to do business, to apply for loans, to apply for government grants. During the pandemic my event company was able to get a government grant because of my social. Also, I was able to get a stimulus check, unlike many farm workers who are undocumented. It definitely changed my life, and it sucks that it’s not available for more people. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CjV0S5PJM9k/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">DACA stopped accepting new applicants about two years ago. Trump was pushing the issue, trying to get rid of it every year. He left a lasting impact on the status of DACA, and \u003c/span>\u003ca href=\"https://www.texastribune.org/2021/07/16/new-article-1626468650daca-texas-judge/\">\u003cspan style=\"font-weight: 400\">a Texas judge ended applications\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. DACA doesn’t exist for the new generation. This month we’re waiting to see what happens — they’re supposed to \u003ca href=\"https://www.npr.org/2022/10/05/1127107147/an-appeals-court-rules-against-daca-but-the-program-continues-for-now\">share new information\u003c/a>. There is so much uncertainty, it sucks. We work for our communities, we’re contributing to the economy, doing our part for San Jose, providing jobs. This is people’s livelihoods. It’s about making an impact on the city, state, nation. We’re dreamers but we don’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are you currently working on, and what’s on your mind?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13918088,arts_13920076,arts_13919032']I have a food company that’s coming soon. I haven’t announced it officially yet, but we’re going to sell chiles secos, spices, nuts and cultura from México. It’ll have its roots in México.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the end of the day I have DACA. I have to create my own path and be in control of my future. I have to make choices that help me and my community. DACA and immigration reform are important. Immigration reform could help 11 to 12 million people, including our parents and the next generation. I organize rallies in San Jose and collaborate with other social justice groups like \u003c/span>\u003ca href=\"https://www.pactsj.org/\">\u003cspan style=\"font-weight: 400\">PACT [People Acting in Community Together]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They’ve always included me and my mom. She’s in Mexico now and can’t come back. But when she was here she had a community with PACT and had an outlet to advocate as an immigrant mom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I try to provide that for women in my nonprofit. We’re run by moms and volunteers. They have a community and they throw their own parties. I like to lead the way when I can and step up. I wouldn’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Flor’s work can be seen \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003ci>\u003cspan style=\"font-weight: 400\">online\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and at her nonprofit, \u003c/span>\u003c/i>\u003ca href=\"https://www.celebration-nation.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Celebration Nation\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (3031 Tisch Way, 110 Plaza West, San Jose). \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003ci>\u003cspan style=\"font-weight: 400\">Con Azúcar Cafe\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open M–F from 6 a.m. to 6 p.m. and Sat.–Sun. 7 a.m. to 6 p.m. (101 E Santa Clara St., San Jose). Tostadas has two locations in San Jose and a newly opened Tostadas Prime in Santa Clara. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Check their page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> for updates. Special thanks to \u003ca href=\"https://www.instagram.com/imrealbasic/\">Jordan Hayes\u003c/a> for his photography and videography.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Flor Martinez Zaragoza uses Instagram and TikTok as vehicles for her activism.","status":"publish","parent":0,"modified":1705006260,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":2361},"headData":{"title":"Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants | KQED","description":"Flor Martinez Zaragoza uses Instagram and TikTok as vehicles for her activism.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"¡HELLA HUNGRY!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13920483/flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When most people think of Silicon Valley, they tend to think of the white-collar aspects — the self-driving Teslas, search engine startups and mega-billionaire corporations. But who is in those office buildings after hours, wiping down desks and taking out the trash? Who is cooking meals for campuses filled with six- and seven-figure earning employees? Who is tending the nearby fields and orchards? And why is \u003ca href=\"https://sanjosespotlight.com/joint-venture-report-highlights-silicon-valley-wealth-gaps-and-tech-booms-san-jose-santa-clara-county/\">the gap here between the affluent and working class, particularly in Spanish-speaking households\u003c/a>, among the worst in the nation?