Sunday, September 11, 2016

Eden of the West: Reflections on September 11, 2001



Fifteen years ago, in the morning before school, the TV was on, set to a news channel. Smoke billowing from towers, fire protruding from gaps that should not be. Being 8, such an event was confusing – but I knew that it was important, and distressing. Now, I hardly remember the immediate reaction to 9/11. But looking back, it marked the next milestone in my life: first, at age five, my diagnosis with Becker’s Muscular Dystrophy and second, my learning about 9/11 at age 8.

A diagnosis bears a more obvious impact than an event I never witnessed personally. But, to me, 9/11 carries great importance to me. Growing up as a Muslim in the U.S. changed dramatically, as a largely ignored minority saw increased attention. Much of it, in my perspective, is negative.

This can be best explained by example. One day, two FBI agents, clad in black, appeared in front of our house – my dad was summoned outside. Apparently, my family had been reported as a snooping Middle Eastern family. The offending incident? My younger sister, having put off her HW until the evening before, had to photograph key local buildings, such as the fire station. Having seen the cheerful chalk drawings made by my sister, the agents must have decided that we are good people. But why all that? Shouldn’t that be assumed?

Rather the assumptions flowed the wrong way – like water flowing uphill, following some perverse pressure gradient. Instead of pristine blue water, it’s sludgy green and toxic. Okay, metaphors aside, a cliché in our society is “innocent until proven guilty” but we were not treated as an innocent party. A chance that something would be amiss was hidden in the air.

There feels like a burden of suspicion placed upon all Muslims in America – being Muslim itself warrants suspicion, borrowing Ta-Nehisi Coates’ framework for discussing black people in America, even in the absence of “un-American” behaviors. For years, I, and my family, have been tagged at the airport, seemingly for little reason other than our last name. However, many examples of Islamophobia are not overt like the ones all over television news. The Chapel Hill killings are ruthlessly terrible but they also do not highlight all forms of bigotry levelled against Muslims. More subtle: Sikhs being mistaken for Muslims, on account of their turbans, and being violently attacked. Subtler still: being tagged at an airport, despite doing nothing wrong.

Since using a mobility scooter (or a wheelchair) to traverse airports, I have seen the frequency of these events go down. Contacting my representative in Congress definitely helped me in this regard, but it took far too long.

However, an experience a couple years ago that should have been simple enough was almost a point of abject terror --  Fall 2014, the season of Amagi Brilliant Park, I was headed to Atlanta for an academic conference. The time was 6 A.M., and airport security was investigating my luggage in detail, in a room outside of public view. A swab used to check my person initiated an alarm from the device – it had detected something potentially explosive. As a Muslim American after 9/11, my first response is to feel panicked as increased security is “our” fault. Because I would be placed under great scrutiny. Thankfully, and due to the aid of the security personnel, I was able to calm down: it was likely a mistake, and the people with me thought so as well. Reviewing, thoroughly, all objects on my person revealed that the device had been mistakenly set off. Still, this experience left me feeling cold sweat, complementing my half-asleep brain’s “meh”ness, as my heart pounded. If the officials had been bigoted in an overt sense, I would have faced far worse issues than potentially being late. Thirteen years after 9/11, and I still felt this way.

My Muslim identity has become a sticking point, in that it makes me proud but also scared. One’s identity should never be a point of fear, and especially here society seems to promote this fear to control Muslims. I am often told by my parents: don’t mention Islam. And, not mentioning it dulls my identity, but it is a preventative measure. In Between the World and Me, Coates describes an analogous process pursued by black parents: when talking to the cops, take every measure to ensure you live by following their every order. And even that may not be enough. Including many of African descent, Islam in America tends to have doubly suspicion.

In recent years, mainly 2015 and on, I have taken greater pride in Islam, and publicly showing it. The beautiful mosques of Istanbul, calligraphy, the aims of Islam – all of it became points of appreciation for me, inspiring me to engage outreach on Islam. Even references in art to Islam, such as the mosques in Mobile Suit Gundam 00 and Cowboy Bebop, or the characters Dunya and Mariam in Magi: The Labyrinth of Magic, make me quite grateful. The relevance of mosques to Islam is self-evident. Mariam is the Islamic name for Mary, mother of Jesus (Isa in Islam); Dunya refers to the temporal world that precedes afterlife, where anyone reading this is.

