Roof Gardens in Rome
“The Great Canton and Hong Kong Proverbs”
In 1559, Dutch artist Pieter Bruegel created the oil painting “Netherlandish Proverbs” which illustrates many Dutch proverbs to praise the Dutch culture. In 2014, Ah To imitated the idea and created “Great Canton and Hong Kong proverbs” illustrating 81 Cantonese proverbs to propagate the Cantonese culture and defend Cantonese.
Why do men feel threatened by women?” I asked a male friend of mine. (I love that wonderful rhetorical device, “a male friend of mine.” It’s often used by female journalists when they want to say something particularly bitchy but don’t want to be held responsible for it themselves. It also lets people know that you do have male friends, that you aren’t one of those fire-breathing mythical monsters, The Radical Feminists, who walk around with little pairs of scissors and kick men in the shins if they open doors for you. “A male friend of mine” also gives—let us admit it—a certain weight to the opinions expressed.) So this male friend of mine, who does by the way exist, conveniently entered into the following dialogue. “I mean,” I said, “men are bigger, most of the time, they can run faster, strangle better, and they have on the average a lot more money and power.” “They’re afraid women will laugh at them,” he said. “Undercut their world view.” Then I asked some women students in a quickie poetry seminar I was giving, “Why do women feel threatened by men?” “They’re afraid of being killed,” they said.
Margaret Atwood, Second Words: Selected Critical Prose (1983), pg. 413.
You’ve probably heard the punchline before, but here’s the full context for the quote. (via muffinw)
ANNIE - Official Trailer (2014)
I can’t wait ‘til the day that I finally get to say,
“Mom, Dad, you don’t have to work anymore. Relax. I can support you now. Thank you for everything that you’ve done for me.”
When I go to contemporary Asian restaurants, like Wolfgang Puck’s now-shuttered 20.21 in Minneapolis and Jean-Georges Vongerichten’s Spice Market in New York City, it seems the entrées are always in the $16–$35 range and the only identifiable person of color in the kitchen is the dishwasher. The menus usually include little blurbs about how the chefs used to backpack in the steaming jungles of the Far East (undoubtedly stuffing all the herbs and spices they could fit into said backpacks along the way, for research purposes), and were so inspired by the smiling faces of the very generous natives—of which there are plenty of tasteful black-and-white photos on the walls, by the way—and the hospitality, oh, the hospitality, that they decided the best way to really crystallize that life-changing experience was to go back home and sterilize the cuisine they experienced by putting some microcilantro on that $20 curry to really make it worthy of the everyday American sophisticate. American chefs like to talk fancy talk about “elevating” or “refining” third-world cuisines, a rhetoric that brings to mind the mission civilisatrice that Europe took on to justify violent takeovers of those same cuisines’ countries of origin. In their publicity materials, Spice Market uses explicitly objectifying language to describe the culture they’re appropriating: “A timeless paean to Southeast Asian sensuality, Spice Market titillates Manhattan’s Meatpacking District with Jean-Georges Vongerichten’s piquant elevations of the region’s street cuisine.” The positioning of Western aesthetics as superior, or higher, than all the rest is, at its bottom line, an expression of the idea that no culture has value unless it has been “improved” by the Western Midas touch. If a dish hasn’t been eaten or reimagined by a white person, does it really exist?
Andrew Zimmern, host of Bizarre Foods, often claims that to know a culture, you must eat their food. I’ve eaten Vietnamese food my whole life, but there’s still so much that I don’t understand about my family and the place we came from. I don’t know why we can be so reticent, yet so emotional; why Catholicism, the invaders’ religion, still has such a hold on them; why we laugh so hard even at times when there’s not much to laugh about. After endless plates of com bi, banh xeo, and cha gio, I still don’t know what my grandmother thinks about when she prays.
Page 1 of 212