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Flor Martinez Zaragoza, a 27-year-old activist, influencer and community advocate — probably best known for her Instagram account, \u003c/span>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003cspan style=\"font-weight: 400\">@flowerinspanish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where she has 128,000 followers — has long been acutely aware of those discrepancies. She grew up in San Martin, a small town 25 miles south of San Jose that felt worlds apart from the ritzy tech campuses of Apple, Facebook and Google. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Living outside of the city, there’s a crazy cultural difference driving around [Highway] 101,” she says. “It’s all farmworkers from Gilroy towards Salinas. Then you get to San Jose, Oakland, SF and it’s more industrial.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As an undocumented immigrant with \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">Deferred Action for Childhood Arrivals\u003c/a>\u003cspan style=\"font-weight: 400\"> (DACA) status, Martinez Zaragoza picked grapes for wineries during her summers as a teenager, along with her family. Throughout her life, she has had to toggle between being an undocumented Mexicana with deep Bay Area roots and just trying to make ends meet in one of the world’s most expensive places to live. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For immigrants like her, it can feel impossible to voice any concerns, as they’re largely overshadowed by the larger forces of Silicon Valley and being undocumented. But \u003c/span>\u003cspan style=\"font-weight: 400\">Martinez Zaragoza is no longer keeping quiet about her community’s needs. In 2020 — as wildfires swept across Northern California, putting thousands of mostly undocumented farm workers in harm’s way — she began using social media as a tool to educate others about the hardships of a workforce population that is, and has been, aggressively exploited. It’s where she comes from.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since then, she has used her \u003ca href=\"https://www.tiktok.com/@flowerinspanish\">rising platform\u003c/a> to spotlight farm workers, undocumented business owners and independent, immigrant-owned restaurants around Northern and Central California. Her goal is to change California laws and improve pathways for thousands like her. I hung out with Flor at a few of her favorite restaurants around San Jo to learn more about her work and mission.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: \u003c/b>\u003ca href=\"https://www.kqed.org/news/11923693/farmworkers-24-day-march-culminates-in-sacramento-pressuring-newsom-to-sign-union-bill\">\u003cb>You participated in a 24-day United Farm Workers march\u003c/b>\u003c/a>\u003cb> that ended in Sacramento — a protest that successfully pressured Governor Gavin Newsom to sign \u003c/b>\u003ca href=\"https://openstates.org/ca/bills/20212022/AB2183/\">\u003cb>a piece of legislation expanding farm workers’ union rights\u003c/b>\u003c/a>\u003cb>. Can you tell us about that bill and your role in it?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bill, AB 2183, is for farm workers to vote for union representation freely and fairly without fear of intimidation or threat from employers. Many of them are undocumented. They’ve been able to unionize before, but [in the past] they’ve been fearful about it. Many leaders who work in the field would be dismissed or fired [for their involvement]. They didn’t have much protection: They had to vote on site, in the field. But now this bill allows farm workers to vote from home and use their voice without being targeted. They’re the most vulnerable workforce in the nation. That bill passed right before they were about to go on strike.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get involved in this work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I migrated to the U.S. [from Jalisco, México] when I was three, but I’ve lived in the Bay Area for most of my life. I’ve mostly lived in Gilroy and San Martin, near Morgan Hill, and I moved to San Jose six years ago. I used to be a farm worker when I was 14 years old. I worked in Gilroy, Watsonville and Santa Cruz, picking wine grapes with my parents and sister. I did it for a couple summers and then I had to focus on high school and stopped working in the fields. My grandpa was a \u003c/span>\u003ca href=\"https://video.kqed.org/video/oregon-experience-the-braceros/\">\u003cspan style=\"font-weight: 400\">bracero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, too. He worked in Lodi, where we [recently] marched through. My grandpa broke his rib when he was working, and they sent him back to México. No compensation. They’re still treated like that today. If a worker gets hurt on the job, they don’t have work insurance. They’re so undervalued — sprayed with pesticides, without representation. They don’t have the money to get health care. There are lots of Mexicanos and Central Americans in the fields. They’re undocumented. There’s no hazard pay.