Old Hong Kong, New China

Originally published in Consequence Volume 15.2 (November 2023).

I couldn’t stop consuming news about Nancy Pelosi’s visit to Taiwan in August 2022. It was political theatre: Beijing threatened Taiwan with sanctions and military action; Washington maintained its commitment to the One China Policy while celebrating Taiwan’s democracy. Meanwhile, in Taiwan, people ate their braised pork over rice at local diners, and the TV showed news clips of Pelosi shaking hands with the Taiwanese president, Tsai Ing-wen.

After Pelosi’s departure, the Chinese military shot missiles into the Taiwan Strait. Some landed twenty kilometers (12.4 miles) off the coast of Taiwan. When reporters interviewed Taiwanese residents about the military exercises in the southern city of Kaohsiung, they shrugged. Some said they went to work, and others claimed they took the ferry for their weekend getaway to Luiqui, the idyllic island known for its sea turtles.

I want to think I’m just as carefree about the impending invasion, but the truth is I’m panicking—as a Taiwanese Canadian woman married to an American who lived in Hong Kong for eight years, I have reasons for concern. The Taiwanese had indeed lived with the constant threat of Chinese aggression since 1949, when Chiang Kai-shek and the then-ruling party of Kuomintang (KMT) retreated to Taiwan after losing the Chinese Civil War. In Chiang’s lifetime, he vowed to take back the motherland from the “communist thugs” while ruling Taiwan with an iron fist. However, towards the end of the twentieth century, many countries began to recognize the Communist Party of China (CPC) as the legitimate ruler of China, and therefore, the United Nations suggested dual representation—allowing both Taiwan and China to be a part of the UN. However, Chiang withdrew from the intergovernmental organization, effectively removing Taiwan’s participation in global affairs. Thus, 1971 was the year China joined the UN, and Taiwan lost its status as a country.

The cross-strait relations between China and Taiwan have always been contentious, and they escalated under Xi Jinping’s leadership. Xi declared that “reunification” between Taiwan and China must be fulfilled and that Beijing may use force if necessary. However, many of us in Taiwan, myself included, have no desire to be ruled by a government with a dismal human rights record, known for imprisoning Muslim minorities and crushing a democratic movement in Hong Kong.

In 2019, while most Taiwanese watched the news in horror as militarized police brutalized young Hong Kong protestors, I lived in the midst of it.

§

I attended the Tiananmen Square vigil on June 4, 2019—the only annual event commemorating the 1989 massacre in Chinese territory—not knowing it would be my last one. After the serene candle-lit ceremony to remember the democracy-seeking Chinese students who died at the hands of the People’s Liberation Army, people began walking from Victoria Park through Wan Chai. They ended up at the Legislative Council Complex, about four kilometers (2.5 miles) away. This was the start of the 2019 protest movement—almost every week from then on, a protest happened every weekend. I could see the procession from the window of the Wan Chai apartment I shared with my husband, Derek. One day, we decided to join them. We donned black t-shirts and marched the streets with Hong Kongers—young and old, students and professionals, the elderly with their canes, and parents with their toddlers in strollers. Shoulder to shoulder with millions of Hong Kong residents, we shouted: “Reclaim Hong Kong; Revolution of Our Times!”—a common slogan that appeared everywhere in 2019. It reflected Hong Kongers’ desire to shelve the extradition bill—proposed by Carrie Lam, the Chief Executive of Hong Kong. Lam used a murder case involving Hong Kong citizens in Taiwan as a pretext to propose extradition agreements with Taiwan, Macau, and China. Lam said the bill would prevent lawbreakers from committing crimes in one region and fleeing to another. The reality was that the bill would let the Beijing government arrest people the CPC deemed unsavory—activists, journalists, and even business executives, and subject them to its justice system with a 99 percent conviction rate. Naturally, Hong Kongers didn’t want this extradition bill—they feared getting caught up in the unjust Chinese legal system and rotting in a Mainland prison.

That summer, I observed the gathering each weekend and watched the number of protestors swell. In June, one million people were on the streets. By the first weekend of July, two million people marched and chanted through the major roads of Wan Chai. The government, however, ignored people’s demands and cracked down on peaceful protests. Soon, there were allegations that police officers beat commuters on the MTR, Hong Kong’s subway system, and some had died at Prince Edward Station, a station I passed through every day to and from work. No one knew what happened—according to the news media, the security footage disappeared, and there were speculations that the government destroyed evidence to conceal their atrocities. As a result, many young people in Hong Kong felt pacifism was futile and resorted to violence. Believing that the MTR was colluding with the police to harm them, they trashed subway stations. Furthermore, they also vandalized businesses—belonging to those aggravated by the protests that disrupted their livelihood—and branded them pro-Beijing. The police ramped up their presence around the city to maintain order and protect property. As Derek and I walked home with our groceries one day, we bumped heads with a group of militarized police. We dropped our shopping bags and raised our arms as they sped past us, chasing black-clad protestors.

Bearing witness to the atrocities in Hong Kong, I couldn’t help but think about my ancestral homeland of Taiwan, which made me root for Hong Kong even more. However, after six months of constant turmoil, the political situation drained and depressed me. Despite myself, I was also resentful: I had already fled political unrest in Bahrain ten years ago—how did I get thrust into another? Friends called me after hearing about the situation in Hong Kong. “It seems like revolutions follow you wherever you go!” they teased.

I chuckled along, but the city’s ordeal was no laughing matter. People were hurt; lives were upended. Life in Hong Kong would never be the same again.

In 2012, I moved to Hong Kong not knowing a soul. I had just separated from my first husband and escaped the Arab Spring and Bahrain’s sectarian conflict—where burning tires blocked highways, and the smell of tear gas lingered in my neighbourhood—and landed in a maze of disorientating skyscrapers in the metropolis of “Fragrant Harbour.” Worn down by my failed marriage and driven by my desire to gain more professional experience, I moved to Hong Kong for a librarian position at a local university.

At this time, I was more concerned about establishing myself and finding love in my new city than worrying about the CPC’s growing power. So, I immersed myself in online dating. Many potential matches were excited that I lived in Wan Chai, famous for bars lit by neon lights that promised dancing girls and two-for-one drinks. “Shall we meet in your ‘hood for happy hour drinks?” They texted with the winking emoji.

I soon learned to steer clear of men who spent their weekends getting drunk in the red-light district of Wan Chai. On its main drag of Lockhart Road, the domineering, grandmother-aged madams congregated in front of bars shrouded by black draperies, tugging at men’s sleeves as they staggered by. When someone paused, smiled, or showed interest, a troop of young Southeast Asian women in cakey make-up and miniskirts swooped in and led him into their curtained establishments for a good time.

Back then, as a young Taiwanese Canadian expat in Hong Kong, the only thing that made me think about the other side of the border was who could be there. One day, I went to Shenzhen to meet a man I matched online. I gripped my Canadian passport with my single-entry visa at the Hong Kong-Shenzhen border. I was worried that a customs agent would see my face and demand that I produce some other kind of identification that showed that I was “Chinese.” Since my place of birth was Japan, I could pass for a non-Chinese person, but my Taiwanese surname might have given me away. I was wracking my brain with scenarios where I got into trouble as a foreigner imposter, but to my relief, the agent barely looked at me as I crossed the border.

My date met me at the train station. He was an American English teacher working on his first novel and not nearly as cute or cool as his profile suggested. However, since I had paid for the visa and gone through the two-hour ordeal of coming to Shenzhen, I let him play tour guide for the day. We walked through a shopping district and visited some tourist sights, but I couldn’t recall anything noteworthy—except that we walked by a Walmart. While having a mediocre meal, I complained about the lack of decent cocktails. After spending a day in Shenzhen, I deemed it unruly and unsophisticated, a stick in the mud in the backwaters of China.

By early 2014, I was bored with my job and the glitzy city that offered endless shopping expeditions and boozy weekend brunches. I was also frustrated by my lack of romantic prospects and the city’s noncommittal Romeos—the bankers, teachers, or journalists who wanted to get drunk and hook up. I didn’t feel connected to Hong Kong and found nothing and no one to keep me there. Therefore, I plotted my escape—instead of finding a professional librarian position in Canada when I finished my contract, I would move to the Philippines and become a dive instructor.

My plans fizzled when Derek entered my life. He was a typeface designer, a professor, and a “gentleman redneck” who hailed from the Indiana side of the Ohio River. He didn’t just want to get drunk and hook up. Instead, we went to a David Sedaris performance and a music festival. After that, we spent almost every waking moment together and texted each other nonstop when we were apart. Then, two weeks after we officially started dating, he told me he loved me and asked me what kind of engagement ring I wanted. Within four weeks, we flew to Taipei so he could ask my father for my hand in marriage. Ten months later, we were wed in Hong Kong, surrounded by family and friends.

After Derek and I married, he moved into my apartment in Wan Chai. We decided to make the Fragrant Harbour our permanent home, and I grew to love my neighborhood, which was more than a depraved watering hole. It existed at the intersection of contradictions—the seedy bars near a high-end shopping centre and a historic temple sandwiched between skyscrapers on Queen’s Road East, a major thoroughfare built on reclaimed land where the harbor used to open up to the South China Sea. On my way home from work, I stopped by my favorite stall in the Wan Chia market to buy Korean-imported socks in the narrow streets filled with kiosks selling tchotchkes, from the tacky “beckoning cat” lucky charms to counterfeit Calvin Klein underwear. I shopped for fresh vegetables and freshly butchered chicken on the weekends while hopping over puddles in front of live seafood tanks and snake soup stalls. In the bustling centre of Wan Chai was a ballpark with bleacher seating that separated the seedy part of the district from the rest, where people of all ages gathered to play sports and have picnics.

Hong Kong seemed to fall under Chinese rule overnight—I barely had time to catch my breath. Less than a year before the 2019 protests, the new high-speed rail service commenced between Hong Kong and Shenzhen. At that time, my wariness of the CPC had faded enough that I was tempted to visit when my friends boasted about inexpensive massages and spa treatments on the other side of the border. The pampering appealed to me, so I convinced Derek to join me for a leisurely weekend in Shenzhen.

Months before the trip, my mother convinced me it would be more economical and convenient to enter China with the “Taiwanese Compatriot Permit.” It is a travel document for Taiwanese citizens to enter China since the Chinese authorities don’t recognize the Taiwanese passport as a legitimate travel document. I agreed to let my mother apply because I otherwise would have had to pay for a non-transferable ten-year tourist visa on my Canadian passport, which was expiring in less than two years.

On a Saturday morning in late September 2018, Derek and I arrived at the newly built Hong Kong West Kowloon train station. We went through security and stopped at a well-stocked duty-free shop. Recalling my annoyance about the lack of quality alcohol in Shenzhen six years ago, I picked up a bottle of Roku, a Japanese gin, before going toward the passport control area. A thick black line with a thinner yellow line was in the middle outside the duty-free shop. In both Chinese and English, it said, on one side, “Hong Kong Port Area,” and on the other, “Mainland Port Area.” Once we crossed the threshold, all the signs changed from traditional to simplified Chinese. This jarring shift in the writing system indicated that I was entering the realm of the authoritarian CPC.

The passport control area has two sections: “Chinese Nationals” and “Foreigners.” Derek made his way to the 

“Foreigner” section. In the past, I entered China as a Canadian, a foreigner. But this time, by showing up with my “Compatriot Permit,” I was no longer Canadian—as far as the border customs agent was concerned, I was Chinese.

I sighed. “Hey, sweetie,” I said, turning to Derek. “I think I should probably go to the other line.”

We kissed each other goodbye, and I made my way to the other side, hating every minute. In my head, I was screaming: “I’M NOT CHINESE! I’M TAIWANESE!” But, I barely felt Taiwanese—I wasn’t even born there and had only lived there for four years as a child. Even though I grew up in Canada and spent most of my adult life in the Middle East and Hong Kong, in the eye of Chinese border control, I looked the part, and with my travel document, I was definitely a “Chinese National.” At this moment, I wondered if the money I had saved and the convenience my mother had touted were worth this identity crisis.

The line moved faster than I expected. Within ten minutes, I was through. After my weekend bag went through another security check, I was surrounded by thousands of people in the terminal. Derek was nowhere to be seen.

Where are you? I texted.

Still in line. Derek texted back. It barely moved since you left.

I found our gate and texted Derek again. Hey, the train is going to leave in twenty minutes. Are you almost through?

I hope so. He texted. 

I groaned. I distracted myself with Instagram, calming my nerves with luncheon spreads, beach vacations, and cat portraits.

Then, five minutes before the train was supposed to depart, I called Derek, “The train is leaving soon. Are you going to make it?”

“I am running toward you,” he yelled into the phone. Then, I spotted him scrambling to gather his bag at the security checkpoint and making a beeline toward me. Together, we sprinted to our gate. We made it on the train seconds before the doors closed.

Once we got off the train, we found ourselves in a spacious, spotless train station and followed the sign to an orderly taxi stand. In the cab, I told the driver the name of our hotel in Mandarin. Unlike some taxis in Hong Kong, this one was clean, free of stale cigarette smoke stench. The driver was courteous, and his driving etiquette was impeccable, unlike the cabbies in Hong Kong who crisscrossed the city in jerky, vomit-inducing brakes and cussed loudly when stuck in traffic. To my delight, I felt a breeze on my face—in Hong Kong, if the cab window were open even a crack, we would have been suffocated by exhaust fumes or deafened by the incessant honking. However, public vehicles and taxis in Shenzhen were electric, making the air cleaner. On the fourteen-lane highway, there was enough room for everyone, reducing the need for honking. There were even bike lanes.

We explored Shenzhen via the MRT, the public railway system. First, we had a relaxing massage and ate delicious and cheap spicy mudbugs—Derek’s favorite. Then, we went to the Overseas Chinese Town at night, famous for hip bars and restaurants, not unlike those in Wan Chai. We saw paintbrushes in a jar poking out of a window as we walked around.

“Look, they have studios here,” Derek said, pointing toward an old industrial building. “I bet you can rent a space here cheap.”

“Wouldn’t it be amazing to have a studio?” I sighed as my head filled with visions of life economically unattainable in Hong Kong.

On our final morning, we visited the Dafen Oil Painting Village, famous for oil paintings dedicated to the reproductions of masterworks, from Da Vinci’s Mona Lisa and Van Gogh’s Starry Nights to Monet’s Lily Pond. This village supplied the world’s doctor’s offices and gift shops with the most realistic-looking fakes.

In a taxi to Dafen, we drove by massive housing complexes still under construction.

“I wonder how big those flats are.” Derek mused, “I bet we could get more space for our buck out here.”

Shenzhen seduced me. Not knowing what would happen to Hong Kong within the year, modern China almost convinced me that it was more advanced than Hong Kong, with abundant housing, electric cars, and bike lanes.

When we arrived in Dafen, it was drizzling. Easels were set up before every storefront, where artists demonstrated their painting techniques, copying the masterpieces from photographs. Even up close, the fakes were impressive—serious training went into creating them. But after we got over the initial marvel, we realized that the whole village was the same thing on repeat. I was wet and bored and demanded we leave.

“But isn’t it ironic that while China is trying to demonstrate progress and innovation, it has a whole village dedicated to copying masterpieces from the West?” Derek chuckled as we stepped out of Dafen.

We stood by the main road but couldn’t find a taxi. So, we searched for a subway station. This was an older part of town, rowdier and dirtier. The electric vehicles were gone; the clogged roads were filled with exhaust-spewing cars—this was China that matched the image in my mind. Then, we stumbled upon a Walmart. It wasn’t the same one I saw on my first trip to Shenzhen, but I convinced Derek to go in with me. Unlike the North American megastores, this one had no spacious aisles and logical signages. Instead, salespeople hollered at the top of their lungs, and shoppers elbowed each other through the crowded space. The scent of death clung to the air as we walked near butcher stalls.

“Ugh, even the Walmart is a rip-off,” I moaned.

