If You Love Your Family

I just returned from Pakistan. Well, sorta.

Wikipedia describes Moshin Hamid’s first novel, Moth Smoke as. . .

“. . . the story of a marijuana-smoking ex-banker in post-nuclear-test Lahore who falls in love with his best friend’s wife and becomes a heroin addict. It was published in 2000, and quickly became a cult hit in Pakistan and India. It was also a finalist for the PEN/Hemingway Award given to the best first novel in the US. . .” 

Adding:

Moth Smoke had an innovative structure, using multiple voices, second person trial scenes, and essays on such topics as the role of air-conditioning in the lives of its main characters. Pioneering a hip, contemporary approach to English language South Asian fiction, it was considered by some critics to be ‘the most interesting novel that came out of [its] generation of subcontinent (English) writing.”

One subtext of Moth Smoke is Pakistan’s endemic corruption. Corruption in the (dis)United States is relatively subtle and nuanced. I learned this three decades ago when friends, and The Good Wife and I, hired a van and driver to take us from Nairobi, Kenya to one of its national parks. Once outside the city, as we innocently cruised down a two lane highway, our uber-friendly driver got pulled over by Kenyan police. After talking to them awhile, I asked why he was stopped. Smiling, he said, “Speeding.” Cash payments from random drivers for faux “speeding” was how police supplemented their civil servant salaries. Immediately paying the fine was the path of least resistance. Just a part of doing business, like paying a toll to cross a bridge.

In Moth Smoke, Hamid explains how entire nations can become corrupt:

“Some say my dad’s corrupt and I’m his money launderer. Well, it’s true enough. People are robbing the country blind, and if the choice is between being held up at gunpoint or holding the gun, only a madman would choose to hand over his wallet rather than fill it with someone else’s cash. . . .

What’s the alternative? You have to have money these days. The roads are falling apart, so you need a Pajero or a Land Cruiser. The phone lines are erratic, so you need a mobile. The colleges are overrun with fundos* who have no interest in getting an education, so you have to go abroad. And that’s ten lakhs a year, mind you. Thanks to electricity theft there will always be shortages, so you have to have a generator. The police are corrupt and ineffective, so you need private security guards. It goes on and on. People are pulling their pieces out of the pie, and the pie is getting smaller, so if you love your family, you’d better take your piece now, while there’s still some left. That’s what I’m doing. And if anyone isn’t doing it, it’s because they’re locked out of the kitchen.

Guilt isn’t a problem by the way. Once you’ve started, there’s no way to stop, so there’s nothing to be guilty about. As yourself this: If you’re me, what do you do now? Turn yourself in to the police, so some sadistic, bare-chested Neanderthal can beat you to a pulp while you await trial? Publish a full-page apology in the newspapers? Take the Karakoram Highway up to Tibet and become a monk, never to be heard from again? Right: you accept that you can’t change the system, shrug, create lots of little shell companies, and open dollar accounts on sunny islands, far, far away.” 

*fundamentalists

Columbus and Graduation

You dig independent and foreign films, you don’t even mind subtitles, and you have four hours to kill. Here’s your 2017 double feature extraordinaire.

Columbus is a beautiful, slow paced film that explores how to balance personal ambition and family commitment. Columbus, Indiana, not Ohio. Showing now in independent theaters. Two thumbs up from Alison Byrnes who was the only Millennial at her screening.

From the NYT review:

“Jin (John Cho), an English-to-Korean book translator in Seoul, travels to Columbus after his father, an architecture historian, collapses while in town for a talk. As Jin waits to find out whether his semi-estranged father will ever regain consciousness, he strikes up a friendship with Casey (Haley Lu Richardson), a tour guide and lifelong Columbus resident. A year out of high school, she is tempted to leave to study architecture, but she fears for the well-being of her unpredictable blue-collar mother (Michelle Forbes), for whom she cooks and essentially looks after.”

Graduation provides a lasting feel for life in Romania, and by extension, many other countries where people’s daily lives are shaped by connections and corruption. It also explores how to balance personal ambition and family commitment.

From the NYT review:

“You might think of Romeo Aldea (Adrian Titieni) as a helicopter parent, a father whose heavy investment in his daughter’s success seems both laudable and a little frightening. For Romeo, a doctor in a provincial Romanian city, Eliza (Maria Dragus) — his only child, in her last year of high school — represents his only basket and all the eggs inside. He clings to the faith that his thwarted ambition, his battered idealism and his dented self-esteem will all be vindicated if Eliza wins a competitive scholarship to study in England. He and his depressive wife, Magda (Lia Bugnar), who lived in exile before their return to Romania after the end of Communism, are not up to leaving again. Eliza’s escape would be an antidote to her father’s disappointment with the spiritually and morally desolate place his country has become.”

Available on Netflix.