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"ChfIb_jFZhL"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>What’s your inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was probably about 12 years old when I started advocating for immigration reform. My mom has always been a big advocate for educational rights for marginalized students. I would go to district meetings and events and use my English to speak for the women who only spoke in Spanish. I was their voice, and it introduced me to public speaking and advocating for others at an early age. Seeing my mom speaking broken English for women who spoke no English … that inspired me. They fought for charter schools to support students who didn’t know English — they would just get put into special ed, and it impacted their futures. A group of Latina moms fought for smaller classes with more attention and resources. And they won. I was a part of that. They sent me to Nashville and I was part of a leadership convention summit. I was the youngest one there with other leaders around the country. I learned how to be a voice and help my people. I’ve just been non-stop ever since.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has social media helped you to share your messages and experiences with others?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a tool that previous generations didn’t have. The bill that just passed for farmworkers was largely due to social media. The United Farm Workers introduced the bill, and the farmworkers supported it. Many people told me they learned about what was happening because of the content being put out on social media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Flor Martinez Zaragoza","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If some of us didn’t go hard on social media, lots of people wouldn’t be aware. TikTok platforms allow younger generations to listen and tell their story and others can be more active. I’ve seen the immense difference in how this younger generation stands up and makes videos. It’s about the education of people and spreading the message as influencers on [social media]. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re vocal about supporting local businesses like \u003c/b>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003cb>Tostadas\u003c/b>\u003c/a>\u003cb> and its sister restaurants, the coffeeshop \u003c/b>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003cb>Con Azúcar Cafe\u003c/b>\u003c/a>\u003cb> and the newly opened \u003c/b>\u003ca href=\"https://www.instagram.com/tostadasprime/\">\u003cb>Tostadas Prime\u003c/b>\u003c/a>\u003cb>. What do you like about these restaurants?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These locations are Latino-owned. When we put money back into our communities instead of corporations, that’s a resource. Our communities don’t always have much of it. These places provide jobs for people, and they outsource their ingredients responsibly. Having a Latino coffee shop [like Con Azúcar] is important. There are thousands of Starbucks in San Jose. But you can go around the corner and keep the money in your community. These places are doing it responsibly and giving back. For example, they support my nonprofit, \u003c/span>\u003ca href=\"https://opencorporates.com/companies/us_ca/C4574861\">\u003cspan style=\"font-weight: 400\">Celebration Nation Inc\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. We have had multiple times when they let me borrow equipment for my toy drive. We help each other, repost our stuff, anything we need from each other. The owners have \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">DACA\u003c/a>\u003cspan style=\"font-weight: 400\"> like me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tostadas is one of my favorite places. They’ve been around for a while. They have vegan options, and it’s very cultural. The pandemic took a hit on them, but they’re still around. \u003ca href=\"https://www.instagram.com/reel/CjtyUQrNYsG/?utm_source=ig_web_copy_link\">Tostadas Prime\u003c/a>] is more luxury. If people order a certain dish, a percentage will go to a nonprofit and help farm workers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These restaurants employ around 200 people. It’s important to put money back into our community. When we shop for food, it’s usually corporate. It’s a business and there are lots of chains. It takes a toll on our bodies and health. They’re mass producing on demand and introducing pesticides and poison. I’m vocal about eating organic. It helps us and the farm workers. Big corporations profit from us. We need to go back to how our ancestors were eating, harvesting whatever they could and sharing it with their neighbors, keeping it local and small batch. If San Jose had its own food system, that would be massive.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920530\" class=\"wp-caption alignnone\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/flor-mural.jpg\" alt=\"A young Latina stands in front of a mural painted inside a restaurant, depicting two undocumented Latino brothers shaking hands\" width=\"1928\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1920x1266.