Derek pointed to something behind me on the jam-packed train on our way back to the hotel. Our train accelerated through a three-block-wide housing estate. They were about fifteen stories each and no older than thirty years. Some buildings remained intact among the imposing cranes and menacing bulldozers, while others were half torn down. Most of their windows had been knocked out, revealing dark, empty interiors, and the cityscape of Shenzhen poked out of the jagged concrete structures. The view was fleeting but made an impression—it was the first of many we witnessed—remnants of homes torn down to pave the way for the newer, shinier Shenzhen.

Spending a weekend in Shenzhen gave me a glimpse into Hong Kong’s future. I couldn’t help but wonder: In the eyes of new China, how much of old Hong Kong would survive? Reflecting on the smog-free fourteen-lane highway, the trendy artist district alongside the copycat painting village, and the half-torn-down housing estates, I was disheartened to imagine Hong Kong’s future devoid of its contradictory charms: The upscale French restaurant in the puddle-filled street market, the prurient, neon-lit Lockhart Road next to a basketball court where children play, and the tiny temple dwarfed by glass skyscrapers. I love Hong Kong because it was a haven where quirks and weirdness were allowed to exist, a city that had room for resistance and diversity instead of snuffing them out. 

§

Derek and I left Hong Kong in December 2019 after witnessing months of crackdowns. Militarized police patrolled Wan Chai daily. Public transportation and businesses halted operations anticipating new clashes between the protestors and the police. Like in Bahrain, I was again subjected to unpredictable road closures and tear gas thrown around my neighborhood. International companies shuttered their Hong Kong offices, and our friends left in droves. As a Taiwanese woman, I felt unsafe in Hong Kong, even with my Canadian citizenship. When Derek got a job in Sri Lanka as a dean at a design university, we packed up our Wan Chai apartment and bid our Fragrant Harbour goodbye.

Two years later, after shuffling around Sri Lanka and the US during a global pandemic, Derek and I made Taiwan our home, despite its volatile relationship with China. Friends and family worried about our safety, but we reminded them that Hong Kong and Taiwan differed. The former was always going to be reunified with China according to the Sino-British Joint Declaration—but instead of maintaining Hong Kong’s capitalistic status quo until 2047, the CPC took control of the territory twenty-seven years ahead of schedule. With the implementation of the National Security Law in 2020, freedom of speech in the former British colony vanished overnight. The government banned the annual June Fourth Vigil. The popular slogan, “Reclaim Hong Kong; Revolution of Our Times!” became illegal, and anyone uttering it or displaying it was arrested. The border between Hong Kong and Shenzhen will soon be a thing of the past—old Hong Kong will be integrated into new China—the carefree, freewheeling city-state will solely exist in the collective memory of those who called it home.

On the other hand, in Beijing’s eyes, Taiwan became a renegade province when the rebel Kuomintang fled to the island in 1949. Chiang Kai-shek established his government in Taiwan and always planned to retake mainland China. He never succeeded. During his reign, he imposed martial law to squash dissidents and created an environment of terror until his death. In 1987, his son Chiang Ching-guo lifted martial law, and Taiwan had its first election in 1996. Slowly but surely, Taiwan shed its brutal authoritarian past and emerged as a beacon of democracy.

For the last decade, my feelings about CPC have oscillated from indifference and apprehension to panic—with a brief and misguided moment of enamor. As CPC under Xi’s rule becomes more powerful, Taiwan’s future is uncertain. Beijing’s track records in Hong Kong and Xinjiang are not reassuring, and I worry about what will happen to Taiwan if the CPC takes it by force. Yet, Derek and I love this island my Chinese ancestors made home over three hundred years ago—with its modern convenience, superb healthcare, and proximity to the rest of Asia, we can’t imagine living elsewhere. Therefore, I have to learn to channel the carefree attitude of my fellow Taiwanese—eat braised pork over rice at my local diner, enjoy a weekend island holiday, and live one day at a time. 

They Look Like Me

Baltimore Review originally published this essay for their summer 2023 issue.

I was barely awake when I read the headline that a twenty-one-year-old white man had opened fire in three Atlanta-based massage parlors. Six out of the eight victims were Asian women. They look like me, I thought to myself.

It was March 2021, and I was visiting my parents in Taipei while my husband Derek was staying with his parents in rural Indiana. After shuffling between Hong Kong, Sri Lanka, and the United States for the last few years, Derek and I decided to make Taiwan our permanent home. So, I came to Taiwan at the height of the COVID-19 pandemic to apply for a spouse visa for my American husband.

I scrolled through The New York Times on my phone to scour for the latest updates about the rampage while the local Taiwanese news blared in the background. Fukuhara Ai’s marital scandal took over the Taiwanese headlines that day. She is a Japanese ping pong star, married to a Taiwanese ping pong star. She left her children in Taiwan, went on a holiday in Japan, and was caught walking out of a hotel with an unknown man. Her behavior caused an uproar. The following newsworthy headline was “Salmon chaos.” A Taiwanese chain restaurant offered free, all-you-can-eat sushi to anyone with the Chinese character “Salmon” in their name. As a result, more than two hundred people legally changed their names.

I shook my head at the absurdity of it all.

I told my mother about Atlanta. “How horrible,” she said, her eyes glued to the TV. She pondered over the security footage of Ai and her alleged lover and sighed. “Her Taiwanese husband is so handsome and rich. How could she do that to him?”

Atlanta was too far and too foreign for my mother to care. It felt surreal that thousands of miles away, six women who looked like me died at the hands of a coward who blamed his heinous crime on his sex addiction.

The shooting—and its representation in American media—reflect how Asian women have been caught at the intersection of racism and sexism in America. Initially, there was little information about the victims except for the two customers. Delania Ashley Yaun, a newlywed mother of two, and Paul Andre Michels, a businessman and an army veteran. We knew nothing about the other dead women except that they were Asian. The FBI director claimed that the shooting “[did] not appear” racially motivated, backing up the hypothesis of the sheriff’s office in Cherokee County that the crime was driven by the shooter’s sex addiction.

Six Asian women are dead. If this was not a racially motivated killing, what is?

The Atlanta rampage has triggered Kyoko Takenaka’s decision to release their film to a broader audience. Takenaka is a Japanese American, gender nonconforming filmmaker, model, musician, and performance artist. Growing up in Newton, MA, Takenaka’s family was the only Asian American family in white suburbia. Their short film, Home, a “sonic portrait of belonging and memory in four chapters,” documents the alienation and trauma they experienced. Initially only available through local screenings and film festivals, Takenaka made the film freely available on their website after the massacre at the massage parlors. The film opens with Takenaka taking a sledgehammer to their childhood home before demolition. It ends with recordings of drunk men who approached them at bars. The slurred ramblings Takenaka recorded sound familiar—men’s racial fetishism masked under a “compliment.”

“You know, your face is very beautiful, and it’s very oriental. It’s Asiatic. I don’t know anybody who is American who is born as an Occidental . . .”

“Sushi. I take you for sushi. If you like sushi?”

“Asians, altogether, they are very humble people, and I find them to have a superior beauty . . .”

I watched the film repeatedly on my computer, feeling seen and validated. I remembered all the times I endured white men talking at me or about me. As an Asian Canadian woman living in Vancouver, men messaged me on online dating sites and told me they loved “hot Asian chicks.” I had a boyfriend who sheepishly admitted that he suffered from “yellow fever” while we were with his friends. When I was younger, I didn’t know if I should feel flattered, scared, or angry when I heard statements or questions directed at my Asian-ness. Now I realize that my experiences and those of many Asian women have been non-consensual. Things are said and done to us that we do not consent to, yet we can’t stop them. As women, many of us are subjected to catcalls and other unpleasant sexual advances. For Asian women, however, there’s an extra layer of cultural fetishism—we are not just seen for our sex but also for our skin color and what that implies. Asian women are so much more than submissive sexual beings, yet it’s an uphill battle to fight against cultural stereotypes forced upon us.

In their interview with LA Times, Takenaka says about their film: “I felt very empowered to make productive use of that non-consensual way of speaking and way of fetishizing our culture, fetishizing me as a human, dehumanizing us. And recording was the only way for me to be able to translate this exact experience because so often Asian Americans are gaslit about their own experiences.”

Takenaka crystallized and distilled our existence in North America with one word: gaslit. When the FBI director and the sheriff’s office in Cherokee County said that the Atlanta shooting “[did] not appear” racially motivated, they gaslit my experience as an Asian woman. The six dead women could have been my mother, grandmother, and sister. They could have been me. When a white man targeted places where most workers were Asian women and shot them dead, it was a racially motivated killing. I defy the authorities who try to change the narrative of this horrendous crime and dismiss it as a man’s quest to eliminate what he perceived as temptations.

~

The history of fetishizing Asian women in the United States has deep roots. The Page Act of 1875 explicitly banned immigrants from “China, Japan, or any Oriental country” from entering the United States and prohibited bringing in women for “lewd and immoral purposes.” There was an implicit assumption that Asian women came to the US to engage in prostitution instead of seeking better opportunities or joining their husbands, many of whom had crossed the ocean to build the railroad.

During World War II, the Imperial Japanese Army captured many women in Japanese-occupied territories, such as China, Taiwan, and Korea, and forced them into prostitution. They became known as “comfort women,” though they had never consented to comfort anyone. As Americans began to occupy various parts of Asia in the twentieth century, fetishism against Asian women grew momentum. Many GIs were encouraged to visit local brothels from Vietnam to the Philippines and Korea to Taiwan to “improve morale.” During their R&R, they frequented the red-light districts in Hong Kong and Bangkok. Their limited experiences with Asian women had been sexual ones within the four walls of the brothels.

The idea of Asian women as sex objects has spilled into popular culture. In Madame Butterfly, Cio Cio San is a Japanese woman who dies waiting for her American husband’s return. In The World of Suzie Wong, the title character is a super-sexualized yet child-like Chinese prostitute with a heart of gold. Finally, there’s the Vietnamese girl from the film Full Metal Jacket with the line, “Me so horny; me love you a long time.” These portrayals and many others have reduced Asian women to stereotypes—seductive yet submissive; we are sources of exotic, erotic temptations, our purpose to satisfy white men’s sexual appetite.

The Asian women who died in Atlanta are not stereotypes. They are daughters, mothers, and wives. Like the thousands of comfort women, I don’t want them to disappear into the peripherals. They, too, were daughters, mothers, and wives, going about their day until their tragic fate as sex slaves took them away from their families. When they died, their families didn’t know what had happened to them or where to find their bodies. I don’t want the women in Atlanta to end up like the comfort women who died nameless and faceless.

~

When I first moved to Hong Kong in 2012, I lived a few blocks from a former comfort station. Nam Koo Terrace was a dilapidated mansion tucked away on the hillside at the end of the trendy Ship Street, a short distance from a pizzeria, a tapa house, and a speakeasy. The multi-story colonial-style brick structure was built around 1920 and embraced the styles of Classical Revival, Italian Renaissance, and traditional Chinese motifs. The red-bricked outer wall of the building and its rusticated quoins, molded cornices, and voussoir arches over the windows added to its uniqueness and beauty. The intricate ironwork for the window grilles, the balconies, and the entrance gate, reflected the taste of its previous owner, a prominent businessman, To Chun-man. It was a handsome house, but all the windows were boarded up, and the walls were scrawled with graffiti.

During World War II, the Imperial Japanese Army evicted the To family and turned Nam Koo Terrace into a military brothel to house the countless comfort women they’d captured. The women might have been sold by their families to pay debts, tricked into sexual slavery with the prospect of a better job, or abducted off the street. They faced multiple rapes daily, and their lives often ended in murders or suicides.

When I first learned about Nam Koo Terrace in 2012, I found it so morbid and fascinating that I took a man there on a first date. The building was off-limits, so we climbed the steep, shrub-covered hill behind it. We kissed, overlooking the hollowed-out estate with its eerie courtyard guarded by security cameras and barbed-wire fence. Even though the courtyard and the mansion were brightly lit, there was still a sense of foreboding darkness. Local lore warned of unholy spirits living in the mansion that harmed the living. Years ago, some schoolchildren attempted to spend a night at the estate to catch the ghosts. The following day, the adults found the children extremely disturbed, with three girls needing psychiatric help. God knows what possessed me to bring a date to such a place— was it a tactic to impress him, to show him that I was different from the local Hong Kong girls who would be too scared to go to a haunted house?

My fascination was rooted in the unspeakable suffering that hit close to home. I imagined a Taiwanese woman, not so different from myself, who was going about her day picking up groceries when Japanese soldiers stormed out of their trucks and snatched her off the street. How she struggled and kicked her legs as the green onion and radishes she carried were strewn across the ground. How the other women fled from the vicinity after witnessing Japanese soldiers grabbing random women. How the soldiers forced her onto a boat to Hong Kong, away from everything and everyone she knew. The Nam Koo Mansion became her hell. I could almost hear her agonized wail and feel her sense of powerlessness. Hopelessness. No one knows precisely how many women died in Nam Koo Terrace or how many were forced into sexual slavery and killed during World War II. My proximity to the mansion made my imagination run wild. Had I lived in a different time and place, could I have ended up as a comfort woman in a place like Nam Koo Terrace?

~

Several days after the shooting in Atlanta, the media released the identities of the dead Asian women. I studied their names—all Korean or Chinese. Soon C. Park, 74, and Sun cha Kim, 69, worked at Gold Spa. And Daoyou Feng, 44, only started working at Young’s Asian Massage several months before. Hyun J. Grant, 51, was a single mother who worked at Gold Spa to pay for her sons’ college tuition and rent. Yong A. Yue, 63, who worked at Aromatherapy Spa, moved to the US from South Korea in the 1970s with a husband stationed in the army. And then there was Xiaojie Tan, 49, the owner of Young’s Asian Massage. Customers said Tan made her patrons feel at home and treated her friends like family.

Perhaps it was intentional that the media released so little information about the dead women in Atlanta—there has always been a taboo about women working in massage parlors. Although not all women working in massage parlors are sex workers, many are subjected to sex work. Hyun J. Grant’s son, Randy Park, spoke out after her death. During an interview with a reporter, Park says his mother, who died at Gold Spa, worked long hours. “She spent her whole life just existing for my brother and I [sic]. She never had time to travel,” Park said in an interview with NBC News. “She would only be home a certain amount of days every few weeks.” He described his mother as “a big kid” who loved to dance to Tiësto. Before she immigrated to the US, Grant was an elementary school teacher in South Korea. Park didn’t describe the circumstances that led his mother to work in a massage parlor. I could only guess that American schools didn’t recognize her Korean teaching credentials, and mainstream society didn’t take her seriously due to her accent.

Though he didn’t have to endure sexual violence, my Taiwanese father also faced prejudices while looking for work shortly after we immigrated to Canada. He had a graduate degree in pharmacy from a Japanese university and had worked professionally for years. However, with his non-accredited degree and unstandardized accent, he couldn’t secure a professional position in Canada. He worked as a lab assistant and tour guide in Vancouver before finding a better-paying job in Taiwan. Like Park and his brother, my younger brother and I went for long periods without a guardian because my mother split her time between Taiwan and Canada. When I started university, and my brother was still a junior in high school, my mother joined my father permanently in Taiwan.

For Grant, an Asian woman, there were even fewer options for her. She had to do whatever she could to raise her sons. Deep down, the single mother of two may have been ashamed of where she worked as she asked her sons to tell people that she worked at a make-up counter. As a fellow Asian woman, I felt guilty. My parents had the means to ensure that I grew up with an acceptable accent and received educational credentials recognized by every country so I wouldn’t be subjected to a fate like Grant’s. It depresses me to think that some of us are just luckier than others.

~

Even though I’ve been lucky, that doesn’t mean I haven’t been subjected to racial fetishism. In the early 2000s, I was an undergraduate student working part-time at Chapters, a big-box bookstore in downtown Vancouver. I imagined how people saw me in the store: a petite Asian woman with a childish round face and impossibly long, ebony hair sweeping down her back. I dressed in black head to toe: a short-sleeved buttoned shirt, a skirt two inches above my knees, knee-high socks, and chunky Mary Janes. My presence in the store stirred male customers’ fantasies—I became the Asian version of the title character from Lolita. Multiple men asked if they could touch my hair. Older men loved to ask me if I had read Memoir of a Geisha—a novel about a geisha-in-training as she navigated her wealthy patrons’ sexual desires —written by a white man.