During a Toastmasters meeting, I set the word of the day as ‘Dunya’ and explained the word’s meaning outside of its Quranic context, against the wishes of my parents. However, I found that by sharing some of my knowledge of Islam, the other members took that to heart. Many other Americans would like to learn more about Islam, and accept Muslims, making such outreach critical. Too many Americans do not personally know a Muslim, and are likely acting out of fear, rather than a genuine hatred of Muslims. There is an Islamophobia industry that pushes against the journey towards full acceptance – but that just means we should resist these forces, both personally and in our experiences with others. This could include having Islamic terms as word of the day for Toastmasters, or explaining to people Islam’s rich artistic history, or the goals of Islam. Teaching people that jihad refers to an internal struggle to conquer the evil within one’s soul, not physical violence – it is divorced from terrorist goals. Besides, white people are simply not advanced to have an excellent name such as Dunya.

9/11 has polarized the U.S., even years after its passing, to a significant degree. Donald Trump claims that Muslims should be restricted from immigrating to the U.S., but this is hardly the extent. Islamophobic activities have gone on the rise in the past few years, especially thanks to its bustling industry and the words of Donald Trump and other demagogues. Having lived with my experiences, and having seen this bigotry, I view 9/11 as a matter far beyond national security. It is a chance for humanity to come together, but as a whole the response has been disappointing at a societal level. A sincere effort would include passing legislation to support the courageous first responders who died to save others – the casualties count could have been 6000, rather than 3000, if not for such people. Beyond that, politicians cannot stop at “never forget” and must play a role in bringing U.S. society together and helping defeat bigotry.

If I do not finish this post soon my editor will get mad – I mean me. So, allow me to draw attention to an impeccable scene from Eden of the East, a 2009 series by studio Production I.G. Saki, the girl on the right (played by Saori Hayami), reminisces exuberantly about visiting New York, of seeing Broadway plays and the Times Square. But she looks down when Ground Zero comes up (right), Hayami’s voice taking on a morose quality as Saki’s monologue drifts into distressing territory.  Wanting to see it for herself, Saki reflects that there is nothing left from ten years ago. A New York Times article parses out stories from people who lost loved ones in 9/11, loved ones who cannot be buried and will not have a concrete memorial to their existence.


 
The entirety of Ground Zero was laid to rest without a true burial, without any signs of its existence – that is what makes Saki sad. Looking away, Saki makes a melancholy note about never forgetting 9/11 (right). When I saw this show in February, I thought she simply meant the event itself. But looking back, I see that Saki meant that its consequences and place in the world must never be forgotten, and that’s what I feel many politicians and many people are doing. Of course, it’s easy to point fingers, and I personally would like to better appreciate what 9/11 set in motion. Its legacy should be spurring people to come together, fighting against bigotry, especially Islamophobia, and not simply a challenge to national security; viewing the event as a reason to dislike Muslims, and other foreigners, or to fight terrorists in sprawling, eternal conflicts is a complete mistake. Here Saki is right: we should feel that 9/11 should be remembered, rather than simply rehashing the line “Never Forget.”

Friday, September 9, 2016

A Study of Space Through Eating Out: Review of Morimoto Waikiki



Yesterday marked a unique moment on the journey towards becoming a foodie. Set inside the posh, aptly-named Modern Honolulu hotel, Morimoto Waikiki is immensely extravagant, as one might suspect. Best known as a place frequented by the Obamas, it is quite high-scale.

The restaurant, much as the hotel, is ornately yet plausibly decorated. Porcelain structures encased in glass boxes attached to the ceiling (right image). Spread out lights illuminating the surrounding, creating a proper light density. Green chairs, and white walls, except for the colorful images of flowers spliced together (top image, right image). White napkin neatly placed in a white rectangular dish, with translucent white chopsticks set with a smooth white rest (below). I was in awe of it all. Morimoto’s aesthetic was intricately constructed to allow a sense of leisure, aided by the jazzy instrumental music tending towards trip-hop that floated over our heads.




Noticing, from a slight angle, the chefs studiously preparing meals in the partially open kitchen, I realized it was time to order dishes. Morimoto is a Japanese place. That means sashimi and sushi, of all varieties but of course including tuna and salmon. My younger sister ordered shrimp tempura, while I set my sights on the wagyu carpaccio (a beef dish, left). Throughout this process, the servers were courteous and helpful – they checked for food restrictions, which I had supplied in my OpenTable reservation, and assisted us in finalizing our orders.