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">One of Martinez Zaragoza’s favorite restaurants, Tostadas, is owned by DACA recipient brothers Alex and Victor Garcia, portrayed here in a mural. \u003ccite>(Jordan Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You mentioned your nonprofit. Tell us more about it.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started a nonprofit [\u003ca href=\"https://www.celebration-nation.org/\">Celebration Nation\u003c/a>] to support farm workers. We have a food bank program for them. We serve about 10,000 workers every month, across six towns in California. It’s volunteer-run. It’s basically to fill the gap around food insecurity with farm workers. There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation. Their families suffer. [They usually get served] food that lacks nutrition, which leads to health issues in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We serve different languages, including Triqui and Mixtec. We have translators to prevent language barriers for accessing food banks. There are lots of reasons that farm workers get excluded from assistance. Having worked in the field helps me to get trust and know what’s going on. I went viral in 2020 during the fires, smoke, heat waves, pandemic. \u003c/span>\u003ca href=\"https://www.instagram.com/p/CDzEYHhpbEC/?utm_source=ig_web_copy_link\">\u003cspan style=\"font-weight: 400\">I expressed my frustration during the conditions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003ca href=\"https://www.instagram.com/p/CEGjH1_pNjz/?utm_source=ig_web_copy_link\">I was telling people to pick their own vegetables\u003c/a>. I used to be a worker so I have insight into the details.\u003c/span>\u003c/p>\n\u003cp>Our next project is creating an educational program accessible on Web.3 and we will be utilizing blockchain technology to educate marginalized youth.\u003c/p>\n\u003cp>\u003cb>You currently have \u003c/b>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">\u003cb>DACA\u003c/b>\u003c/a>\u003cb>. How has that impacted your life?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It has honestly helped me so much. It allowed me to get a driver’s license and a Social Security number. It shielded me from deportation. It lets me go about my day more comfortably. I have to renew it every two years. Having [Social Security] literally allows me to do business, to apply for loans, to apply for government grants. During the pandemic my event company was able to get a government grant because of my social. Also, I was able to get a stimulus check, unlike many farm workers who are undocumented. It definitely changed my life, and it sucks that it’s not available for more people. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CjV0S5PJM9k"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">DACA stopped accepting new applicants about two years ago. Trump was pushing the issue, trying to get rid of it every year. He left a lasting impact on the status of DACA, and \u003c/span>\u003ca href=\"https://www.texastribune.org/2021/07/16/new-article-1626468650daca-texas-judge/\">\u003cspan style=\"font-weight: 400\">a Texas judge ended applications\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. DACA doesn’t exist for the new generation. This month we’re waiting to see what happens — they’re supposed to \u003ca href=\"https://www.npr.org/2022/10/05/1127107147/an-appeals-court-rules-against-daca-but-the-program-continues-for-now\">share new information\u003c/a>. There is so much uncertainty, it sucks. We work for our communities, we’re contributing to the economy, doing our part for San Jose, providing jobs. This is people’s livelihoods. It’s about making an impact on the city, state, nation. We’re dreamers but we don’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are you currently working on, and what’s on your mind?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918088,arts_13920076,arts_13919032","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I have a food company that’s coming soon. I haven’t announced it officially yet, but we’re going to sell chiles secos, spices, nuts and cultura from México. It’ll have its roots in México.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the end of the day I have DACA. I have to create my own path and be in control of my future. I have to make choices that help me and my community. DACA and immigration reform are important. Immigration reform could help 11 to 12 million people, including our parents and the next generation. I organize rallies in San Jose and collaborate with other social justice groups like \u003c/span>\u003ca href=\"https://www.pactsj.org/\">\u003cspan style=\"font-weight: 400\">PACT [People Acting in Community Together]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They’ve always included me and my mom. She’s in Mexico now and can’t come back. But when she was here she had a community with PACT and had an outlet to advocate as an immigrant mom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I try to provide that for women in my nonprofit. We’re run by moms and volunteers. They have a community and they throw their own parties. I like to lead the way when I can and step up. I wouldn’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Flor’s work can be seen \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003ci>\u003cspan style=\"font-weight: 400\">online\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and at her nonprofit, \u003c/span>\u003c/i>\u003ca href=\"https://www.celebration-nation.