One day, I was tidying a display at the front of the store when an older man approached me. He was average-looking, with greying hair in a low ponytail and lazy blue eyes. “What have you got there?” he asked in a titled accent.

I told him it was Noam Chomsky’s new book. I was a communication major and felt like I knew Chomsky—though if someone had asked me to outline his basic argument from Manufacturing Consent, I would have balked.

The man told me he was German but had lived in Canada for a long time. After chatting with me for several minutes, he drifted away.

I only thought of the man again when he returned to the store a few days later. After that, he tracked me down every time I worked, even though I was only at the store two or three days a week. He lingered in the aisles when I shelved books. When I was helping customers, he stood aside and waited; when I was finished, he came right back. He was in the store so often that the undercover security guard, Rudy, grew concerned.

“Is that guy bothering you?” Rudy asked as I smoked a cigarette on break.

“Nah, he’s harmless,” I said. “He’s just an old man with no one to talk to.”

A few months later, the man came in with another man. When he saw me, he pointed and said to his friend, “That’s the comfort woman I was telling you about.”

For a second, I thought I had misheard him. But I knew what I heard when I saw how he and his buddy gawked at me with a smirk. I paged Rudy.

“He’s bothering me now.”

I never saw the German man or his buddy again.

I’ve wondered why I had allowed the older man to stalk me for as long as he did. Besides the first conversation about Noam Chomsky and that he was from Germany, I have no recollection of anything we discussed. It was a rude awakening when I realized what he genuinely thought of me—a comfort woman, a faceless, nameless sex object.

~

A few weeks after the Atlanta shooting, I finished all the appropriate paperwork to apply for Derek’s visa to Taiwan. Finally, it was time to leave Taiwan and join my husband in the United States. We planned to spend the spring of 2021 with his family and move to Taiwan in the summer. The night before my departure, my mother and I shared a bottle of Malbec.

“Are you done packing?” she asked.

I nodded.

She stared at the TV as the news anchor described the increasing number of COVID hospitalization and death in the US. “I understand you need to go back, but the COVID situation there is terrible,” she said as she smoothed the wrinkles in my dress as we sat on the sofa. “Have you packed the masks?” she asked.

“Yes, Mama,” I said, looking at my bulging suitcases, one of which was filled with two hundred medical masks. I stopped trying to convince my mother that the masks in the US were just as good.

“Don’t go out at night, okay?” my mother said before sipping her glass. “And don’t forget to wear your mask!”

I patted her hand. “I will be back in Taiwan soon.”

“I know,” my mother was almost in tears. “But I’m so worried! Promise me you won’t go out without Derek, especially at night.”

“Okay, Mama.”

My mother took my hand in hers. “Be careful,” she said.

“I will,” I said.

~

It’s been two decades since I was the naïve girl working in a bookstore. My university education didn’t include the treatment of Asians in American history. I couldn’t fully comprehend the damaging portrayal of Asian women in popular culture and how it shaped my experience. Since then, I’ve been reading, analyzing, and feeling outraged. After each violent incident involving an Asian American, we’ve been gaslit to believe that all the harm done to us is coincidental or accidental. However, according to Stop AAPI Hate, 10,905 hate incidents against AAPI (Asian American and Pacific Islander) persons were reported from 2020 to 2021. Verbal harassment makes up 63% of reported incidents, followed by physical assault (16.2%) and the deliberate avoidance of AAPIs (16.1%). Almost half (48.7%) of the incidents occurred in public places—on the street, in transit, or in a park. The fear we feel in the United States is factual—every day, we are verbally and physically assaulted or ignored and dismissed. The numbers only reflect the reported incidents—thousands or millions of aggressions went unreported. Knowing what I know, I reject the claim made by the FBI director and the sheriff’s office in Cherokee County that the Atlanta rampage was triggered by the shooter’s sex addiction. I refuse to be gaslit from the true narrative of the incident: A racially-motivated massacre.

The Hand-painted Signs of Jaffna

Jaggery Lit originally published this essay in the fall of 2022.

A hand-painted sign in Jaffna.

It was a balmy December evening in 2019 when my husband Derek and I arrived in Sri Lanka. After picking up our luggage and cat at the airport, we headed to our new home in Mount Lavinia, a beachy suburb south of the Sri Lankan capital, Colombo. Even in December, it was t-shirt weather in the subcontinent. The night air in Colombo was denser and more humid than we were used to in Hong Kong, where we had lived for seven years. Though we could barely make out Colombo as we drove through the dimly-lit city, we were excited about discovering a new country.

Sri Lanka is a small, tear-shaped island in the Indian Ocean, south of India. It’s dubbed the “tear-drop of India” due to its shape and proximity to its much bigger neighbour. It’s a famous travel destination known for its world-class beach resorts and ancient mountains, an abundance of blue sapphires and cinnamon, and a rich history as a trading post dating back to the 16th century.

We moved to Sri Lanka from Hong Kong because Derek was offered a job as a dean at a design university in Colombo. We were exhausted from the fast-paced life of Hong Kong. The political situation also drained us— the ongoing conflicts between the government and the protestors who demanded the scrapping of a controversial extradition bill and the preservation of the city’s autonomy. By the time we departed Hong Kong, antagonism between the militarized police and the young demonstrators turned our neighbourhood into a battleground of road closures, violent clashes, and tear gas. We wanted a slower and more peaceful life and snatched up the opportunity Sri Lanka offered us. The university also gave me a teaching position where I guided students in completing their undergraduate research projects.

Each morning, we rode a 30-minute tuk-tuk ride from Mount Lavinia to Colombo for work. Our driver darted through heavy traffic in the congested capital as we sat in the covered back section of the wagon. To have a conversation, we shouted at each other due to the incessant honking and the roaring of ancient engines surrounding us. After work, we rode home chasing the sunset as the packed local trains passed us by, overflowing with passengers. Each car had several men hanging off its doorway, sharing a single hang bar. As soon as we got home, we changed into our flip-flops and wandered to the beach, less than five minutes from our apartment. We parked ourselves at our favourite beach bar, Jojo’s, to have a sundowner with our friends, who also lived in Mount Lavinia. Then, we had a candle-lit dinner at Sugar Beach, devouring deviled chickpeas or black curry over rice. If we were in the mood for western food, we ordered burgers with fries or fish and chips. After filling our stomachs, we strolled home hand-in-hand under the moonlight, listening to the soft murmur of the waves crashing against the beach.

Three months after our arrival, Sri Lanka went into a strict COVID-19 lockdown. What started as a weekend curfew extended to a 10-week house arrest for the whole country. Derek and I couldn’t leave our home as Sinhalese-speaking soldiers armed with AKs patrolled the area, ready to arrest anyone who broke curfew. We navigated grocery shopping through Facebook groups and relied on Netflix for our entertainment. Each day at sunset, we climbed three stories to our rooftop to watch the orange disc of the sun fall into the horizon. The blue-turquoise water was so close we could see the foamy waves rolling onto the beach, yet we weren’t allowed to dip our toes into it.

In mid-May 2020, the government finally lifted the curfew, and we decided to go as far away from Mount Lavinia as possible. Our first Sri Lankan getaway was to Trincomalee—a city on the northeast coast, about 275 km (170 miles) from Mount Lavinia. It took us eight hours to get there by car on two-lane local roads with heavy traffic. It was there, in Trincomalee, where Derek and I had our first taste of Hindu culture in Sri Lanka. Unlike the middle and southern parts of the country where many Buddhist Sinhalese lived, Trincomalee has a large Tamil Hindu population with a distinct culture and cuisine. We stayed in a gorgeous resort and visited the Koneswaram Temple, an ancient Shiva temple located on the awe-inspiring cliff facing the aquamarine sea. Unlike the serene Buddhist temples in our neighbourhood, where a giant, white Buddha statue greeted worshippers, Hindu temples were brightly painted with red, blue, green, and yellow with intricate sculptures of various gods and motifs jutting out of gigantic complexes. We were in love. We wanted more. We decided to visit the heartland of Hindu and Tamil culture in Sri Lanka for our next trip: Jaffna.

Jaffna is the northernmost city in Sri Lanka, about 350 km from the capital. It’s geographically and culturally close to India—only about 220 km to Tamil Nadu, the most southern Indian state. Jaffna was a vibrant Hindu city that became the flash point of the civil war. In 1948, Sri Lanka became independent from British colonial rule but there were sporadic conflicts between the Sinhalese government and the members of the Liberation of Tigers of Tamil Eelam (LTTE), a militant separatist group fighting for an independent homeland for the Tamils in northeastern Sri Lanka. The clash between the two group escalated on July 23, 1983 when a Sinhalese mob attacked their Tamil neighbours to avenge the thirteen soldiers killed at the hands of the LTTE. The mob looted and torched Tamil homes and businesses in Colombo, and the chaos eventually spread throughout the country. A week later, an estimated 2,000 to 3,000 people had been brutally murdered, thousands more displaced. It was this massacre in the Sri Lankan capital that ignited the bloody twenty-six-year civil war.

As a result of the massacre and the subsequent civil war, many fled Sri Lanka to the UK, Canada, Singapore, and Australia, creating Tamil diaspora communities worldwide. Many Tamils, however, couldn’t relocate and stayed in the northern and eastern parts of Sri Lanka, effectively creating enclaves. Throughout the war, Jaffna was inaccessible as the military guarded it with multiple checkpoints. Physical separation further divided the ethnic groups.

When we told Sinhalese friends our intention to visit Jaffna, some shook their heads. “Don’t go,” a friend said, “Jaffna is very dangerous.”

However, others were curious and wanted to come along. “Is it strange that we want to go to Jaffna with foreigners?” another friend asked, “if I were to go there with other Sinhalese, something bad might happen.”

None of our Sinhalese friends joined us.

In July 2021, Derek and I took the train to the Tamil capital. However, unable to read the schedule correctly, we accidentally booked the slow, local train. Also, instead of opting for air-conditioned first-class, we booked second-class because we loved the idea of opening a window, sticking our heads out of it, and snapping a picture (we saw travel influencers doing this). At first, the breeze through the open window made the ride comfortable. From time-to-time hawkers entered the car to offer snacks, from bags of peanuts to deep-fried doughy snacks filled with meat to wash down with sweet milk tea. However, 100 km before reaching Jaffna, the train broke down. The unbearable, stuffy air in the car mocked the ceiling fan’s feeble efforts to bring us relief. So we got off and watched a handful of workers repairing the engine.  Two hours later, the train shunted forward.

As we neared Jaffna, we noticed the shifting landscape. Thick, mountainous jungle with lush vegetation gave way to sparse, brownish fields, broken up by estuaries where flamingos perched. Another distinct feature was the palmyra trees dotting the barren environment—a type of palm tree specific to the region. The Tamils dry palmyra leaves and weave them into baskets and mats, turning their sap into sugar or arrack, a type of liquor.

Twelve sweaty hours after leaving Colombo, the train pulled into the train station—a charming, colonial-era structure with squarish, white columns engraved with flowers and Hindu motifs. Before the civil war, the train station was one of the busiest in Sri Lanka. By 1990, train services to and from Jaffna halted, and the rail company abandoned the station. When the war ended in 2009, the station was restored to its former glory, re-welcoming passengers.

Jaffna was just as endearing as its train station—a city that stood still in time. Though many buildings were destroyed during the war, others stayed in a time capsule without outside influences. Most of the buildings were one or two stories tall; many were concrete or brick block buildings. Cows, considered sacred in Hindu culture, roamed freely within the city and grazed on whatever grass they could find. We walked around the city’s main market, where hawkers sold everything from fresh fruit to baked goods to hand-woven palmyra baskets to vibrant sarees. As Derek and I explored, I looked up and saw something spectacular. “Look, Derek!” I shouted and pointed at a coffee shop sign. “It’s hand-painted!”

It was a beige sign in dark forest green Tamil letters with mustard shadow and red English and Sinhala letters with thin blue outlines. Its simplicity and authenticity captivated me.  Unlike the digitally printed vinyl signs lit up by colourful LED lights elsewhere in Sri Lanka, the hand-painted signs in Jaffna were made decades ago with love and care and full of character and artisanal charm.

A few shops later was another hand-painted sign. “Saravandas Multi Trader,” it read. On the left-hand side of the board was a picture of Murugan, the Hindu god of war, standing in front of a peacock. Next to it was another hand-painted sign, “Rajah & Co.” The shop was closed, so I couldn’t tell what it was but based on the picture of fish caught in a net on the right-hand side, I assumed it was a bait or seafood shop.

I walked around the market, pointing out the different signs as Derek snapped photos of them. Derek, a typeface designer, design educator, and self-taught photographer, was also smitten with the hand-painted boards. Every so often, we also saw newer shop signs printed on vinyl, not so different from the ones in Colombo.

“We should capture these before they’re all gone,” Derek said as he pointed to a new advertisement. “It looks like there’s a digital revolution around here too.”

“Let’s make a book of the hand-painted signs of Jaffna!” I said.

And this was the moment The Hand-painted Signs of Jaffna came into existence. We decided to make a book with all the hand-painted signboards we could find in the city.

We visited Jaffna four times in 2020, and each time, we noticed a few missing signs. We worried that these relics from the past were disappearing. Though the horrific civil war and the blockade of Jaffna ensured their survival into the 21st century and yet, modern technologies are threatening their existence. In addition to photographing all the signs we could find in Jaffna and its surrounding villages, we geo-tagged all the handmade treasures. Even if they eventually get replaced, vintage hunters and sign enthusiasts can still see the originals and where they were located on Google Maps.

Shortly after we decided to make this book, Derek and I roamed around a different part of Jaffna, away from the main market. We stood in front of a ceramics store with a stunning illustration of a weirdly proportioned bathroom set and realistically painted tubs of adhesive cement. Our heads tilted up, eyes glazed over, and our mouths slightly ajar. As we pointed our phones toward the sign and snapped pictures, a man came to greet us.

“Hello,” the shopkeeper said with a confused look. He understood innately that we weren’t shopping for a new bathroom set.

“Hi!” Derek replied. “We love your sign!”

Apparently, “hello” was the only English word the shopkeeper knew. He didn’t understand a word Derek said, so Derek pointed at the sign, grinned, and gave the shopkeeper a thumbs-up.

The shopkeeper turned around, looked up at the thing he’d probably passed by every day for the last decade and had zero second thoughts about, then returned his gaze to Derek and me, more flummoxed than ever.

Derek pulled out his phone and typed “we love your sign” in English and translated it to Tamil. The man studied the text, still puzzled. Derek typed, “who painted it?” and showed it to him. The shopkeeper gave us another look and went back into the shop. We saw that he got on the landline and assumed he was calling someone to get the information we wanted. We waited for a while but finally realized he wasn’t coming back. He couldn’t comprehend what these strange foreigners wanted with his sign. But one thing was for damn sure— he wasn’t going to sell us a new toilet that day.

We went back to multiple shops and tried to communicate with the shopkeepers using Google Translate. However, we hit a wall every time—it seemed that no one in Jaffna had the time or patience to deal with a couple of weird foreigners who weren’t interested in buying something. After visiting several shops, Derek and I realized we needed help. Besides photographing the signs and creating geo-tags on Google Maps, we also wanted to tell the stories of the artisans that made them. So, we needed to identify the makers of the signboards and speak to them.

The next day, we talked to the manager of our hotel. He was friendly and took the time to connect us with some painters. He even came along with us to meet with the artisans to translate. However, upon meeting the artisans, we realized that they were different types of artisans—we met lorry painters and temple painters, who were fascinating in their own right. But they were not the ones who created shop signboards. The hotel manager did his best to help us, but he didn’t understand that we didn’t just want any painters— we wanted ones who specialized in the shop signboards.

