Dhaka: A tale of two cities

Coming to Dhaka as a foreigner but also a native offers me windows into various interpretations of the society today. Dhaka is a meshpot of individuals, coming from all over the country, and the world, to create a hub of chaos, as well as inspiration.

I am both a foreigner and a native because I was born in the desh, but have spent all my life in New York City. Since moving here in October 2014, I’ve been on a journey to discover more about this land, people’s lives, and my personal attachment to it all.

As the case of many cities, Dhaka is divided in two— the haves and have nots. The contrast between the two socio-economic groups is remarkable, if we were to observe the extreme scales.

The former, are affluent individuals and families, that have copious political, social, and economical power in society due to their wealth coming from businesses, social enterprises, education institutions, and connections to the West. These are folks who have their lives made— with housemaids, chauffeurs, cars, and safety and security in their neighborhoods of Gulshan, Bonani, Boshundora, Baridhara and Uttara. These areas fall in the Northern part of the city.

The latter, are hard-working impoverished Bangladeshis, living in the slums, hidden away in alleyways, and tin houses, squeezed into uncomfortable spaces, and without much economic or social agencies over their future. Here in Dhaka, many of these folks work as household help, day laborers, rickshaw / bus / van / personal drivers, boatmen, or run dingy small businesses.

Many slum-dwellers also travel outside of the city walls to work in neighboring areas in the garment factories. These folks have unstable lives, severe lack of education and a lack of any real social mobility. It takes generations for kids to dig their families out of poverty. It is becoming easier with technology, and access to NGOs working hard on the ground, but the gap is still existent.

What amazes me most since being here is the attitudes between the two groups. Being an American, I have been conditioned into believing in strong notions of equality, justice, and fair treatment— and though the US has its own issues with race, and socioeconomic systems of oppression for minorities, citizens still have a sense of claim for impartiality and belonging. Here, it does not seem to be the case though.

In Dhaka, the lives of the two groups are utterly disconnected, although they exist within the same space of time, and environment. Household help do not utter too many words, and may be treated as shadows of their selves. Elite Bangladeshis expect those that are “below them” to address them properly, according to the hierarchy of social construct / conduct, in which they must be called “sir” “madam” or “boss”.

What has been most interesting to observe is the mentality of the wealthier class of young folks, who may be leading the country someday, given their privilege and positions of power. Rich Bangladeshi kids that hail from wealthy families, for the most part attend prestigious private universities, and do not mix with “locals” besides the ones that work in their homes— and even then, their behavior towards a lot of these workers may be belittling.

These kids are sheltered within their privilege, always traveling around in their fancy cars, even if the distance between Point A and Point B is a 5-minutes walk, because they cannot spoil their rich imported clothing with dust, from the streets of Dhaka. They look down on not only the poorest, but also middle class folks, who must travel in crowded local buses or prefer to eat street food, since it is much cheaper than the alternative option of dining out. These kids go to fancy restaurants and coffee-shops in the upper-scale neighborhoods with pricing equivalent to what we would pay in New York. Often, one bill may come out to be thousands of taka, which would feed a rickshawala’s family for a month.

The disparity is devastating and mind-boggling for someone like me, coming from the West, and having to come to terms with the differences in lives and mentalities of these groups. Inequality exists everywhere, but not as extreme as in these parts of the developing world.

On the opposite spectrum, in order to survey how the poor cope with their socioeconomic standing and lives, I have been having conversations with household workers that reside in my relatives houses, as well as speaking to people I run across in my wanderings around town.

It is perplexing how many of the house maids I have spoken to, are living within their own realm of reality, and never fully coming to terms with their situation or existence. It is as though some of them live only to go through the motions, without ever addressing their paucity of power. A housemaid in my sister-in-law’s house, from one of the most impoverished areas of the country, had been to Lebanon and Jordan, as a migrant worker, and yet she could not speak Bangla properly, nor sign her name– how is this possible?

Other workers I have spoken to, are bold and strong, and are working towards a better future and are very self-aware about their situation and what they must do to escape the trap of impoverishment. A housemaid in my Uncle’s house knows that if she works hard for two years as a maid, she can save up enough money to buy a sewing machine, and open up her own business; her dreams of entrepreneurship push her to continue working hard every day. Her husband is “lazy” and “unmotivated” she says, so she lies to him about her whereabouts, claiming to be living with her sister, and continue to work in households.

So many narratives, in one place, that often, if we do not learn to unpack all that we are seeping into ourselves from mere experience of ‘being’, it may become overbearing.

I find everyone I speak to has something to say, and with their stories, I am able to learn more about people’s perspectives of the world, in the place of where I’m from.

The slums of Korail, squeezed between the surrounding upper-class neighborhoods of Banani, Gulshan and Mohakhali.

The slums of Korail, squeezed between the surrounding upper-class neighborhoods of Banani, Gulshan and Mohakhali.