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Celebration Nation\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (3031 Tisch Way, 110 Plaza West, San Jose). \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003ci>\u003cspan style=\"font-weight: 400\">Con Azúcar Cafe\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open M–F from 6 a.m. to 6 p.m. and Sat.–Sun. 7 a.m. to 6 p.m. (101 E Santa Clara St., San Jose). Tostadas has two locations in San Jose and a newly opened Tostadas Prime in Santa Clara. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Check their page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> for updates. Special thanks to \u003ca href=\"https://www.instagram.com/imrealbasic/\">Jordan Hayes\u003c/a> for his photography and videography.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920483/flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_2370","arts_10342","arts_10278","arts_17573","arts_1773","arts_1084","arts_3001"],"featImg":"arts_13920486","label":"source_arts_13920483"},"arts_13917950":{"type":"posts","id":"arts_13917950","meta":{"index":"posts_1591205157","site":"arts","id":"13917950","score":null,"sort":[1661279467000]},"guestAuthors":[],"slug":"mohammed-amers-new-series-explores-the-tragedy-and-comedy-in-the-refugee-experience","title":"Mohammed Amer's New Series Explores the Tragedy and Comedy in the Refugee Experience","publishDate":1661279467,"format":"standard","headTitle":"Mohammed Amer’s New Series Explores the Tragedy and Comedy in the Refugee Experience | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>It’s a story comedian Mohammed Amer says he’s had in his head for two decades and started writing nine years ago. Now, on Wednesday, \u003cem>Mo\u003c/em> will be out on Netflix.\u003c/p>\n\u003cp>Co-created by Amer and \u003ca href=\"https://www.kqed.org/pop/111218/ramy-is-about-one-millennial-muslim-and-everyones-racist-uncles\" target=\"_blank\" rel=\"noopener noreferrer\">Ramy Youssef\u003c/a>, the show is a semi-autobiographical look at the trauma of displacement. Amer’s family was forced to leave home and travel to another part of Palestine in the 1940s. They were displaced again to Kuwait and then again in the 1990s during the Gulf War. He and his family ended up in a suburb of Houston as refugees.\u003c/p>\n\u003cp>[aside postid='pop_111218']“It speaks to a second generation statelessness, right? And the ripple effect that happens from being stateless,” he told \u003cem>Morning Edition\u003c/em>.\u003c/p>\n\u003cp>Amer finds the comedy and tragedy in his family’s tale. He explores the way the wounds that come from being forced from your homeland by war and occupation are passed down, as his character navigates a 20-year journey through the asylum process in the U.S.\u003c/p>\n\u003cp>“Once you’re waiting for your asylum to be granted, you’re just out there, no home on paper,” he said. “All a person like that wants is to feel like he belongs, and feel like they’re seen, and feel like they’re equal to their other human counterparts.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While his character is in immigration limbo, he can’t legally work. He has no papers. So he resorts to working under the table and hawking knock-off luxury goods to support his family. Then he ends up getting addicted to codeine after he has to be treated for a gunshot wound at a tattoo parlor because he doesn’t have health insurance.\u003c/p>\n\u003cp>Amer, who stars in the show, is quick to point out the codeine addiction is not real. There are many dramatic flourishes of this story based on his life for comedic or storytelling purposes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dtohea4CFbE\u003c/p>\n\u003cp>The show looks at what can be the American experience: gun violence, a broken healthcare system, and a broken immigration system that puts people in the position of having to skirt the law.\u003c/p>\n\u003cp>“It’s tragic. It’s heartbreaking. It almost forces you to do illegal things while you’re trying to be an upstanding citizen,” he said.\u003c/p>\n\u003cp>The backdrop of this dramedy is the Houston suburb where Amer grew up.\u003c/p>\n\u003cp>“Alief is one of the most diverse neighborhoods in America, 80 languages are spoken there,” he said.\u003c/p>\n\u003cp>Houston was the only place Amer wanted to film this story. He wanted the show to look like an “urban western.” The city is its own character with a rich mix of cultures and languages.\u003c/p>\n\u003cp>[aside postid='arts_13910929']“Houston’s incredible, and it’s been an exporter of phenomenal artists for many years,” he said. “There’s something in the water there, for sure.”\u003c/p>\n\u003cp>\u003cem>Mo\u003c/em> showcases those Houston stars. Amer’s character, Mo Najjar, has a best friend played by Nigerian American rapper \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\" target=\"_blank\" rel=\"noopener noreferrer\">Tobe Nwigwe\u003c/a>. There are cameos by rappers Bun B as a Catholic priest, and Paul Wall as a courthouse security guard.