After spending more time in Jaffna, we realized that the signboards were not just beautiful objects— they also told stories of the city. Therefore, we needed to enlist help from someone from the culture who also understood our intention for the book: to learn about Jaffna through the hand-painted signs. Our aim is to capture and preserve them on camera, analyze them visually, and write about them. Ideally, we needed a translator of language and culture and someone who knew the city and could drive us places. Luckily, we met Rajeevan, a Jaffna-based tour guide and driver. He was a handsome Tamil man in his late 30s who spoke fluent English and Sinhala. Towards the end of the war Raj worked for the International Committee of Red Cross (ICRC). He first worked as a dispatcher in Jaffna, alerting aid workers about potential bombings and other dangerous situations. Then, he moved to Colombo and worked as a data administrator. Through his work, he helped to reconnect many displaced families. After years in the capital, he returned to his home city to try his hand in tourism. Excited by our project to preserve the culture of his beloved city, he agreed to help us.

Raj told us that people were confused about our fascination with the signs because they saw little value in the objects and the people who made them. Like their Indian neighbours, Sri Lankans, both Sinhalese, and Tamils, were bound by caste systems. For Jaffna Tamils, kammalar is the term for the artisan class, which includes blacksmiths, brass workers, carpenters, sculptors, and goldsmiths. The sign-making painters are not explicitly listed in this group, but the consensus is that they were a part of this service caste who depended on the landowning and wealthy caste for their survival. Though the boundaries of the caste system have been blurring in recent years, the hierarchy still exists. Therefore, the Tamil society doesn’t value the kammalar caste even though their work is essential for a functioning society. This is reflected in how dismissive the folks we met were of the shop signs and why they couldn’t understand what Derek and I saw in them—relics from the past and a lens into Jaffna culture.

On our next trips to Jaffna, we met several sign painters. First, we met Thasan, whose work for the hardware store with the charming bathroom set we absolutely adored. When Derek took out his phone and showed a picture of the hardware shop sign, Thasan nodded, his smile shy and uncertain. He was surprised that a couple of foreigners would be interested in his handiwork. Derek and I, on the other hand, were ecstatic. It took us so much effort to find him, and it felt surreal to be face-to-face with a man whose work we admired. Thasan retired several years ago and his son-in-law, Shankar, took over the sign-painting job. However, in the last several years, fewer and fewer people are commissioning hand-painted shop signs so he supplemented his income with house painting jobs.

Bavan, a Jaffna sign painter at his home.

We also met Bavan, who painted an incredible watch for a repair shop. When we knocked on his door, he answered wearing a pale yellow button shirt, a sarong, and sleep in his eyes. When Raj told him why we were there, Bavan lit up. He buttoned up his shirt and invited us to sit on his porch. His hair was mostly grey, his teeth stained by decades of cigarette smoke and beetle nut chewing. He had steady work as a sign painter for over thirty years but has retired due to poor health. In his raspy voice, he told us of the prestigious artisan award he had won while pointed to a plaque on his wall.

Thanks to Raj, we were able to access the inner world of Tamil culture and its sign painters. We met many people of Jaffna who added a rich layer to our experience in learning about the history of the place and the hand-painted signs. Now it’s up to us to offer the rest of the world a glimpse into the colourful, complex, and resilient city of Jaffna through our book, The Hand-Painted Signs of Jaffna.

Love Wins On Puddle Street

Herstry originally published this essay on November 23, 2020.

A shirtless man hollers at the top of his lungs, creating chaos in the already jam-packed Wan Chai market. The crowd disperses to the sides, allowing him to barge through with his metal cart of carcasses. As he passes, he releases the scent of sweat, unwashed hair, and rot. 

Today, I’ve come to the market with a mission: To collect ingredients to make “three-cup chicken” for my husband, Derek. It’s a traditional Taiwanese dish cooked with copious amounts of garlic and ginger, seasoned with rice wine, soy sauce, and Chinese basil. On the phone, Mama had said to buy fresh chicken from the market with its skin and bones intact for extra savouriness. Mama’s suggestions made my heart sink—the market is grimy and filled with puddles I would rather avoid. However, since I want the best result for my hardworking husband, I make my way to the market with trepidation. 

I elbow my way through stalls of limited-edition anime figurines, imported Korean socks, tacky jade ornaments, and knock-off Calvin Klein underwear. 

“Excuse me!” I say as I bump shoulders with sheepish middle-aged American tourists who have stopped in the middle of the narrow pathway to pose for a selfie. Then, I pass some roaming Mandarin-speaking shoppers crisscrossing from one stall to the next. After avoiding several determined local grannies armed with their nylon shopping carts and stepping around a group of head-scarf clad domestic helpers carrying bags and bags of fresh produce, I turn the corner and enter an even smaller alley. The earthy aroma of fragrant herbs from the vegetable stalls does little to mask the fetid smell from the dried-fish hawker. Before I can stop to catch my breath, the pungent stench of death comes pouring out from the butcher shops—this is when I know I’ve reached Wan Chai Road, or what I call, Puddle Street. Before I married Derek, I’d have run away as fast as I could from that putrid smell. But today, I summon whatever courage I have in me to find chicken for Derek. 

On Puddle Street, it’s impossible to divorce the animals from the meat you’re eating. Carefully watching my every step, I tread by a vendor hawking fish. On a bed of ice, their black, beady eyes stare into nothingness, waiting for their moment on a dinner table. Next to the fish vendor is the chicken butcher. He hangs featherless carcasses by their feet over the counter where you can assess their freshness. Next to the counter, there are cages of live chickens fluttering their flightless wings and flicking at each other with their feisty beaks. Personally, I’d rather buy my meat from the sterile grocery store, where I don’t have to trouble myself with grim thoughts of an animal dying to nourish me. But today, I am committed to my mission. 

Puddle Street is not only a dangerous place for animals, but it can also be life-threatening for shoppers. You must stop and look for oncoming traffic while paying attention to the ground to evade the dark puddles this street is famous for. I am not exaggerating— every pothole on this street is filled with stale, standing liquid —a rancid combination of random spills of unknown fluids, spit of thousands of people, and the water used to rinse the floors of seafood stalls and butcher shops. Every time I encounter a puddle, I fix my gaze on it and tiptoe around it, fearing that if I don’t stare it down, the dirty pool might shift, and I’d trip into it by accident. 

Yes, I’m aware that my squeamishness is silly, and the germs on Puddle Street won’t kill me. Yet, I despise them with every single fibre of my body – those very same fibres that love Derek.   

Derek is Midwestern American and loves Puddle Street. He grew up in Madison, Indiana, a quaint, little historical town by the Ohio River, with about 3,000 residents. For someone who grew up in such a rural setting, it’s incredible how he could love a place like Puddle Street. It brings him joy to shop there— even daring to go in his flip-flops. When he comes home, he takes cruel pleasure in taunting me, whispering in my ear, “I am gonna rub my feet all over you…” 

“Eww! No!” I yelp, squirming away from him as I imagine all the gross, gunky, ghastly puddles he touched with his uncovered feet.  “Go wash your feet!” I’d shout halfway across the living room.

He sometimes makes a half-hearted attempt to chase me around our tiny apartment. Most of the time, though, he looks at me adoringly despite my irrational fears of puddles. 

I often suspect we were born in the wrong bodies. My phobia would be more fitting for a Westerner or a gweilo. Meanwhile, Derek, the gweilo, would love nothing more than to fit into the Chinese culture, speaking Cantonese and haggling with the vendors on Puddle Street. Our physical characteristics often misrepresent us in Hong Kong: Derek is treated like any other gweilo, and prices go up when a vendor sees his face. On the other hand, with my Chinese face, I am often mistaken as a Hong Konger. 

I was born in Tokyo to Taiwanese parents. When we first moved to Taiwan, I threw a tantrum outside of a dirty shack in an open-air market. In my innocent, six-year-old mind, this simple, bare-boned establishment was unacceptable by my standards of cleanliness, and I refused to go anywhere near it. My favorite aunt came out of the shack, hoping to coax me into the horrible place. After a long negotiation, I finally went inside. I perched on top of a metal stool, my hands in my lap and my mouth in a pout. I refused to touch anything. Every time someone offered me a morsel of food, I shook my head vehemently. 

I was only in Taiwan for four years. Had I stayed longer, perhaps I could’ve developed immunity against all things grimy and gross. Alas, my family immigrated to Vancouver, Canada when I was ten. I grew up in a suburban house and went shopping with Mama in big box stores filled with pre-packed meats and aisles and aisles of processed food. Open-air markets soon became a distant memory in my mind—until I moved to Hong Kong. Over the years, I’ve learned to control my tantrums, but deep down, that neurotic, grime-phobic little girl still lurks. Now, she’s the grime beneath my otherwise polished, grown-up exterior. She comes out in snippets, especially on Puddle Street. 

But love wins on Puddle Street. 

Today, Derek is the only one on my mind. Without venturing too far into Puddle Street, I stop at the first chicken vendor. As I study the limp and featherless chickens hanging above the counter stall, a man in a white apron approaches me. 

“What do you need?” He asks in Cantonese. 

“I am making three-cup chicken,” I stammer in Mandarin. “Which chicken should I get?”

Instead of taking down one of the dead ones hanging over the counter, the man points to the cage before me. There are about four or five chickens inside, quietly cooing. I nod my head while contemplating my options.   

Before I say anything else, the man opens the cage from the top and grabs one of the chickens by its neck. The chicken squawks and all the other chickens start squabbling in terror. Instinctively, I hold my right hand in front of me, my palm facing the man as if begging him to stop such a blood-curdling ruckus. I spin and run away, not even caring which way I am going. In the split second before I bolt, I see a faint smile on his face from the corner of my eye. It isn’t an unkind smile, but he probably thinks I am the most ridiculous person in the market that day.  

I gather myself at the next store, focusing on a shelf filled with jars and bottles of sauces and condiments from all over Asia. My heart pounds and my mind races. I think I just killed a chicken! I take a few deep breaths. I’m pretty sure I just killed a chicken.

After a few minutes, I realize I haven’t told the butcher how I wanted my chicken chopped up. Even though I don’t want to show my face in front of the chickens after I’ve just killed their friend, I drag my feet back to the butcher shop. In a timid voice, I say, “Please chop them in pieces with the skin and bones attached.” 

The man in the apron nods with that faint smile on his face again. 

I head back to the other store to buy Taiwanese soy sauce and cooking rice wine. When I return to the chicken stall, I hear the frightening thuds of a cleaver splitting flesh on a woodblock. 

Moments later, the man hands me a plastic bag.  Surprisingly, it isn’t very heavy, maybe a couple of pounds. I pick up the rest of the ingredients and plod my way back home with the bag of chicken dangling from my hand. 

Inside my kitchen, I empty the bag into the sink to wash the chicken. I gasp as I touch it—it’s still warm. Like I said, you can’t divorce the animal from the meat you are eating, not when you buy from Puddle Street. But love wins on Puddle Street. That night, Derek devours the three-cup chicken as he marvels at my bravery in conquering all the gross, ghastly puddles on the most dreaded street in Hong Kong. 

In the Shadow of the Middle Kingdom

This essay was originally published by The Normal School on April 21, 2020.

What does it mean to be Chinese these days? Illustration by Ahmara Smith.

When I was 18, I crashed my car for the third time. My mother shook her head and said, “I should have listened to the fortune teller. He did tell me not to let you drive.”

My mother’s words echoed in my mind at the 2018 Microwave International New Media Art Festival in Hong Kong. I was standing before “RuShi” (2018), created by Hong Kong-based artist John Wong. It is an immersive installation that applied the algorithm of Bazi, the eight characters assigned to the birth year, month, day, and hour in Chinese fortune-telling. After entering my name, the date, and the hour of my birth on an iPad that was part of the installation, I walked into a dark room surrounded by curtains. I studied a projection consisting of eight squares, all flashing with horizontal and vertical threads of electrical lines in different colors. They appeared from different sides of each square, and as they moved across the projection, they gradually intersected. The result was a mesmerizing neo-noir tartan pattern that was supposed to represent my Bazi. I squinted my eyes and stared at the projection, hoping to glean some meaning from it. I could not.

Where were the prophetic narratives that were supposed to guide my future? When I was young, the westernized and feminist in me scoffed when my mother mentioned anything the fortune teller had said, especially the fortunes about me. Like many Asian-Canadians growing up in suburbia of the Greater Vancouver area in the 1990s, I tried to blend into my Anglo-Canadian surroundings. Mama’s nonsensical reasoning to take away driving and the freedom that came with it was unimaginable to my teenage brain. Ironically, I did give up driving—not because of what the fortune teller had said, but mainly because my insurance had become unaffordable after so many car crashes. I moved to the city where I could access public transportation to attend university. 

“RuShi” is the first of Wong’s Immersion/Decentralisation (迷/信) series. In his artist statement, he claims that Bazi, often used by the Chinese to predict the future and help navigate life, is a form of big data. Therefore, he says, big data could potentially become the religion of the age of new media. The starting point of “RuShi” is Bazi, which is a familiar concept to me— like ziweidoushu, an astronomy-based system of fortune-telling— Bazi is a common form of Chinese superstition. These practices provide believers with a narrative of their past and prophesize the direction of their lives. My mother has been a believer in these practices for as long as I can remember. In Wong’s work, however, I did not see any narratives or anything familiar. By digitizing the ancient algorithm and turning it into an unrecognizable form, Wong erased the cultural references associated with Bazi and left me with a void filled with meaningless lines.

The artwork made an impact on me. I thought about it for many days as I started to question my own confused reaction to the work. As a Taiwanese Canadian, I was raised with the belief that mainland China (中國), or the “Middle Kingdom,” cannot be trusted. Its ruling party, the Communist Party of China (CPC), has always viewed Taiwan as one of its wayward provinces, a thorn in its ‘One China’ doctrine. It has been trying to claim Taiwan since the CPC defeated the Nationalists, the Kuomintang, in 1949. When I was a child, I often overheard the grown-ups lamenting that the communists would eventually destroy Taiwan’s independence. My experience with “RuShi” somehow indirectly reinforced my sense of impending doom, but it took me almost a year to confront and analyze my fears.

Fast forward one year, the Middle Kingdom has been increasingly casting its shadow over Hong Kong, the city I have called home for the last seven years. Since June of 2019, Hong Kong has become entrenched in political turmoil. The major event to ignite the recent protests is when Carrie Lam, the Chief Executive of Hong Kong, proposed the extradition bill in early 2019 as a response to a gruesome murder that took place in Taiwan. She claimed that if this bill passed, it would allow Hong Kong to extradite a murderer—a Hong Kongese man who had killed his pregnant girlfriend—to Taiwan. This bill would enable Hong Kong to surrender fugitives to be extradited to other countries it does not have agreements with, including Taiwan, Macau, and mainland China. There is no inherent problem with transferring a murderer from Hong Kong to Taiwan, as both countries have functioning courts. However, the prospect of being tried in mainland China is terrifying—its courts have a dubious track record for respecting human rights and have a conviction rate of 99.9%[1]. In other words, this bill opens up the possibility that anyone Beijing deems unsavory, such as activists, journalists, or even business executives, could face the opaque justice system in mainland China. Therefore, Hong Kongers from all walks of life, from university students to senior citizens, civil servants to mothers, have marched against it. At first, the protests were calm and imbued with a sense of optimism. However, as the government continued to ignore their demands, the tension escalated, and violence erupted. The once orderly city has become a scene of bloodshed and in its wake, turned a bustling metropolis into a ghost town.

Back in 2018, I couldn’t have predicted the protests that would break out a year later, but I viscerally knew that “RuShi” represented more to me than what I saw. This feeling intensified in recent months as I have witnessed the erosion of Hong Kong’s freedom of speech and assembly. I have also started to worry about Hong Kong’s culture as a world city and its freewheeling way of life. At first, the artwork did not sit well with me. For something that is based on Bazi, I expected the work to give me a prediction. After all, that was the point of Bazi— to reveal my destiny. However, I have recently come to understand that the artwork also represents my fears—a future devoid of freedom of expression and diversity of culture. I fear that if the CPC has its way, it will fill Hong Kong with distracting and meaningless lines, a busy illusion like in “RuShi.” The more I think about it, the more I understand what is at stake.

