Thoughts

My Meat Pancakes (An Essay About Growing Up Half Asian in America)

Every holiday break, my 爷爷1 would drive nine hours with my 姥姥2 from Pittsburgh to Springfield to spend time with me. Since my 姥姥 gets dizzy easily in the car, she never got a license, leaving my 爷爷 to drive the entire stretch of highways himself

. Once, during a full day of Nutcracker rehearsal, I brought two 馅儿饼3 —I call them meat pancakes because that’s the closest thing I can think of to describe them— that my 爷爷 made for me. He spent the night before tediously preparing the dough and a filling of beef, chives, and cabbage. The morning of, he wrapped balls of filling with dough and pan fried them until they were crispy and flat. The umami smell was so inviting that I ate two for breakfast. Three hours into rehearsal, other eleven-year-olds were taking out their lunches of footlong sandwiches wrapped in the black, red, and white of Jimmy Johns. I took out the Tupperware that held my now-soggy meat pancakes, and its savory aroma filled the air. I remember, after my first bite, the girls walking by pinched their noses and complained of the smell. Their eyes darted around the room until they settled on me and my meat pancakes. Their skirts twisted sharply as they turned away and the kids sitting next to me also shifted. I remember feeling ashamed for eating my meat pancakes. I took one more bite and tightly shut the rubber lid.

What I didn’t understand at the time was why they reacted so differently to my food when we all needed food to survive. I was sad that those kids didn’t like my lunch, and I wanted them to. I didn’t want to be separated from others because of something small, like food. So I begged my 爷爷 to buy me Jimmy Johns before he dropped me off at rehearsal the next day. He was confused, wondering why I wanted a sandwich along with my chive baos, but I lied and said I was super hungry. I was hungry, but not enough to eat those baos. At rehearsal, the sandwich’s hard bread scraped the roof of my mouth, leaving it in terrible agony, but I felt great; I was sitting next to all the girls who were mice like me, and no one batted an eye at my food. After that day, I wanted to conform to their standards by getting my 爷爷 to buy those stale sandwiches for me. Yet every day, my 爷爷 insisted on stir-frying eggs and tomatoes, while my 姥姥 was adamant on feeding me her special pan-fried dumplings. I thought maybe they didn’t seem to understand the goal I had in mind. They were persistent in cooking something to place on the table so that when I passed, I couldn’t resist. Looking back on this, I regret how much I valued other girls’ opinions more than my own or my grandparents’ but it now seems obvious which one I have always cared more about: the meat pancakes tasted too good to forget. 

It wasn’t until I was thirteen, sitting at the dining table, eating stir-fried eggplants, that my view changed back. My 爷爷 and 姥姥 told me how they grew up in the rural countryside of Shenyang during the Cultural Revolution, a time when food was scarce. When the crops were ready to be harvested, my 爷爷’s mother would stir-fry an eggplant with simple fried rice. My 姥姥 used to eat her father’s fresh-caught seafood every day, until her home was taken away from her. She was sent to the fields to work endlessly, not knowing if she would ever eat seafood again. When I eat their cooking, it’s not only their food I’m eating, but generations before them—techniques and flavors passed down through memory and reminiscence. 

Listening to them made me regret my ignorance and stubbornness in not eating their food after all they have gone through to be able to cook a meal every day for me. I wanted to respect their courage in working hard to provide food to their families and taking risks like moving to Japan to get a better job. Up until then, I had lived in a gated community with my family and my friends, and my grandparents had gone through so many places, experiences, and tastes. I had always looked up to them as my caretakers and feeders, but never thought deeply about the life stories they could tell. This appreciation flickered when my food was rejected from a homogenous setting of white girls, yet it was rekindled when I saw my grandparents from another perspective.

 Now that I’m older, I want to appreciate their heritage and culture even more. In an effort to preserve the food I ate growing up for future generations, I want to learn how to cook my grandparents’ food. I realize my identity is formed through the heritage of food, and there is no reason to be ashamed. When my grandparents were starving, food was not just a means of survival but a way that connected their families through familiar scents and tastes. 

This past summer, when my grandparents drove another nine hours to see me, I asked how to make a meat pancake, but they told me to focus instead on my studies. I thought that I wasted that opportunity to learn from them when I was younger and free to do whatever. We have different priorities now—they want me to succeed the conventional way: get good grades, become a college graduate, and find a good job and family. But I want to connect with them more in the time they have to spare. I thought it was too late to express my gratitude towards our heritage in food but I was wrong. I realize, every time I eat out with my friends at a Chinese restaurant, it never compares to my grandparents’ cooking, and I know it’s because I take pride in the food that has been passed through generations to me. Because of that, it is now my turn to change their minds just as they changed mine through food.