\u003c/p>\n\u003cp>Amer’s Palestinian, Houstonian, American and Muslim roots are all on full display. His character carries a little glass bottle of Palestinian olive oil around in his pocket. He’s on a mission to stop the awful things being done to hummus in the U.S., like chocolate hummus—”a war crime,” he calls it.\u003c/p>\n\u003cp>He switches from a Texas twang, to Spanish to Arabic seamlessly. He blasts hip hop from his car then brims with excitement over the traditional Zaffa (wedding procession) at a friend’s nuptials, and cries at his father’s grave as he recites a Muslim prayer.\u003c/p>\n\u003cp>It’s heartbreaking, heartwarming, hilarious and tragic all at the same time.\u003c/p>\n\u003cfigure id=\"attachment_13917952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/mo1-6e3706899341a38f16dfcb603438242816aef5ea-800x599.jpg\" alt=\"An Arabic man wearing a backwards baseball cap and red hoodie stands behind a Latina. He is embracing her warmly.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Teresa Ruiz plays Maria, Mo’s girlfriend, in the show. \u003ccite>(Netflix © 2022)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Amer’s story is a singular experience of a Palestinian family in Houston, it also has a universal relatability.\u003c/p>\n\u003cp>Before he wrote the show, he talked to his mother about telling their family story. He asked her to tell him more about what his family went through, including the things she protected him from when he was a child. But first he explained why he wanted to portray that on screen for a global audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“‘Millions of people are going to relate to this and it can empower them to better their lives. And also people who didn’t go through it can relate to it and have empathy for it,'” he recounted telling his mother. “Once we had that conversation, she just opened up completely. It was just incredible to understand the strength of this woman, but also get some better understanding about my family as well, our experiences and what makes us who we are today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mohammed+Amer%27s+new+series+explores+the+tragedy+and+comedy+in+the+refugee+experience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Mohammed Amer spent nearly a decade turning his family's experience as Palestinian refugees into a Netflix TV series.","status":"publish","parent":0,"modified":1705006467,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":860},"headData":{"title":"Mohammed Amer's New Series Explores the Tragedy and Comedy in the Refugee Experience | KQED","description":"Mohammed Amer spent nearly a decade turning his family's experience as Palestinian refugees into a Netflix TV series.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Phil Harrell","nprImageAgency":"Netflix © 2022","nprStoryId":"1118770031","nprApiLink":"http://api.npr.org/query?id=1118770031&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/08/23/1118770031/mo-amer-netflix-series-refugee-experience?ft=nprml&f=1118770031","nprRetrievedStory":"1","nprPubDate":"Tue, 23 Aug 2022 12:30:00 -0400","nprStoryDate":"Tue, 23 Aug 2022 05:00:17 -0400","nprLastModifiedDate":"Tue, 23 Aug 2022 05:00:17 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2022/08/20220823_me_mohammed_amers_new_series_explores_the_tragedy_and_comedy_in_the_refugee_experience.mp3?orgId=1&topicId=1045&d=436&p=3&story=1118770031&ft=nprml&f=1118770031","nprAudioM3u":"http://api.npr.org/m3u/11118959455-44ee37.m3u?orgId=1&topicId=1045&d=436&p=3&story=1118770031&ft=nprml&f=1118770031","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13917950/mohammed-amers-new-series-explores-the-tragedy-and-comedy-in-the-refugee-experience","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2022/08/20220823_me_mohammed_amers_new_series_explores_the_tragedy_and_comedy_in_the_refugee_experience.mp3?orgId=1&topicId=1045&d=436&p=3&story=1118770031&ft=nprml&f=1118770031","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a story comedian Mohammed Amer says he’s had in his head for two decades and started writing nine years ago. Now, on Wednesday, \u003cem>Mo\u003c/em> will be out on Netflix.\u003c/p>\n\u003cp>Co-created by Amer and \u003ca href=\"https://www.kqed.org/pop/111218/ramy-is-about-one-millennial-muslim-and-everyones-racist-uncles\" target=\"_blank\" rel=\"noopener noreferrer\">Ramy Youssef\u003c/a>, the show is a semi-autobiographical look at the trauma of displacement. Amer’s family was forced to leave home and travel to another part of Palestine in the 1940s. They were displaced again to Kuwait and then again in the 1990s during the Gulf War. He and his family ended up in a suburb of Houston as refugees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_111218","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It speaks to a second generation statelessness, right? And the ripple effect that happens from being stateless,” he told \u003cem>Morning Edition\u003c/em>.