 I have found it helpful to frame my newfound stake in Roland Barthes’ idea of punctum, which describes a “special acuity” in photography[2]. To Barthes, the punctum is a “sting, speck, cut, little hole—and also a cast of the dice.” A photograph’s punctum is often a result of an accident, creating details that enable the viewer to think beyond the image and to imagine the moment before or after the picture was made. What Wong’s work was missing, was the punctum of Bazi. More specifically, the work took away the superstitious elements of a cultural practice. Though I resented Taiwanese superstitions as a young person and still have my reservations about them, I do have many memories associated with them.

When I was a baby, a fortune teller told my mother that I should delay marriage, that I would not be happy if I married ‘too early.’ He did not give my mother a specific timeframe, but this may be the reason Mama never approved of any of my boyfriends. When I was 17, my Hungarian-Canadian boyfriend bought me a bouquet that contained a white carnation, among other vibrant flowers. “Is he cursing me to die?” she yelled, “tell him to never give you white flowers!” 

Mama’s words illustrate how many Taiwanese people, even when they have immigrated to Canada, hold their superstitions dear. Mama did not want to see white flowers because white is the color of death. But how would an 18-year-old Canadian boy, whose family fled Communist Hungary when he was a toddler, know anything about the role of white flowers within Chinese superstition?

The word ‘superstition’ in the Chinese language is ‘迷信’ or mixin, consisting of the characters of “lost” and “faith” or “belief.” In other words, someone who is lost in their faith or belief is superstitious. Mixin is often lumped in with the Chinese folk religion rituals, a complex combination of teachings from Confucianism, Taoism, and Buddhism. Unlike Abrahamic religions, the Chinese folk religion has no canonical text, nor is there any congregation. Each family has its own practices that take place at home altars or in temples. There are two layers of Chinese folk religion. The communal layer consists of local deities such as an earth god, a city god, and Mazu, the patron goddess of the sea. This layer also includes ancestor worship and its rituals, derived from the Confucian teachings of filial piety, the virtue of respecting one’s elders and origins. The individual layer of the Chinese folk religion consists of supernatural beliefs and practices that include a wide variety of fortune-telling practices, such as Bazi and ziweidoushu. In addition to the two layers, many Taiwanese people, my family included, also follow a school of Buddhism, worshipping deities such as the Buddha, the Enlightened One, and Guanyin, the bodhisattva, or the goddess of compassion and mercy. These mixin provide Taiwanese culture with a sense of time, a narrative, and that particular little ‘sting’ that makes me pause and think.

However, as a Canadian teenager in the 1990’s, I did not appreciate the quirkiness of my Taiwanese culture or how meaningful it was to have one outside of the dominant Anglo-Canadian ethos. Now, perhaps because I am getting older and have lived in East Asia for over seven years, I have started to develop an affection for my mother’s mixin, which to me, has become the punctum of my Taiwanese culture. When I saw “RuShi,” I could not understand or articulate my reaction, and why the technologically driven iteration of my destiny troubled me so. After months of contemplating, I have realized that despite my dismay about Chinese superstition as a young person, I still associated Bazi as a part of the Chinese folk religion, which is something sacred. To me, technology in places of worship felt unnatural. Seeing my Bazi displayed in lines on a projection is perhaps equivalent to praying before a digital recreation of Jesus on a crucifix. The digital projection did not make sense to me because, throughout my whole life, whenever my mother coerced me to, I have witnessed or partaken in the rituals of Chinese folk religion with low-tech activities, such as praying to physical pictures of statues of deities, burning incense, and physically interacting with monks, readers and fellow worshippers—not looking at a projection in a dark room by myself.

Wong’s work seems to suggest that technology can replace mixin, and more broadly, that the idea of progress can substitute for the ethos of different Chinese ethnic groups. “RuShi” indicates the disconcerting trend of CPC’s quest for ‘One China’ to eliminate ethnic identities across its vast and contested territories. In Xinjiang, the CPC has been tightening its grip through the use of sophisticated surveillance systems and the adoption of ‘re-education’ camps to force the Uyghurs, a Turkic ethnic group, to renounce their language as well as their cultural and religious identities. I shudder as I look at a photograph of rows of despondent Uyghur men sitting on the ground wearing blue prison uniforms and taqiyah, short, rounded skull caps worn by Muslims. Like the Han Chinese who only half a century ago were forced to denounce all beliefs deemed ‘traditional’ or ‘capitalistic,’ and sing songs in praise of Mao during the Cultural Revolution, these Uyghur men are subjected to similar self-criticism routines and forced to sing patriotic songs about Xi Jinping. History is repeating itself, and I dread the CPC’s attempt to eradicate cultures, languages, and identities.

Lately, I have been thinking back to the first time I saw “RuShi.” After the projection of my Bazi ended, I studied as other people viewed their eight characters on the screen. A woman stood in front of her projection, allowing the lines to fall on her face while her friend snapped a photo with her smartphone—they found joy in the seemingly meaningless lines and turned them into a photo-op. They remind me that the CPC has already effectively expunged Chinese folk religion. In a 2012 study, Fenggang Yang and Anning Hu mapped the practitioners of Chinese folk religion in mainland China and Taiwan. The percentage of people who still consider themselves practitioners of the Chinese folk religion in mainland China (11.8%) is significantly lower than in Taiwan (42.7%). While 82.5% of people in Taiwan worship local deities, only 4.1% of people in China do so. [3] The difference in religiosity is jarring across the different practices: ancestor worship, 87.4% to 17.5%; fortune-telling, 34.0 % to 9.8%; amulet practices, 74.4% to 30.2%. In short, the CPC has somehow succeeded significantly dilute traditional beliefs and rituals in mainland China in less than 50 years. Nowadays, Chinese people seem to be more interested in consuming the latest fashion garments and technologies, rather than worshipping their ancestors or reading life charts. 

I do not believe that it is Wong’s agenda to represent the CPC’s point of view through “RuShi,” but his work reminds me that my cultural identity, one I did not even acknowledge as a teenager, could be annihilated by the CPC. At the same time, I realize that besides the technological and economic progress in recent years, China’s core beliefs have not changed since the Cultural Revolution. The CPC is the same iron fist that subjects its secular, authoritative power over its populace, demanding complete obedience. In fact, it has been my perception that has shifted. It is this shift that has led to my understanding of what I could lose.

I left Canada when I was 26 to pursue a career in academic librarianship, first in the United Arab Emirates and then in Bahrain. A few months before my 30th birthday, I moved to Hong Kong to be closer to my parents, who had repatriated from Canada to Taiwan. At that time, I was secretly going through a divorce with a man my family thought was my boyfriend. Two years before, we had eloped so I could sponsor his spousal visa in Bahrain. I did not tell my family because he was between jobs, and there was no way my mother would have approved the union. Perhaps the ziweidoushu reader who warned my mother about my marriage had been right.

At first, my mother was excited to have me closer to her and thrilled that I had finally broken up with my good-for-nothing ‘boyfriend.’ However, she soon began to worry about my marriage prospects. As she saw my cousins get married and start families, she grew anxious that I might never find a suitable husband—she might never have grandchildren.

In 2014, after I had lived in Hong Kong for about two years, Mama handed me a bracelet, a type of amulet, made of red threads knotted together.  She said it was blessed by Mazu, the patron goddess of fishermen, and that she had asked the goddess to lead me to a good husband. This time, I did not roll my eyes and dismiss her behavior as mixin. I humored her and put on the bracelet. Whether it was the bracelet’s doing or not, by the end of the year, I started dating Derek, a colleague from the university I was working at. Early in the relationship, Mama was suspicious due to my track record of dating men she deemed not good enough. But, upon meeting the blue-eyed, well-mannered ‘gentleman redneck’ from Kentucky, Mama was smitten and accepted him.

Mazu is the protector of the fishermen, Queen of Heaven in the Chinese folk religion. She also found Derek. Illustration by Ahmara Smith.

Shortly after Derek and I got engaged, my ecstatic mother bragged about my magical amulet-bracelet and matching fiancé. Most of our family members were happy for my good fortune, except for Aunt Lily, who is a reader of ziweidoushu. She was hesitant about my engagement but would not give a reason. “Why can’t you be happy for Kayo?” Mama demanded.

After weeks of pestering, Aunt Lily relented. She told Mama that according to my life chart, my first marriage was supposed to fail. Mama, who had just learned about my first marriage, was relieved. “It’s okay,” Mama said, “She’s been married once already. This is her second marriage.” 

Delighted, Aunt Lily gave Mama her blessing.

A year later, Derek and I were married. To this day, Mama is convinced that the Mazu has led Derek to me. The feminist in me would have liked to say that Mazu had led me to Derek, but Mama’s mixin is still very much entrenched in a symbolic order in which women’s sole concern has to do with finding a man, submitting to his needs, and bearing his children. When I was younger, I had nothing but disdain for these types of patriarchal mixin. Lately, I am not so sure. Can feminism co-exist with mixin? I can’t say that Mama’s mixin has not brought me fulfillment and happiness—maybe ziweidoushu does have my destiny spelled out for me in the stars. Perhaps it was Mazu who led me to my marriage. I have no concrete answers. On my wedding day, I took off my amulet-bracelet. Now, four years later, it is sitting in my jewelry box. It is faded now, but I cannot bear throwing it away. I have such affection for it—a part of me believes that it continues to bestow good luck.

The fond memories associated with fortune-telling, the Chinese gods, the amulets— the so-called superstitions, the mixin—are the punctum of my culture. In recent months, I have been thinking about all that is dear to my heart, as I watched a group of protestors wielding metal sticks and shattering the glass of the entrance of the MTR subway station in my neighborhood in Hong Kong. They were clad in black, their youthful faces concealed behind industrial gas masks. Moments later, a group of Raptors, the tactical unit of the Hong Kong Police Force (HKPF), stormed out from their hiding places, threw tear gas canisters, and chased after the fleeing protestors. In the process, there have been many serious injuries, mostly on the part of the demonstrators. Since June until October 2019, more than 2,000 people, some as young as 12, have been arrested. 1/3 of them are under the age of 18.[4] 

Though I do not condone the violence, I understand what the young people in Hong Kong are fighting for. They are not only struggling for their rights and freedoms outlined in the Basic Law, the CPC sanctioned constitution of Hong Kong, they are also safeguarding their way of life. They may not think about this consciously, but by demanding their rights, they are also protecting the punctum of their culture, which is not so different from mine. 

Thinking back now, “RuShi” is more ominous in light of the current situation. I am anxious about the future of Hong Kong and Taiwan as the shadow of the Middle Kingdom is expanding its reach. Though I am powerless to stop it, I can bear witness, document, and share my stories. 


SOURCES

[1] Many sources are citing this number, such as the Washington Post article from March 2014. https://www.washingtonpost.com/news/morning-mix/wp/2014/03/11/china-scored-99-9-percent-conviction-rate-last-year/

[2] Roland Barthes discusses his thoughts about punctum in Camera Lucida: Reflections on Photography (London, UK: Vintage, 2000).

[3] To read Yang and Hu’s study on the level of superstition in Taiwan and China: “Mapping Chinese Folk Religion in Mainland China and Taiwan,” Journal for the Scientific Study of Religion 51, no. 3 (2012).

[4] To read more about the arrested protestors in Hong Kong, read Verna Yu’ “Hong Kong: arrest of 750 children during protests sparks outcry, ” The Guardian, October 11 2019: https://www.theguardian.com/world/2019/oct/11/hong-kong-arrest-of-750-children-during-protests-sparks-outcry


Kayo Chang Black is a Taiwanese Canadian writer who explores hybrid identities, global citizenship, and the intersection of cultures. Her career as an academic librarian brought her to the U.A.E, Bahrain, and Hong Kong. After an eight-year stint in Hong Kong, she packed up her books and cat and moved to Colombo, Sri Lanka. She currently teaches research and writing at the Academy of Design (AoD). Her work has been published in Sunspot Literary Journal, Photography of Art, and others. To read her work, visit http://kayochangblack.com Follow her on Instagram: @kayo.chang.black or Facebook: @kayochangblack

The Nikah

Hello dear reader,

Today, I am sharing “The Nikah” which was originally published and featured in the March 2019 issue of Sunspot Literary Journal. I hope you’ll enjoy it.

Tears rolled down my powdered face, dampening my makeshift lavender headscarf. I bit my lower lip and cried without making a sound. I could have said no to Gökhan and walked away from the nikah, the Islamic wedding ceremony—but my conditioning would not allow it. Growing up in a Taiwanese family, the concept of “losing face” was ingrained in me. I understood how unforgivable it was to humiliate someone in public. I felt compelled to submit to the conditioning that I have willfully fought against my whole life, to maintain my future husband’s honor in front of his entire clan. But the obligation to compromise my integrity, whether it was real or imaginary, was crushing me. I hated having to pretend to believe in something to please my future mother-in-law.

Gökhan’s mother was a gregarious Turkish woman. Short and squat in stature, she was the matriarch of the family. She had moved to Denmark with her husband in the ’70s, and all her children had been born and raised there. However, she held onto the customs from the old country and behaved very much like a traditional Turkish wife and mother. I never saw her without her headscarf, even in the middle of summer. Gökhan’s father, on the other hand, had adapted to Denmark. He was a quiet man with a handsome, honest face. He owned a grocery store in the neighborhood, and when he found out that I loved strawberries, he’d bring some back from his store every day during my visit. He was the type who would go with the flow and let his wife take care of all the traditions and rituals.

I had just arrived in Denmark a week earlier and had met Gökhan’s family for the first time. We slept in separate beds because his mother thought it was improper for us sleep together until we perform the nikah.

            That summer, Gökhan and I were in-between places—we had just left Dubai and in the autumn moved to Bahrain where I would start a new job. My new employers instructed me to move to Bahrain alone, or marry Gökhan so I could sponsor his dependent visa. Since we did not want to break up, we decided to elope in Canada. We made a pitstop in Copenhagen on our way to Vancouver to see his parents before we legalized our union.

Even though Gökhan’s mother and I did not speak the same language, I wanted her to like me. I understood that the nikah was pivotal to his pious mother. I was not against it, but I also did not want to give her the impression that I was willing to convert to Islam. I am proudly secular, which caused major friction when Gökhan and I first started dating.

“If you want to be with me, and be accepted by my family, you will need to convert,” he said—it was the only time I remember Gökhan being adamant about anything.

“No.” I stared at him as if he had warped into a goat. Converting to Islam was unthinkable. Being secular is my mode in life, and I was not willing to change it.

He explained that all I had to do was to pretend, to do it for a show, which was what he had done his whole life. I still refused. He called me spoiled, stubborn and selfish. I cried but persisted. It was a battle of wills that lasted the whole day.

“If you love me, you will accept me for who I am,” I argued, my eyes blazing. “You wouldn’t ask me to compromise my integrity.”

Eventually, I broke him down with a combination of persistence and tears. “You won’t need to convert,” he said, hugging me. “I will talk to my mother.”  

It was no surprise that Gökhan yielded—I was the girl who always had her way. “Don’t smoke in the mall,” Mama used to glare at me when I was on my way out of the house when I was in high school, “someone might see you.”

You don’t want me smoking in the mall? I did just that with abandon. Don’t want me dating white guys? I did, just to make you cringe. Oh, you would disown me if I got a tattoo? I did, just to test you.

Gökhan was right: I was spoiled. Mama relented, and Gökhan did too.

My initial experience with Islam was when I moved to Dubai for my first job as a librarian, about ten months before meeting Gökhan. My first impression was that it was strict and conservative. I had to abandon wearing skirts to work because it was indecent to show my knees. The religion forbade many things that I enjoyed, such as alcohol and pork. During Ramadan, even non-Muslims could not have a sip of water in public. However, I kept an open mind. I wanted to be involved with my future husband’s traditions.