  1. Grandpa in Chinese, pronounced ye ye. ↩︎
  2. 姥姥 in Chinese, pronounced lao lao. ↩︎
  3. Meat pancake in Chinese, pronounced xiàn er bǐng. ↩︎
Posted by Euphoria Yang in Thoughts, 0 comments

The Fountain (Short Essay)

 

In third grade, I thought it was interesting how so many people lined up for the water fountain after PE class. The line wrapped around the corner as impatient, sweaty little kids eagerly waited to get a sip. The thing is, this fountain was the worst fountain ever—it had zero water pressure, a metallic taste, and a rusted spout that looked like it had survived both world wars. You could be fifth in line and it would still take you several hundred “Mississippis” to get to the front. The water trickled—like a stream so far displaced from its river roots that you were pleasantly surprised it still flowed—and the only way to get any of it in your mouth was to place the spout dangerously close to your lips, then balance your head carefully between catching the next big disease and getting your ears washed. Yet I think, because it was the only fountain there was, at the only time we truly needed one, that everyone still lined up day after day. 

 

This past fall, I went to the Tate Modern while visiting London—mainly to satisfy my Harry Potter obsession—and a particular piece stood out to me. The Fountain by Marcel Duchamp was a porcelain urinal placed on its back with a quick signature near the bottom. Before I even entered the exhibition, I saw wide-eyed museum visitors surrounding Duchamp’s work. I found it strange how something so ordinary—something we hide in restrooms—could draw such attention and praise. Seeing the crowd squish itself to fit more spectators inside the room was even more remarkable. It was almost beautiful how the artist’s decision behind displaying the urinal gave it unprecedented artistic meaning and presence. Duchamp made it seem as if this urinal had something to say: Look at me! I’m worth as much as the other exhibits! — and people were willing to listen. Just placing a urinal in this vast white room changed what people thought they were allowed to see in it.

 

Interestingly enough, those years ago, it was next to my school’s fountain that I gave away drawings every day. It began when I drew a portrait of my friend with big sparkly eyes, extravagant dresses and accessories (she was practically Fancy Nancy on paper), and exaggerated dimensions—then my classmates wanted one too. Looking back, I don’t really think it was about the drawings. I was the first to dedicate time in creating something that was specialized to each individual; to be clear, I was not good at drawing, but I did have the time to devote to it. In the thirty-minute recess blocks, I would sit down with the communal bucket of colored pencils—pencils that had a 50-50 chance of being broken in half—take several out, and draw. I drew from imagination, so it was a miracle if any of my classmates could recognize themselves. Their faces came out slightly off—the eyes were shifted outward, their mouths were stretched uncannily wide, and those necks (I’m tensing up just recalling the images of the necks) were comparable to those of giraffes. If you stared at these drawings for too long, it was almost discomforting. Even though I colored in every corner, for some reason, these drawings still felt incomplete to me. Nonetheless, the next day, I would stand by the water fountain during recess and give them away. The thing is, as bad as my drawings were, I was treated as if I was selling limited edition Rembrandts—something expensive or valuable—and my third-grader self couldn’t comprehend why.

 

Eventually, the fountain and I seemed to develop a close bond. It kept trickling out water despite having almost nothing left to give, and I kept giving away drawings despite having almost no real skill. Neither of us was impressive by any measurable standard. But people kept coming back for that thin metallic sip and a portrait that could’ve been deemed abstract art. Standing inside the Tate inspecting the urinal, I then understood what Duchamp had displayed: Where and to whom you present something determines its value. Inside the museum’s grand walls, the urinal was given a chance to be seen from a new perspective. Standing in front of the urinal, I recalled how my classmates kept the drawings with features I never drew right, and then I understood why that was. I realized, maybe because that was one of the first times at school they felt recognized and seen, my peers found value in the artwork by appreciating this new type of attention. Outside the gym, because everyone was thirsty, they valued the only thing that created water, giving the fountain a fulfilled purpose. Creating, I think, only gets us so far but the rest belongs to the audience we present it to. They complete the piece by finding new meaning in it. Duchamp knew it. The fountain showed it. My drawings and I finally figured it out.

Posted by Euphoria Yang in Strange Ideas, Thoughts, 0 comments