You know, the food came out quite fast, like a musical release from Thirdkoopa. Diving into the wagyu carpaccio, I was taken aback – the yuzu soy sauce introduced a new dimension of flavor. My apprehension at ordering wagyu here was obliterated. It was akin to being gently submersed in water without any fear of drowning, with pure clarity. Cilantro and watercress added to the beef contrasted the meatiness of the dish, while intensifying the flavor. (Admittedly, cilantro is a golden herb as far as I am concerned.) The first thought that came to mind: “If such a thing as a perfect dish exists, this savory food surely counts.” A territorial urge rose when my family wanted to try some, but I managed to barely suppress the urge.

Morimoto provided an environment of self-exploration, as if one was set in space in a simple spacesuit, crouching on an asteroid. A minor jetpack providing the only push into the greater unknown. In this case, the greater unknown entailed eating foods without explicitly knowing their name or their flavor beforehand. An exception: the shrimp tempura was superficially familiar, but its infusion with Dijon mustard elevated it above its kin.  With a little jetpack, one can only go so far from the asteroid. At the very least, tuna, salmon, and rice were involved in the mix, but who knows what the other fishes were.

With the sashimi we were provided an array of sauces, including unagi (eel) and yuzu (citrus). What struck me the most was the presentation: a square tower comprised of four slices of sashimi. Together they complemented each other, but were no slouches individually either. Being me, I went for the yuzu sauce, because it resonates with my soul or something. Then, a pot full of sashimi and rice was brought out, continuing our siege on foodkind. If the din of eating had not yet set in, it certainly had now. Here I investigated more unfamiliar tastes, aided by the comfort of rice.  Of these, tamago (egg) was certainly strange, far sweeter than one would suspect.

A final dish was brought out to commemorate my parents’ anniversary: banana ice cream – that tasted as expected, so I allowed my dad to finish it. It was now time to reflect. An immense, and fairly costly, sum of food had been consumed quickly, reflecting a combination of great hunger and excellent flavor. Even having been to many Japanese restaurants, I was brought to that stereotypical frolicking-through-a-meadow image which accompanies an amazing meal. To continue that space metaphor, my little jetpack had brought me through the recesses of space, placing me before this wonderful experience.

Score: 91/100

Tuesday, September 6, 2016

Despite Being Gray, Life Usually Feels Black-and-White

Zeldaru here, listening to "Kings" by angela, the opening theme to K (project). I....have not been too regular here, have I? Maybe my inability to grasp basic sentence diversity has led to my downfall. Maybe my mind snapped after all those essays.

Recently, I have been reading yet another shoujo (girl's) manga series -- everyone is thoroughly nonplussed by my change in behavior -- that is occupying my time. House of the Sun tackles "homelessness," but not in a literal sense. Rather, it is the feeling of, despite having a house to live in and a roof above one's head, belonging absolutely nowhere. Natsume, for instance, finds abode with his distant relatives after being shunted for years; Nanami takes residence in a shrine after helping a kind old man who turned out to be a god. But in these situations, the "homelessness" serves to galvanize the characters into action. Honestly, where this is going (logically, emotionally, etc), I don't even know...but, even without ever facing the danger of being homeless, I can certainly relate on some deeper level.

Mao Motomiya, the rather awkward -- even compared to a hapless fellow like myself -- shoujo protagonist of this story, has found herself living with her childhood friend Hiro Nakamura. Despite having known each other for years, they, at least to an outside observer like me, do not seem to understand each other very well at all.

However, there are some points made absolutely clear by the mangaka. Whatever you think about Hiro. You. Cannot. Deny. That. That...that.....he is an excellent housewife. And that Mao is the exact opposite -- she's the stereotypical husband in this pairing if you will, even if she insists ! insists ! ! * that she is not in like with him. Sometimes their misunderstandings are hilarious and make you think, and sometimes their misunderstandings are devastating and make you sad. I can't put my finger on what exactly draws me to this manga. Except for how so many parts of it resonate within me, and how it reminds me of some of my favorites. To borrow a friend's phraseology, "total zrucore".

From here, there are two directions -- acquire greater cringe from Tsukimi (Princess Jellyfish), or dive into the sadness (Kamisama Kiss).

That said, I should attempt to give an update or something. But instead, what matters most is....

How darn good this show is.