When Gökhan told me about nikah, I knew nothing about it. He described it as an engagement to tell Allah that he, Gökhan, had chosen me, Kayo, to be his wife. That did not sound awful—it seemed like a symbolic ceremony. I agreed that I was willing to take part in the nikah, as long as I did not have to convert to Islam. He talked to his mother who agreed that I would not have to. Overjoyed that her son would no longer live in sin, she invited the whole extended family, prepared an elaborate spread, and summoned the prestigious imam, a religious leader, who would officiate the ceremony.

I had no idea what I signed up for.

On the day of the nikah, I was in the center of the room wearing an ivory, ankle-length, cotton maxi dress with grey embroidered flowers at the hem. I’d bought the dress a few days before because it was long and covered my legs. However, the top portion was too revealing for Islamic taste, so I wore a grey cardigan, buttoned-up all the way, which hid my tattooed arm and immodest cleavage.

Gökhan’s three aunts were fussing around me, trying to pin a lavender pashmina over my head as a temporary headscarf. His little sisters, aged 11 and 13, whose room had turned into a bridal dressing room, stole curious glances at me. When I returned their stares with grins, they gasped, turned their heads and looked away. His boisterous aunts laughed and chatted in a combination of Turkish and Danish. They clamored and made animated gestures with their hands and clapped as they giggled over some anecdote I couldn’t understand. I stood amid this commotion with a dumb smile on my face and nodded my head as Gökhan’s only English-speaking aunt asked me if I was doing okay. Despite the chaos in the room, a part of me was having fun, soaking up his aunts’ contagious excitement. I felt euphoric and found myself smiling more as time passed. I was putting the finishing touches on my makeup when Gökhan poked his head in the room, “Hey, can I talk to you for a minute in the next room?” he asked in a quiet voice, avoiding my eyes, his thick, dark brows furrowed.

“Is something wrong?” I asked.

***

How did I, my mother’s rebellious and stubborn daughter, ended up participating in nikah with a Danish-Turkish guy she had only dated for less than a year? The truth was that the defiant teenager who continually stretched boundaries and pushed her mother’s buttons found herself a lost and scared 26-year-old woman in the Middle East.

I was born in Japan to Taiwanese parents and grew up just outside of Vancouver, British Columbia. I always prided myself on being an adaptable third-culture kid—I was fearless and foolish. Fresh out of graduate school, I moved to Dubai to start my first job as a librarian, even though I would not have been able to find the city on an atlas. 

When I first got on the transport bus to the terminal of the Dubai International Airport, I burst into tears—the warm and humid air tinged with dust reminded me how far away I was from home. Homesickness was only one of the many challenges I faced in Dubai. For the first month, I tried to get an internet connection in my apartment to stay in touch with my faraway family and friends. I spent all my free time going to Etisalat, the national internet provider. Each time, I spoke to an indifferent woman at the counter who wore a black headscarf and emitted an intense frankincense perfume. Each time, she told me, “two weeks, in’shallah.” Each time, I left the building defeated and depressed. Before I knew any better, I was convinced that ‘in’shallah’ meant ‘go away.’ It took over two months for me to have an internet connection at home.

On the weekends, I would roam around the city wide-eyed, trying to absorb this strange, desert landscape filled with glitzy shopping malls and imposing skyscrapers surrounded by endless construction sites. As I walked by in my short-sleeve t-shirt and knee-length skirt, South Asian workers gawked at me with their unblinking, saucer eyes. I ran away to divert their gaze. I was confused, misunderstood, and isolated from everything and everyone I knew.

Within days of arriving in Dubai, I cried on the phone to Mama. After three days of crying, Mama broke down and came for a visit. She cooked for me, helped me settle into my new apartment, and we explored the city together. We shopped in the souk, went dune bashing in the desert, and had afternoon tea at the Burj Al Arab. However, after she left, I was even more homesick and lonely, which drove me to go out to meet new people. Eventually, I made friends with other expatriates, young women close to my age who had also moved to Dubai for their careers. But they did not ease my sense of alone-ness. What I wanted was someone to come home to and wake up next to every morning. Someone who would understand me, someone to go on adventures with, someone who would take me away from this loneliness and despair. After dating Gökhan for a few months, I thought he could be that person.

The truth is, my definition of a good relationship was simplistic and naive. I did not know a thing about a healthy relationship—as a teenager, I watched my parents struggle with their marriage. At the tender age of fifteen, I found out that Baba, my father, had been cheating on Mama.

Baba was a travel guide and was often away from home. At this time, Mama was in her mid-30’s, but she dressed and acted like a much older woman— a dedicated mother whose husband was away for long periods. Since Mama spent her days cleaning and cooking, she paid little attention to her appearance. Her clothing of choice consisted of dowdy, faded sweatsuits. Her world revolved around Baba, my younger brother Davis, and me.

Before school one morning, I was eating my eggs sitting on the high stool next to the kitchen counter when I heard Mama scream Baba’s name. I am not sure what business Mama had poking around Baba’s black nylon side bag— maybe she was putting something in there, or perhaps she was looking for something for him— either way, she pulled out a love letter in Baba’s handwriting, addressed to another woman. 

Mama lost her mind with this discovery. She wanted answers. She needed reassurance. She demanded Baba to explain himself. He could not. He ran out of the door with his luggage to catch a flight and left behind Mama who had turned into a wailing mess. I do not remember how I got to school that day.

After school, I found Mama standing disheveled in the middle of the kitchen, wearing her frumpy, pale pink cotton nightgown even though it was three o’clock in the afternoon. With tears streaming down her face, she wailed and screamed that she wanted to die. She clutched a crumpled-up letter in one hand and with her other hand, made slashing gestures with a kitchen knife as if she was going to slit her wrist. I was terrified.

Several days later, I came home, and the house was silent. Before this whole fiasco, Mama always had a snack ready by the time I came back from school, like a brothy bowl of Taiwanese-style beef brisket noodle soup, savory braised pork with rice, or flavorful soy-sauce marinated chicken wings. But that day, when I wandered into the kitchen, she wasn’t there. She was not at her usual station in front of the stove, engulfed in tantalizing steam coming out of a bubbling pot that she was stirring, telling me that my snack would be ready soon.

The eerie stillness was a stark contrast to what had happened in the kitchen only a few days before. I began to search the house to make sure Mama had not hurt herself. At the entrance to my parents’ room, I held my breath, turned the doorknob, pushed open the door and tip-toed inside. I entered the room inundated with the stale, feminine odor of unwashed hair—the scent of desperate sadness. Mama was asleep and snoring loudly even though it was the middle of the afternoon. Her jet-black hair matted on the cream-colored pillowcase. Her usually smooth forehead crinkled with despair—even in her sleep, she was in agony. On the nightstand, I saw bottles of pills. Sleeping pills, seductive, secret sleeping pills that promised peace and a pain-free slumber. I picked up a bottle and rattled it—it was almost empty. I gathered every bottle in sight and took them. I rushed into my bedroom and threw them in the bottom drawer of my nightstand where I had stashed all the knives in the house a few days earlier.

At an impressionable age, I learned that my parents were not gods—they are flawed human beings. Watching my mother’s meltdown caused by my father’s infidelity, I discovered the dire consequences of being emotionally dependent on a spouse. I told myself back then that I would never want to be in her position. I would never allow my love for a man to turn into ammunition that he could use to maim me. I also learned the importance for a woman to be financially independent—with no economic means, Mama could not leave Baba even if she wanted to. She was an old-school, conventional Asian housewife who had never worked a day outside of her home.

During this dark time, I was overwhelmed and did not know how to process my conflicting emotions. On the one hand, I was angry. How could Baba betray Mama when she dedicated her whole life to us? At the same time, as a Daddy’s Girl, I was confused. Baba was indulgent, showering me with his affection and bringing me trinkets from his trips. When I needed help with my chemistry homework, he was attentive and patient. He was also a fun-loving father who took me and Davis snowboarding on the weekends. I knew he loved Davis and me, but his affair broke Mama’s heart and spirit. I did not understand how such an amazing father could be such a shitty husband.

I developed unhealthy relationship patterns around this time—I worried about men cheating on me or leaving me, but I also desperately dreaded being alone. My strategy was to become infatuated with a person and charm him with attention—the goal was to have him fall hopelessly in love with me, so he would not cheat or leave. At the same time, because I never wanted to be dependent on a man for my financial well-being, I moved around for my education and career. I never stuck around for anybody.

On the surface, I seemed accomplished and strong, but underneath, I was insecure and lonely. The tough girl who smoked and defied her mother was just a façade. Since having my first boyfriend at seventeen, I had not been single for more than a few months at a time. Like a rabbit chased by an unknown assailant, I dashed from one man to the next, looking for someone to validate me, to calm the nagging, neurotic voice inside my head: I would never find someone who would love me because I am always “too” something. I am too fat. I am too emotional but also too ambitious. I am too crazy, too free-spirited. I talk too fast, think too much, and has too many feelings. I am too strong-willed, and at the same time, too needy. Over and over again, this voice whispered to me throughout my relationships. With every failed relationship, it confirmed that I was unlovable.

When I met Gökhan, the nagging voice subsided. We connected on OkCupid and hit it off. He was living in Copenhagen and seemed like a reliable and attentive man. He was cute too, with wavy, dark brown hair, deep-set mahogany eyes, a straight nose, and a thoughtful demeanor. He quieted my anxiety with his patient, soothing voice. We fell asleep talking to each other on Skype many nights. I felt safe having him in my life.

The start of our relationship was a sweet and romantic internet fairy tale that spanned continents. After chatting online for three months, we met in person in Istanbul. On our second night together, Gökhan and I climbed several flights of creaky stairs to reach the rooftop of one of the budget hotels in the Old City. Opening the door to the terrace, the twilight before sunrise greeted us. Gökhan draped a blanket around me when he saw me shivering in the chilly, pre-dawn gust. Then, groping his way in the darkness, he led me to the shabby lounge on the far side of the terrace. We shuffled in our flip-flops, trying to suppress our giddiness. I looked up, enchanted by the constellation above me. As my gaze followed the horizon, I saw the flickering white lights from the boats and ferries dotting the Bosphorus, the strait that functions as a border between Asia and Europe. The twilight was misty, making it hard to see where the sky ended and the Bosphorus began. Over the railing of the terrace were the muted shadows of the shops, homes, and hotels of Old City, peacefully asleep. All around us, the shutters were drawn, the lights dimmed, and it was quiet. We sat bundled up on the lounge in the blanket. I was snuggling up next to a man whom, days before, I had only seen on a computer screen. He bent down and planted a kiss on my lips.

“Allahu akbar, Allahu akbar, Allahu akbar, Allahu akbar, Ash hadu an la ilaha illal lah…” the muezzin called out the first stanza of the haunting and melodic adhan at the crack of dawn to remind all Muslims it was time for the opening prayer of the day. My eyes flew open. To my surprise, my surroundings had transformed. Twilight had receded, and in its place, the sun emerged. The first pink and orange rays illuminated the sky, chasing away the stars. I rubbed my eyes as the sunshine warmed my face inviting me to crawl out of the warmth of Gökhan’s arms. At dawn, the Bosphorus was no longer shrouded in a mysterious mist– it was bustling with ferries and ships moving back and forth between Asia and Europe. The city below was no longer sleeping; it was buzzing with horns and chatter as people arose from their beds to begin a new day. I was in awe of Istanbul’s transformations between night and day. Looking at Gökhan’s handsome face on this brand-new day, I kissed him before we headed back to our room. I was happy and in love.

***

Less than a year later, we faced a conundrum.

I followed Gökhan out of the room and closed the door as his aunts and sisters giggled behind us. We entered the next room, which was his parents’ bedroom and he sat me down on the edge of the bed. Averting my quizzical eyes, Gökhan said, “When the imam asked me what your religion was, I couldn’t tell him that you didn’t have one. So, I told him that you were a Buddhist. He said since you are of the Book—neither Christian nor Jewish, you would need to convert.”

             His words took a few moments to sink in. Once I understood the gravity of the situation, I started to panic. Did he know this was going to happen before talking me into the nikah?

“This is not part of the deal,” I shouted, shaking my head. The pins keeping my lavender headscarf in place pricked my scalp. “You promised that I didn’t have to convert if I go through the nikah!” I glared at him; my gaze was accusatory.

“I’m sorry I didn’t know,” he muttered, “You don’t need to go through with it if you don’t want to. It’s completely up to you.”

Is it up to me? No, it’s not up to me! I started to cry. Gökhan looked at me with his thoughtful eyes. He handed me a tissue. I dabbed my eyes, blew my nose, and shed more tears. I looked up and saw myself in his mother’s vanity mirror. The rebellious teenager inside me mocked my puffy face and smeared make-up—but I could not stop crying. Gökhan fidgeted next to me, occasionally patting me on the shoulder and repeating the phrase, “You don’t have to do this if you don’t want to.”

Don’t you fucking understand? I shouted inside my head. From now on, we can never be truly happy together. If I don’t convert, your mother is going to hate me forever, and I am going to feel lousy making you choose between her and me. If I do convert, I will resent you for as long as I live. I kept my head bowed because I could not stand looking at the helpless expression on his face. I could not utter a word because if I tried verbalized my feelings, I would start wailing. The teenaged me would have walked out of the door without looking back. She was, however, overpowered by the decent Taiwanese daughter who did not want her future husband to lose face.

Looking back, I realized that I put myself in this messy situation on an impulse and deeply rooted fear. I was in love with the idea of being in love. I also loved having an exotic boyfriend who had grown up in a set of cultures that were vastly unlike mine. I bragged to friends that between the two of us, we had four passports. At the same time, it was my fear of being alone that drove me to this irrational decision to go through with nikah. Knowing what I know now, I should have walked away—coercion and compromised integrity are not a good foundation for marriage. However, as a third culture kid, I have been crossing borders and adapting to different cultures my whole life. I thought I was ready to cross a new one with Gökhan.

I was wrong.

I wept for an eternity, shed enough tears to fill the Bosphorous. The girl with a cigarette dangling between her fingers, dated white boys and covered herself in tattoos had turned into Gökhan’s bewildered bride. On the other side of the door, the imam was waiting for me to change my wicked, wayward ways and Gökhan’s entire clan was expecting us to profess our undying love and commitment to each other. I cried and cried like a lost child. I did not know how to get out of this mess.

Out of nowhere, Gökhan’s father walked into the room. He was smiling. He closed the door behind him and started laughing. I gave him a look of bafflement as he spoke rapidly in Turkish. He paused and nodded his head. Gökhan looked at me and interpreted what his father had said, “My dad said you are taking this whole thing way too seriously.” 

His father grinned at me, said a few more words and nodded again. Gökhan translated, “He said it’s totally fine if you don’t want to go through with it. But you could also put on a show by pretending to convert, which would make everybody happy.”

I stared at his father, shocked that he had just asked me to go out there and tell a lie in front of the whole family. He chuckled, nodded at Gökhan again and left without saying another word. What his father wanted me to do was what he had done, and what Gökhan had done his whole life: pretend and go through the motions to make peace. I felt defeated and exhausted. I forced my gaze back to Gökhan. Oh, what I would do just to make this awful situation go away!

 After taking a couple of deep breaths, I asked Gökhan to fetch my makeup bag from the next room. I cleaned my face with fresh tissue and wiped away the black smudge under my eyes. When Gökhan returned, I smeared a thick layer of foundation and powdered my face. Then, I applied a sparkly lilac eyeshadow that matched my lavender headscarf. Staring at my reflection in the mirror, I grinned. My eyes were still puffy; my smile looked pathetic but convincing enough to those who did not know me. I smiled again and knew that my mask was secure. I reached for Gökhan’s hand and led him out of the room.

Sadly, Mama’s rebellious Canadian daughter did not have big enough guns to fight the rebellion in Denmark. After all, I was only one young woman trying to keep my integrity abreast in the face of a conservative, cultural tidal wave.