The Price of Strawberries—

If you ask a common man in Dhaka,

Sir, what is the current price of strawberries?

I doubt he would be able to

give you an estimate, or an answer

His response might have once been,

“But what are these ‘strawberries’

that you speak of?”

You see, strawberries,

bursting with their blackened, peppered seeds,

which resemble the beauty of a freckled face,

and its ripened red of a fresh wound,

a cut of newly sliced flesh,

holding the breath we have inside ourselves,

could once not be found,

in this city.

But thanks to globalization,

We can now find samosas

in the little stands on London’s tube,

Sugarcane in shops in Spanish Harlem,

And strawberries,

in the higher end groceries, and bazaars of Dhaka

But with this ease came a price

A human price that we had to pay for it,

In the amount of men

Who left their little humble homes in Bangladesh,

Heading to the West,

as West as where the sun sets,

To find jobs as strawberry pickers

And here,

In the quaint, isolated villages of Greece,

they picked strawberries to their heart’s content,

For months, and months, and months,

In the scorching sun of the Greek orchards,

Only to be cheated of the price of strawberries,

Not a penny was to be given

To these rugged, burned-by-the-sun men,

By crooks who asked them to come to their orchards,

And paid with gunshots and bullet wounds,

And of course, were privileged to be acquitted—

So next time you plop

A delicious strawberry into your mouth,

Do think of the blood of the migrants,

Who gave them their taste

 

TO GO WITH STORY BY RAPHAEL HERMANOA mi

Photo: The Guardian.

The Land is Ours, Too—

Can you strip me?
Can you strip me
of my legality,
my papers,
my father’s sacrifice,
my mother’s heart
torn from her own family,
20 years spent
across seas,
to build a new life,
in this country,
and then can you simply
strip me of this identity?
Can you strip me,
of this brown body,
that stands before you,
defiantly?
Can you demand me
to go back
to where I came from?
If that place
is nowhere but here,
where you stand,
can you tell me–
This land is yours?
What validates
your ownership,
and denies mine?
We didn’t grow
from the dirt,
did we?
Ask the boats,
ask the planes,
ask the tunnels,
ask the skies,
which brought us
to these shores,
One and the same:
Immigrants.
So tell me,
Can you strip me
of this identity?
my-country

film still from Satyajit Ray’s ‘Ghare Baire’ / “The Home and the World”

6 YARDS —

All it took for me to be posed

As a national threat was

6 yards of fabric

Wrapped tightly around my body

Hugging every limb of hurt, pain, and fear

My father came here as a soldier

Of domestic labor

“To diversify America,”

Said the visa

But it was a ploy to bring

Brown men to do the runt work

Selling peanuts,

Selling donuts and coffee,

Selling their sleep,

Selling their dignity

To earn a few dollars

And this same country,

Kills those same people

Who wear markers of our culture

A topi

A beard

A salwar kameez

A hijab

And America no longer

Needs the labor of the lower

The grunt of the immigrant brigade

The need to “diversify” America

Suddenly decreases

But our people still die

And thus, I have to hear-

“Ma, tui sari porre bahhirre jacchish,

Deri korish ne.”

My own mother

Grows wary

Of the six yards of fabric

And the threat it poses to my own life

In this glorious land of the free

God bless the

U.S.A.

image

 

 

Love Dry

Love Dry

 

Which Sun God did you worship

which led you to the Moon?

 

The depth of cracks that lie

within a person was not a trail

for you to follow,

but a trial for the jury.

 

The notes of the Grand Orchestra

at the opera hall reached a crescendo,

and I was enamored for the vibrations

brought me back a taste of your smell.

 

Shuttered windows could not keep

the intensity at bay.

 

As you began to ascend

into the deep, dark woods –

all you saw were

clearings upon clearings,

filled to the brims

with puttering raindrops,

that fell as acid does

on nature’s carpet.

 

I was left marked,

not by the drops,

but the doubt.

 

You knew

you were fighting

a dying battle –

no one comes to a death-match

to watch the show.

 

Cowering in amazement,

bodies went flying,

and boom!

You were amidst a war

only a heart filled with curiosity

could survive.

 

The potato was to be

cut into cubes,

and eaten as small gifts

from God;

savoring each bite,

in a famine of desires.