\u003c/p>\n\u003cp>Amer finds the comedy and tragedy in his family’s tale. He explores the way the wounds that come from being forced from your homeland by war and occupation are passed down, as his character navigates a 20-year journey through the asylum process in the U.S.\u003c/p>\n\u003cp>“Once you’re waiting for your asylum to be granted, you’re just out there, no home on paper,” he said. “All a person like that wants is to feel like he belongs, and feel like they’re seen, and feel like they’re equal to their other human counterparts.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While his character is in immigration limbo, he can’t legally work. He has no papers. So he resorts to working under the table and hawking knock-off luxury goods to support his family. Then he ends up getting addicted to codeine after he has to be treated for a gunshot wound at a tattoo parlor because he doesn’t have health insurance.\u003c/p>\n\u003cp>Amer, who stars in the show, is quick to point out the codeine addiction is not real. There are many dramatic flourishes of this story based on his life for comedic or storytelling purposes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dtohea4CFbE'\n title='//www.youtube.com/embed/dtohea4CFbE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show looks at what can be the American experience: gun violence, a broken healthcare system, and a broken immigration system that puts people in the position of having to skirt the law.\u003c/p>\n\u003cp>“It’s tragic. It’s heartbreaking. It almost forces you to do illegal things while you’re trying to be an upstanding citizen,” he said.\u003c/p>\n\u003cp>The backdrop of this dramedy is the Houston suburb where Amer grew up.\u003c/p>\n\u003cp>“Alief is one of the most diverse neighborhoods in America, 80 languages are spoken there,” he said.\u003c/p>\n\u003cp>Houston was the only place Amer wanted to film this story. He wanted the show to look like an “urban western.” The city is its own character with a rich mix of cultures and languages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910929","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Houston’s incredible, and it’s been an exporter of phenomenal artists for many years,” he said. “There’s something in the water there, for sure.”\u003c/p>\n\u003cp>\u003cem>Mo\u003c/em> showcases those Houston stars. Amer’s character, Mo Najjar, has a best friend played by Nigerian American rapper \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\" target=\"_blank\" rel=\"noopener noreferrer\">Tobe Nwigwe\u003c/a>. There are cameos by rappers Bun B as a Catholic priest, and Paul Wall as a courthouse security guard.\u003c/p>\n\u003cp>Amer’s Palestinian, Houstonian, American and Muslim roots are all on full display. His character carries a little glass bottle of Palestinian olive oil around in his pocket. He’s on a mission to stop the awful things being done to hummus in the U.S., like chocolate hummus—”a war crime,” he calls it.\u003c/p>\n\u003cp>He switches from a Texas twang, to Spanish to Arabic seamlessly. He blasts hip hop from his car then brims with excitement over the traditional Zaffa (wedding procession) at a friend’s nuptials, and cries at his father’s grave as he recites a Muslim prayer.\u003c/p>\n\u003cp>It’s heartbreaking, heartwarming, hilarious and tragic all at the same time.\u003c/p>\n\u003cfigure id=\"attachment_13917952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/mo1-6e3706899341a38f16dfcb603438242816aef5ea-800x599.jpg\" alt=\"An Arabic man wearing a backwards baseball cap and red hoodie stands behind a Latina. He is embracing her warmly.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Teresa Ruiz plays Maria, Mo’s girlfriend, in the show. \u003ccite>(Netflix © 2022)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Amer’s story is a singular experience of a Palestinian family in Houston, it also has a universal relatability.\u003c/p>\n\u003cp>Before he wrote the show, he talked to his mother about telling their family story. He asked her to tell him more about what his family went through, including the things she protected him from when he was a child. But first he explained why he wanted to portray that on screen for a global audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“‘Millions of people are going to relate to this and it can empower them to better their lives. And also people who didn’t go through it can relate to it and have empathy for it,'” he recounted telling his mother. “Once we had that conversation, she just opened up completely. It was just incredible to understand the strength of this woman, but also get some better understanding about my family as well, our experiences and what makes us who we are today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mohammed+Amer%27s+new+series+explores+the+tragedy+and+comedy+in+the+refugee+experience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917950/mohammed-amers-new-series-explores-the-tragedy-and-comedy-in-the-refugee-experience","authors":["byline_arts_13917950"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_1773","arts_3324"],"affiliates":["arts_137"],"featImg":"arts_13917951","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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