I followed the imam, who told me to repeat the Shahada, the Arabic script that would declare me a Muslim. “La ilaha illa Allah wa-Muhammad rasul Allah,” which translates to “I testify that there is no other God but Allah, and Muhammad is God’s messenger.” The imam said it slowly, pausing after every few syllables to allow time for me to mimic the foreign sounds. Afterward, I signed a piece of paper that the imam had prepared. Shortly after, he declared us husband and wife. 

From that day, I resented Gökhan. I never forgave him for putting me through a conversion.

Our union did not last long. Four months after we arrived in Bahrain, the Arab Spring broke out. A series of protests swept across the Arab world. In Bahrain, the government cracked down on the demonstrations, which created an environment of fear and uncertainty. The turmoil made it difficult for Gökhan to find work. A year and a half later, when he finally secured a job in Dubai, our marriage crumbled. Instead of following him, I got a job in Hong Kong to be closer to my parents in Taiwan. We broke up.

Many years later, I found the lavender headscarf in my wardrobe. I am still in Hong Kong, but now married to a wonderful man who loves and accepts me just the way I am. Though painful, I learned so much from wearing the headscarf that day, like communicating expectations, and accepting the people I love for who they are, instead of trying to change them.  Even though going through nikah and living in Bahrain was challenging, I would not trade that experience for anything else. Without it, I would not have learned how to be in a loving and equal partnership. Taking one last look at the headscarf, I put it in the trash bin. I have come a long way— the girl who smoked in the mall has grown up and learned how to love herself. I now know that I am strong enough to be the person that I have become.

The Rosewood Sofa

Published by Jaden Magazine, Issue 03

THE ROSEWOOD SOFA

“Whoa, Kayo,  how did you get so fat?” Ama asked in her dramatic, judgemental tone.

This was how Ama, my paternal grandmother, greeted me during my yearly Chinese New Year pilgrimage to Taichung, Taiwan. Although I hadn’t seen her for a whole year, she never seemed to have anything nice to say to me—the only grandchild of hers who regularly visited her during the holidays. I wanted to shrug off her harsh words, but I couldn’t. She had always made me painfully self-conscious about my body. I stormed off.

“What’s she so angry about?” Ama asked, knowing I was still within earshot.

When she was still able to walk, she used to meet my parents and me in the dining area of her house when we arrived from Taipei. In the center of the dining room was a large rosewood round table with eight matching chairs. Along the walls, Ama had a collection of stone paintings depicting classic Chinese motifs – birds, deer, and flowers made of jade and coral. But in the corners of the room, Ama stored stacks of stock market magazines dating back to the 80s, next to layers of flattened shopping bags from famous bakeries and department stores in Japan, along with folded paper bags made of old magazines, used for discarding pumpkin shells, a popular teatime snack in Taiwan. The clash of luxury and hoarding never ceased to amaze me.

If Marie Kondo, the Japanese organizing consultant and author, came to Ama’s house, she would say, “Keep only those things that speak to your heart. Then take the plunge and discard all the rest. By doing this, you can reset your life and embark on a new lifestyle.” In Tidying Up with Marie Kondo, a Netflix’s hit show, Kondo helps many cluttered and messy Americans organize their homes and make them happier. “Does it spark joy?” she often asks.

The truth is, Ama has little joy in her heart and no desire to change her lifestyle.

Ama hasn’t spark joy in my heart for a long time, but I couldn’t just dispose of her like old, unworn sweaters in my wardrobe. Baba, my father, justified his mother’s behavior as “the way of the older generation.” Apparently, her calling me fat was supposed to demonstrate her concern for me. She was trying to be nice, he said—but the way she expressed her sentiments didn’t make me feel nice.

 “Ama is very old, and she isn’t going to change.” Baba sighed, “She’s lonely. You should spend more time with her.”

When it comes to matters regarding Ama, I always obeyed Baba. As with any pilgrimage, I took my suffering in stride.

Bracing myself for the moment when she would say something mean, I sat next to her in the living room while she watched a Taiwanese soap opera. Ama’s living room, like her dining room, reflects her twin sensibilities of having the best of everything and never parting with any of it. Shortly before my family left Tokyo and moved in with her, she had renovated her house. Back then, it had brand new, top-of-the-line everything, but that was over thirty years ago. Now everything is dated, dusty and depressing.

Ama’s living room is also cluttered with junk and contains furniture made from polished, dense rosewood that glistens in the fluorescent light. With mother-of-pearl inlay in the shape of sparrows and cherry blossoms on the backs and the armrests, the furniture is grand—reminiscent of Qing Dynasty royalty. If I could find a more appropriate word for the three-seater ‘sofa,’ I would. Normally, I associate ‘sofa’ with something to relax on, something soft, padded with a cozy quilt on top to curl into. Not this one. Like Ama, the sofa felt like solid steel—unbending, unrelenting, and uncomfortable. Ama had placed thin Japanese-style cushions as a buffer between the sitter and the hardwood. These cushions are greenish brown—maybe at one point they were gold, but now they are the color of a half avocado a few days past its prime.

Throughout the living room, Ama displays her collection of artwork, statues of Chinese gods, and old photographs. Between faded bouquets of dried roses, mismatched candles, and other junky knickknacks, Ama hangs the family photographs. There is a professional studio portrait of me when I was about twenty-two. I am wearing a form-fitting red t-shirt and a striped knee-length skirt in pink, red and white. It cinches in a way that shows off my tiny waist. My long, shiny black hair is in a high pony, my smile wide and confident.

“See, you used to be so pretty,” Ama mocked me as she pointed to the photograph. “How did you ever get so fat?”

I shrank deeper into my uncomfortable seat.

There is also a family portrait of all of Ama’s children and grandchildren, taken when I was about eight. Ama, all smiles, sits next to my grandfather, Agon, in the front row. He was an obstetrician and an aspiring artist, who had collected many of the paintings in Ama’s house. The picture captures a time when my relationship with Ama was easier. When my family and I moved in with her, she lived on the third floor of the house, and we lived on the fourth. On weekends, my younger brother Davis and I used to have sleepovers with her. She would gently clean our ears with a Q-tip until we fell asleep. The next day, she would take us to a 7-11 for a Slurpee and a hotdog, which were rare treats. During the week, I hollered at her door to say hi before I went to school.  She always handed me a few coins to buy candies—I had the best treats in my class. On the days when Mama yelled at me for misbehaving, I’d go running to Ama.

“Your mama is so mean,” Ama said, standing between Mama and me. There was nothing Mama could do when I used Ama as a shield. As a child, I noticed that Mama and Ama had an uneasy relationship. I exploited it to my advantage.

Ama was my favorite person for a long time, until we moved to Vancouver when I was 10 years old.

Two summers later, my perception of Ama changed forever. I was 12 when Baba introduced Davis and me to our ‘cousins’ visiting from California, Frankie, Tommy, and Michael. Baba said they were children of his brother, my Uncle Steven. We hit it off right away. Baba took all of us around the tourist attractions in Vancouver, like the aquarium and the suspension bridge. We went to Stanley Park, and Baba bought us ice cream cones. We had a great day.

Despite the fun, I harbored a nagging question: If they are our cousins, why didn’t we meet them sooner? I decided to talk with Tommy, also 12. We established that we had the same last name, Chang. When we started to share our memories of Agonand Ama, I realized that we call different women ‘Ama.’

How could this be? Even as a child, I knew my burning question pointed to something bigger than me. There was an air of taboo about it. Before the age of 12, I didn’t realize there was another branch of the Chang family. However, I always knew something was amiss. When we still lived in Taiwan, I wondered why Agon didn’t live with us. On Sundays, he would come by the house and take all of us—Ama, Baba, Mama, Davis and me out for lunch. We would spend the afternoon in a department store or a park. My favorite was when he took us to Baskin-Robbins. To this day, when I taste the tangy sweetness of Rainbow Sherbet, I think of Agon.

I have fond memories of those Sunday afternoons. But I noticed he never stayed for dinner, let alone spent the night with Ama. When I was about eight or nine, I asked Baba why Agon always left.

“Agon is a very busy doctor. He needs to go back to his clinic to see his patients,” Baba said, eyes downcast.

When I made my discovery at age 12, instead of confronting my parents, I talked to my Aunt Christine, who also happened to be visiting us from Taiwan. She is Mama’s brother’s wife, my favorite aunt, and an adult I trusted.

“Why do Tommy and I have different Amas?” I asked her in private.

“You are too observant and smart for your own good,” she said. “You are right. You and Tommy do have different Amas.”

She didn’t explain why we have different grandmothers, but I pieced together a partial story of the open secret: For most of her adult life, Ama was Agon’s mistress. They met at the Taichung Hospital where he was an accomplished obstetrician, and she was his young, pretty nurse. Despite the 13-year age gap, and the fact that he was already married with children, they fell in love.  Over the years, Ama bore him three children. Baba is the middle child—he has an older sister and a younger brother.

When Ama and Agon were young, it wasn’t uncommon for accomplished men to have mistresses. Though he couldn’t give her the legal status of a wife, Agon took care of Ama bygiving her stocks, jewelry, and property. Ama became a wealthy woman. In the upper society of  Taichung, people gossiped. Back then, Ama was known as a beautiful, cunning man-stealer.

 Despite her reputation, she raised her three children with the best of everything.  When Baba finished college, he moved to Japan for his master’s degree—where affluent Taiwanese people sent their children to be educated. There, he met Mama. Soon after, I was born in Tokyo. When I was six, we moved in with Ama in Taiwan. To prepare, she renovated her house, furnishing it with the best of everything—she bought many expensive things that sparked joy for her at the time, like the opulent rosewood furniture.

In many ways, Ama did well for herself—she had a house, money in the bank and three successful children. Though I have spotty knowledge of Ama’s upbringing, I know that as a baby she, along with a few of her older sisters, was left in Taiwan while her parents took the younger children and moved to Vietnam. A kind, childless widow, a friend of her parents, adopted Ama and raised her. It couldn’t have been easy for Ama to grow up knowing her parents had left her. I don’t know what kind of resources her adopted mother had, but it couldn’t have been easy for a single woman to raise a child. And I can’t help but wonder why Ama chose a married man over other eligible bachelors. She was pretty, educated, and clever—she probably had a lot of suitors. When Agon presented Ama with the prospect of a more comfortable life, she took it in order to better take care of her aging adopted mother—at least that was what I was told. Or maybe she was desperately in love. Either way, it must have been agony to be with a man and watch him leave for the arms of another woman. What did she tell herself to live this way? I think there was genuine love between Agon and Ama, but at the end of the day, Ama chose financial security over love. It’s something unthinkable for me as an educated 21st-century woman.

A couple of years after I unearthed the secret, Agon passed away. Shortly after, Baba moved to Taiwan for work, and Mama soon followed. They visited us regularly in Vancouver, but Davis and I hardly ever went to Taiwan. I only visited Ama once or twice through my teenage years. When I was a senior in high school, she came to visit us—the only time I saw her in Canada. When I was a sophomore in college, I flew to Taiwan when Baba told me that Ama was dying of colon cancer. The doctor snipped a big chunk of her intestines, and she survived. The following summer, I was told to visit again because she was dying of breast cancer. The doctor removed both her breasts, and she survived. She was one tough lady. While Ama was sick, Mama took care of her—cleaning her surgery wounds, bathing her, feeding her. In Mama’s eyes, it was her filial duty as a daughter-in-law to take care of her husband’s mother. She made no complaints, though Ama wasn’t always kind to her. 

It wasn’t until I finished graduate school and started working abroad as a librarian that I began to visit my parents and Ama regularly. By then, my relationship with Ama had been changed by years of neglect. I started to see a side of her I hadn’t when I was a child, and how unkindly she treated Mama. After Ama had recovered from her second cancer, and was well enough to eat with us during Chinese New Year Eve dinner, Ama always held her nose and grumbled about Mama’s cooking.

“How does she expect me to eat this overly salty fish?” she complained, while Mama sat next to her. “Does she want my cancer to return?” Mama never said anything at the table, but her face was distorted with anger.

 One year, I happened to be in Taiwan during Mother’s Day and we all went out for dinner.

“Your mother’s father didn’t like to study and he only became an anaesthesiologist,” Ama said to me while I sat with her in the backseat on the way to dinner, “unlike your Agon, who was a famous doctor.”

I didn’t reply and she continued her monologue, “Just because her family has money, doesn’t make him a good man.”

The dinner was ruined before we even started.

Around this time Ama started to be hostile towards me — I am my mother’s daughter, and I look like her. Calling me fat was her favorite insult, and it was effective in ruining whatever tender feelings I had towards her. If it weren’t for the fact that she was Baba’s mother, I would have had nothing to do with her. There were times I wish I could have used the Marie Kondo method on Ama—I wanted to abandon her. Not only did she not spark joy, she was hurting me. I resented having to visit her year after year, but I continued my pilgrimage. If Mama stuck around Ama after all the years of emotional abuse, surely I could too.

Lately, as I get older, I have begun to see Ama in a more humane light, and try to see the world from her point of view. Maybe she called me fat and complained about Mama’s efforts to take care of her because she had spent her youth vying for the attention of another woman’s husband. In that situation, I suppose I would have become bitter too. 

In more recent years, instead of suffering in silence, I have started to pipe up when she calls me fat.

“Ama, if you are so mean to me every time I see you,” I said with a forced smile, “I won’t come to visit you anymore.”

She pretended she didn’t hear me, and started to fuss about how much luggage we had brought.

The closest I’ve come to having an open conversation with Ama was years ago, when she still had her wits. I don’t remember what prompted her, but she brought out a box of old photographs, containing pictures dating back all the way to her childhood.

“My Mama and Baba.” Ama pointed to a black and white photograph of a couple. I don’t remember what they look like now, but I remember feeling a little connection with Ama—she was, after all, somebody’s daughter.

There were images of the young and beautiful Ama, smiling with other young women in nursing school—the Ama with whom Agon had fallen in love. I love the pictures of Baba and his siblings when they were young, dressed in fancy western-style clothing that must have cost an arm and a leg. Baba and his siblings look like any other happy children playing together. There were pictures of me, Davis and our cousins as babies—her grandchildren. All of her memories were inside that box. She didn’t speak much as she shared its contents, just who’s who. I was transfixed. Touching the fading yellow-hued photographs, I didn’t ask any questions. I wish I had.

The photos were a contrast to the rosewood sofa of the latter part of Ama’s life, captured in endless awkward family portraits taken over the years. Each year now, after Chinese New Year Eve dinner, Ama, Mama, Baba, my Uncle and Aunt gather to share pleasantries and force a smile for another portrait, under the gaze of our younger selves, forever frozen in time. I have a loving relationship with my parents and younger brother, but Baba never shared a close bond with his siblings and neither of them took care of their mother. Except for the fact that they look like each other, there is little evidence that they are related —just forced smiles and visible distance.  The Changs are an extended family by blood, yet our relations are as rigid and uncomfortable as the very sofa on which we sit.

Time has been unkind to Ama. From a strong-willed matriarch, she has been reduced to a feeble 90-year-old woman who can no longer take care of herself. Her body has shrunk and confined to a wheelchair. She has lost all her teeth and has trouble eating. Her razor-sharp tongue has dulled. She hasn’t called me fat for a couple of years now. I do my best to see her through a lens of compassion. Part of me feels sorry for her. After all, if she hadn’t done what she did, I wouldn’t exist.

Now, instead of greeting us in the dining area of the third floor when we arrive in Taichung, she lies in bed. Last year, I went to see her at her bedside and held her weathered but soft, cool hand. When I turned her hand around to look at her thumb, it was like seeing my own. She is family, I know. I wish I could put aside my childish resentment and ask her: Why did she choose to be with Agon? Does she regret her choices? If she could do it all over again, would she choose differently? I have no idea if my questions would upset her. I don’t know if my shame—for her and for myself for wanting to know—should even be vocalized. Maybe next year I will work up the courage to ask Ama for her stories—but I probably won’t. I can only try to be at peace with what little I know.