 

AXE PEACE

AXE Peace – Call to Arms

 

Faham – فحم

فحم  n. — ‘glowing ember’ and ‘charred remnant’; coal
 ~
Fa7minni / فهم مني (understand me)
we were the quick-lite coal
that lasts all of an hour
before dying
winding its way down
to nothing at all
 ~
Astam3-li / استمع لي (listen to me)
what burns quickly
raging with passion;
ignited by arsenic desire
can only be
a quick brush with eternity
before the last embers
go awry
 ~
Hadayinni / هدئني (calm me)
i was fuel
while you were ash
rapidly reaching for another
way to survive
~
why is it possible for bare feet to touch red-hot coals without getting burned?
~
Ashrah li / اشرح لي (explain to me)
~

2-v40-a12-1905_v1-1-1

Étienne Dinet’s painting – ‘Esclave d’amour et Lumière des yeux’

“worlds apart”

crimson mornings
city of the dead
layers and layers
piled with garbage

sultry sweetness
of baby blue water
glowing mist amok
the river of padma

cold, frigid, cold
the floors scream
cold, frigid, cold

mustard fields
of madness
suffocating us

the man who sold
scarves and shawls
had a few rugs
tucked away

dead bodies lie, while
young friends wander
haplessly

a life lived
has moments
that cannot be
explained in mere
words

vixens, and viceroys

dirty-pilot-and-papermonster-friends-with-knives
there was love pouring
from your eyes
into buckets of belief
but not all that lives will deceive
so why kill what was once good?
the long-night chats
which only fortified the feelings
but, acknowledge— you are a soldier
in an army of many
thread careful, deary
for vixens know no wrath
sprinkling the seeds
of hope and undying growth
into unborn babies
not taken to funerals
bleary-eyed and waning
roads begin to dry up,
as the rain pounds down on it
the craters are once again
crumbling
would you have known if
the messenger died a royal death?
you give and you give
only because she takes you
in full strides
galloping your way
straight to the gallows
searching for familiarity
in a crowd of millions
only to find a fiery fox
wrapped in the arms
of a spurned lover
embers ablaze
in the hidden shadows
watching away as the box unfolds
exhibiting the pain of
yestertomorrow
ease into the disappointment
that comes with loving
pieces of a person
preemptive, precise ways
dictating how we destroy
the decapitated yearning
that comes with
unavailability
long-drawn silences
lovers quarrel
shielded under assumptions
of the Nile

“Pain(t)ing”

When tragedy strikes,
you are not the first person I seek.
And yet there is a confidence,
a quiet form of immolation,
which comes in my seeking you.
Was it ever about the feelings,
or were we painting pictures for
others to see?
Did you know I waited all night,
for a moment when you would
come back, and calm the fire
burning away?
Somehow,
drowning is a better alternative
to being set aflame.
It was a rash decision to call you.
But seeing these vivid colours on
the walls, and the way
they scream
serenity, and
carpe diem,
implored me to do so.
I was not left with a choice.
Perhaps the way I speak of you,
it is what will not ever allow me
to fall back into place –
jigsaw pieces seeking peace.
We are oars;
stroking away our pains,
somehow, somewhere,
and hoping one will understand
the layers that went into
excavating our beings,
to bring myself before you.
Why should shame be a sham?
And brushstrokes be benign?
As though we should remain
completely hardened, and
never heal in own ways.
Why do places reek of
people that have long left it?
Why do bodies seek others,
when the mind knows there is better;
in another time,
another land;
waiting?
paresh-maity-dream-oil-on-canvas-36-x-84-in_499x215

Painter: Paresh Maity

“Purse of Pursuit: An Ode to Girls Who Travel”

We never belonged on land. We never belonged to anything rooted in reality and real time. Actually time was never a factor when it came to the way we saw the world. Mountains, motorbikes, lazy lunches in local restaurants, lovers lusting after our listlessness, bazaars and crowded corners of local bars— that’s where we belonged. We never had our feet on the ground or our hearts tied to certainty. When they said settle, we thought of the openness of the sky that never answered to no one, and did not compromise. Our hearts were tied to the feelings of soaring and sailing and glowing with glee as we welded our own selves into the places we traversed. Cussing and disheveled because they could not handle the craze that wafted when we walked by. We loved madly and yet never loved at all. Invited to bring a plus-one to weddings but bringing none. We did not belong to the routine or the mundane. All that was stationary was dangerous to our eyes. If humans were to stay in one place, why would men create machines with wings? We were never to stay still; silent and submissive. We were never to be found in one corner of the world, reaping the last regrets of a well-planned life. We were never to keep ourselves planted for too long.

syrian artist tammam azzam's depiction of women

syrian artist tammam azzam’s depiction of women

“hues of men”

the vibrancy of the cities
as they mesh
and he sits and counts
the days he has lost
tied to a dream of a dream
far away from the daily
toils and turns
yearning for a sight of himself
who no longer remains
captivated by the closing
corruption and creed
they stopped us in a field
to try to reap the regrets
of their own underlining fears
their lives will not equate to much
so they grope and pillage
the pawns of the public
prosperity here lies in deceit
as he goes everyday to find
a part of him in every system
contributing to the demise
of this godforsaken nation
burning through the brass
lies upon lies
cries of consolidation
take me to a place
where we are no longer
blinded by the lights
of the slums and the towers
the discrepancy eating away
how long will it stay
destructive in its desecration
take me somewhere else now
where nothing is no longer familiar