The Forgotten 30 Houses

Originally published in Photography is Art, Issue 12, December 2018, pp. 118-125.  Photography by Johnny Gin

The original emerald windows are one of the unique features of tong lau from the post-war era. They give us a glimpse of Hong Kong’s past.

Tucked behind the trendy restaurants and bars on Staunton Street in the Central District of Hong Kong is a piece of history the rest of the city has forgotten. I climbed several sets of steep steps behind the Police Married Quarters (PMQ) to find a quiet, shaded neighbourhood of low-rise buildings, “tong lau,” arrayed around a network of granite steps, airy terraces, narrow lanes, ancient trees, and quaint little shops. Tong lau –literally “Chinese buildings” –were built in the late 19th century to the 1960’s. They were used as tenement housing in southern China, Macau, Hong Kong, and Taiwan.

In the middle of the hustle and bustle of Hong Kong, 30 Houses is a charming neighbourhood that is only accessible by foot. The area’s core is Shing Wong Street, named after the guardian god of cities whose temple once stood on the current site of the PMQ. There are tong lau on both sides of Shing Wong Street, most being two or three storeys tall. Facing Staunton Street stands a taller grey building. Between Staunton Street and Caine Street are many small lanes that consist of tong lau and vacant lots. Once upon a time, tong lau stood in these lots. The ground floors were used as storefronts for print shops and other small businesses while the shop owners and their families lived in the upper floors.

Folding gates made with corrugated iron emblazoned with floral patterns is a common feature of tong lau in the 30 Houses neighbourhood.

The name “30 Houses” likely originates from an earlier 19th-century development destroyed by bombing during World War II. After the war, the government and local landowners redeveloped the area, and it became a vibrant working-class neighbourhood. Over the years though, the tong lau were torn down to make room for modern high-rises. As these new residential developments sprung up in the area, the “kai fong,” the neighbourhood residents started to move away.

I learned about this alluring and nostalgic area from Katty Law, a neighbourhood activist serving as the convenor of the Central and Western Concern Group. As a kai fong, she grew up on Caine Road and has watched her home neighbourhood transform.

“I’ve lived in the neighbourhood for over 40 years,” Ms. Law mused. “When I was young, there used to be a lively street market on Staunton Street. Now people see little trace of it.”

Not only are the original grocery shops, and dai pai dong, traditional open-air food stalls, have gone years ago, many of the remaining tong lau have also become dilapidated shells of their former glory. The Hong Kong Urban Renewal Authority (URA) has been planning to tear down the tong lau to build luxury apartments. But 30 Houses isn’t just any neighbourhood: with 19th-century layout and building orientation and early 20th-century architectural style and construction techniques it represents something unique in the city. The tong lau are rare examples of the post-war urban residential neighbourhoods built between 1948 to 1958. They make a striking contrast with the surrounding high rises, built in the more recent years. Once these historic structures are destroyed, a part of Hong Kong will be lost forever.

Human memory is faulty and ephemeral; it only remembers what the eye sees. Once a building is gone, it fades away and eventually disappears from the collective consciousness. Fortunately, photography has been a medium to document and preserve buildings and communities in the brink of disappearance. In 1967, American photographer Danny Lyon made images to give testament to the transformation of lower Manhattan. He was able to record the process of turning an abandoned mid-19th-century working district of markets, warehouses, showrooms, and hotels, to complex high-rises that eventually became the heart of the financial district, where the World Trade Center once stood. Lyon’s work was turned into The Destruction of Lower Manhattan (1969), which seized the rare moments before the disappearance of a neighbourhood.

The curved balconies of 88-90 Staunton Street can be seen while climbing the steps on Shing Wong Street. They add to the structure’s old-timey charms.

Johnny Gin is a Hong Kong-based photographer. His interest in buildings, and specifically, how the built environment and vernacular landscapes inform the identity of a city led him to photograph the 30 Houses area.

Gin’s lenses captured various stages of development and decay in the area. Wing Lee Street, made famous by the 2010 film, Echoes of the Rainbow is one of the few to have escaped demolition. The tong lau on this street have been restored by their owners but are missing many of their original details, such as emerald iron balcony fences, matching window frames, and folding gates made with corrugated iron emblazoned with the name of businesses.  They now look uniform, stripped away of the eccentricities that made them intriguing.

Behind the tong lau on Wing Lee Street is a massive retaining wall—another marker of Hong Kong history. Since the original City of Victoria –the colonial name for Hong Kong –sits on a steep slope, 19th-century engineers dug an “L” shape onto the side of the hill to clear flat land to build on. On the long end, they used locally sourced granite to construct a sturdy retaining wall, matching the flagstones on the neighboorhood’s stairways. Trees have sprung up in the gaps in the wall, their unruly roots stretched out like spider webs across the wall, leading locals to call them “wall trees.” (石牆樹)

Wah In Fong West is a narrow street, one side facing a row of tong lau across from a stairway. This arrangement reflects the original orientation and plot size of first and second-generation tong lau in the Tai Ping Shan area, a densely populated zone struck by the plague of 1894. Nowadays, it is the only remaining two-storey tong lau built alongside the granite steps in Old Central. Tragically, these unique homes are among the most deteriorated structures in the 30 Houses area. Their facades obscured in bamboo scaffold and mesh, the upper floors are barely perceptible from the street. Even so, remnants of their past are still evident: the emerald balconies with their original plant holders and the storefront signs mark what once was a print shop near the top of the alley.

This concrete building features the ventilation shafts in the staircases, providing airflow in the hot and humid summers.

My favourite building in the area is the imposing four-storey concrete building at 88-90 Staunton Street. Rusty metal gates obscure the store sign, but the ground floor might have been a “Cha chaan teng,” a traditional café that served affordable Hong Kong style western food. I imagine this is where the kai fong gathered for breakfast before work. One of its most striking features, common in neighbourhood buildings, are the long vertical ventilation shafts carved at the front of the building. These provide much-needed airflow through the staircases, especially during the hot and humid summer months. Rounded balconies, visible from the Shing Wong Street steps, add to the old-timey charm.

The best-preserved tong lau can be found on Shing Wong Street, three-story structure split through the middle with ventilation shafts. The owners kept all of their original features through recent restorations, including balcony railings, window fixtures, and folding iron gates. Storefronts occupy ground floors, while upper levels are reserved for rental properties.

As a long-time resident of Hong Kong, I probably walked by this hidden architectural wonder hundreds of times on my way to the bars and restaurants in the area. However, the tong lau, sitting halfway up the hill, are very easy to miss. They have been tucked away, decaying while their surrounding areas develop rapidly. With photographic evidence created by Gin, it is easy to see that though the tong lau are in a terrible and potentially dangerous condition, they embody the passing of time and tell the stories of Old Hong Kong.  Even though they can be seen as an eyesore to those who don’t understand their history, there is a potential to restore and repurpose these old tong lau and turn them into social housing that Hong Kong desperate needs, artists’ residences to allow creative pursuits, and retail spaces to attract tourists. Ms. Law and her group are advocating to preserve them as part of Hong Kong’s history.

“It is so important to keep the original character of these buildings, as they are a culmination of history,” Ms. Law said, “Perhaps Shing Wong, the guardian god of the city, is protecting our area. After all, the buildings still stand today.”

Notes:This text is based on the research done by Katty Law, Charlton Cheung, and Sjoerd Hoeksta for the Central and Western Concern Group.

The author has read The Life and Death of Buildings: On Photography and Time by Joel Smith (Princeton University Art Museum, 2011) to learn about Danny Lyon’s work in The Destruction of Lower Manhattan (1967).

Fancy but Faux? The Instagram Libraries of China

By Kayo Chang Black

HONG KONG— In the recent years, China has been building some of the most ambitious libraries in the world—and the country needs them. As of 2016, China has 3,153 public libraries for a population of 1.38 billion. To put it in perspective, the U.S. has 9,082 libraries as of 2015, serving a population of 325.7 million.

Public libraries in China

Source: https://0-www.statista.com.library.scad.edu/statistics/226455/number-of-public-libraries-in-china/ from Statista, May 6, 2018

When Tianjin Binhai Library opened its doors in 2017, it was every book lover’s dream come true—at 33,700 square meters and five levels, there is enough shelf space for 1.2 million books.  The library has also become one of the most coveted Instagram locations—thousands of visitors flock to the library to take a selfie in its gorgeous atrium lined with millions of books.

A library user at the atrium of Tianjin Binhai Library, April 18, 2018. (Personal Picture/ Leslie Montgomery)

The images of this fantastic library piqued Leslie Montgomery‘s curiosity. Leslie is a Hong Kong-based photographer, videographer the driving force behind DesignAsia – a documentary series that follows designers and artists and their creative pursuits. The images of the Tianjin Binhai Library inspired Leslie to not only visit that library but to also explore other architecturally-interesting libraries in China. In the fall of 2017, she visited LiYuan Library, Mulan Weichang Visitor Center, and finally, Tianjin Binhai Library.

Like many, Leslie has a soft spot for libraries. She used to spend her afternoons in her local public library after school to wait for her mother to finish work. However, she didn’t think about the roles of libraries before her trip. “For me, it started purely on a visual and aesthetic level.” She said, “Libraries were like the medium and then behind that, it was just architecture.”

Leslie’s adventure started in Beijing. She traveled for 1.5 hours north to Jiaojiehecun. LiYuan library is nestled in the lush hills, and it looks like a contemporary version of the wooden house made by one of the Three Little Pigs—the outer wall of the building consisted of thousands of individual twigs.

LiYuan Library from the outside, April 10, 2018. (Personal Photo/Leslie Montgomery)

Inside, bookcases line the walls, and there are blocks of bookshelves throughout the library too. They function as storage for books and steps for users to reach for a book on a higher shelf. Even though there are no chairs in the library, the multi-layer bookshelves created cozy nooks and spaces for people to curl up with a book.

Interior of LiYuan Library, April 10, 2018 (DesignAsia/Leslie Montgomery)

Then, Leslie went to Inner Mongolia in the northeast of Heibei province to visit the library of Mulan Weichang Visitor Center. Historically, emperors held their autumn hunting festival on this stunning landscape where the grassland ends and the sky begins.

The welcome committee of Mulan Weichang Visitor Center, April 14. (Personal Photo/Leslie Montgomery)

The visitor center is made of locally sourced materials such as stones, used wood beams, and rattan—it is also shaped like the yurt, which is the traditional housing in the region.

The core of the building is the lobby, which is where the library is located. Inside, it is bright, with lots of natural light from the dome-light ceiling windows.

The library portion of the Mulan Weichang Visitor Center, April 13, 2018. (Personal Photo/Leslie Montgomery)

While Leslie was in awe of the design of each and every one of them, she questioned whether or not they are “real” libraries. She ponders about the role of these libraries.

Many visitors of Tianjin Binhai Library felt the same way. To their dismay, they found out that the millions of books in the atrium are not real —they are painted.

Are these new libraries in China just fancy buildings with books in them? What purpose do they serve?

Agnieszka Gorgon is a librarian whose 12 years career spans across Dubai and Toronto. In the clip below, she discusses the role of public libraries in the Greater Toronto Area (GTA).

Interview with Agnieszka Gorgon, April 29, 2018. (Personal —Video/Kayo Chang Black)

Public libraries have always served their community. What about these fancy libraries in China?

As Agnieszka stated, one of the core functions of public libraries is to connect with the community and to educate and inform the community. The International Federation of Library Associations and Institutions (IFLA) is a non-profit organization that provides best practices guidelines for libraries around the world. According to the Statement of Libraries and Development, libraries provide a vital role in providing equal access to information for all, as well as giving their communities opportunities to learn and empower them to self-develop.

However, the designers were not thinking about helping users when they design the libraries. For example, Li Yuan Library opened its door to the public in 2011. Its designer, Li Xiaodong, an architect and a professor at Tsinghua University, created the perfect space and filled it with books. In an interview, Mr. Li said he intended to create a tourist attraction for the village, a place busy Beijingers can escape to on the weekend.

Interview with Li Xiaodong, April 10, 2018. (DesignAsia/Leslie Montgomery)

While the library is an ideal place to read, are there any plans to update their book collection and develop programs for the local residents? “I don’t think they’re really focusing on the books or the literature,” Leslie said about the collection of books in the libraries, “[Mulan Weichang Visitor Center and Library in Mongolia] rely on donations for books so you can imagine you know what their collection is like. These spaces are beautiful, and people take pride in these spaces. But as libraries, they really need to invest in what they’re putting inside.“

On the surface, these libraries are extraordinary and architectural wonders. However, without investing in their collections and programming, they are mere eye candy, for visitors to come in, snap a photo for their social media and leave.

“[After visiting the libraries] I feel like maybe the libraries were more built as pieces of architecture. However, to make them attractive, they need to give the buildings some meaning. Libraries are perfect for providing a meaning—they are wholesome, make people feel welcomed and it’s a place of learning.”

While it is a good sign that the number of libraries is increasing in China, there is so much potential for these libraries to be more than mere photo-ops. With more care and funding, they can transform their communities, while still serving as a tourist attraction.

 

 

 

 

Tying The Knot On All Hallows’ Eve

With the rustling of fallen leaves under my feet and the smell of roasted pumpkin in the air, I have always anticipated Halloween: the candies, the parties, and most of all, the costumes. Dressing up was always my favorite part. I’d spend months planning the perfect costume. Two years ago, I decided to blend my two loves by marrying the man of my dreams on Halloween.

Baz Luhrman’s film, The Great Gatsby, made me dream in art deco: the flowy frocks, the bling-bling headdresses, and the never-ending party. I fell in love with the romantic-yet-somber aesthetics of leather driving gloves, and matte vintage flasks in Jim Jarmusch’s Only Lovers Left Alive. I adored the idea of neurotic vampires, Adam and Eve, who collected ancient books and expensive guitars. The star-crossed lovers traveled around the world to be with each other, despite their undead circumstances.

My heritage inspired my wedding, too. As a Taiwanese Canadian woman, I always wanted a Chinese-style wedding dress, slim-fitting silk qipao with a Mandarin collar.

The Art deco style wedding party.

Janet Wong, a SCAD alumna, seamlessly assembled my ideas and eclectic sensibilities. She created the perfect dress for my three flower girls and myself.

“It’s black!” Mom gasped on my wedding day when she saw the dress. Well, it’s not quite black—it’s a shimmery, silvery black. A full-length dress with a Mandarin collar that cinches at the waist, embellished with delicate silver and black sequins in a zigzag pattern.

I commissioned a headpiece from Debbi Harrison Bond, an accessory designer. She used vintage glass rhinestones to craft my Daisy Buchanan-inspired sparkler. My nails were shellacked black dusted with gold glitter at the tips. To my art deco sapphire and diamond engagement ring, we added a simple white gold wedding band.

Art deco style headdress.

My three flower girls, the adorable sisters, were dressed in the innocent, timeless aesthetic of The Great Gatsby. They had ivory silk tops embroidered with traditional Chinese patterns of fish, Phoenix, and dragons. To complement my dress, their ensembles featured Mandarin collars. Each dress had a different gauzy, sweet, vanilla tutu. They wore little flower hairbands and golden ballerina flats.

My adorable flower girls.

My talented husband created my wedding bouquet of white tiger lilies and cheerful orange daisies wrapped in regal black-silk ribbon. I wore my mom’s double-strand pearls, matching earrings and glistening dark-grey shoes given to me by my friend, the mother of the flower girls.

My love and I.

After the ceremony, it was time for the costume party. Even my mom had a good time. Once the sheer top layer of my dress was removed, a knee-length dress was revealed underneath. Traditionally, Chinese brides change into three outfits during the wedding reception, but I didn’t want that for myself. My shorter dress gave me the freedom to move about, socialize and dance. My groom and I were vampires, joined together by eternity against all the odds.

Photography by Nikki Li and Ann Chih

This article originally appeared in The Manor.