by Angela Starita

During the pandemic, my 11-year-old neighbor, a lonely headstrong child from Bangladesh, came to my place daily. She’d walk right into the house and upstairs to my office once she realized that we rarely locked up in those months of seclusion. At first, I’d encouraged her visits hoping I could help her learn to read in English. Her mother had hoped the same but, no teacher of young children, I soon gave up. Her will to make videos, teach me the right way to make milk tea, and rummage through my makeup was far greater than my will to get this kid educated. She wasn’t my long-term problem, and for that I was relieved.
She began to come by more often, rarely keeping her mask in place, but I never sent her home. She was the youngest of four children, with a 21-year-old brother and two sisters, 19 and 18, who did everything together. They lived in a small, hot apartment on the top floor of a house down the street, so I knew I provided her with a break from her tight living quarters and maybe a lab for testing out new ideas or versions of herself. As for me, she fulfilled some excessive need in to insert myself as “helper” whether needed or not. Once she told me she dreaded getting her period and then having to wear a hijab, a claim I wondered about: was it true or was she looking for my reaction? Another time, she sat at my kitchen table and bemoaned her fate as a girl with a hopelessly backwards family. The issue at stake was her desire to become a “sad song singer” and her family’s dismissal of her dream. “Other girls can be sad song singers, but not in MY family!”
Why a sad song singer, I asked her? Why not a singer…you know, in general? She ignored my irrelevant question to launch a pained soliloquy worthy of a Douglas Sirk heroine while she adjusted my pepper grinder to its finest setting. I returned it the coursest grind and suggested she ask her brother, Abir, if he’d let her take a Bengali dance class I’d found in the neighborhood. No singing involved, but still in the realm of show business, I thought. Again, I was missing the point: she wanted to be like Gogon Sakib, her idol and a first-rate sad song singer. Read more »

Death has stalked me of late, claiming those whom I was once close to, or who remained closest to those who are closest to me.
Sometimes, when you least expect to, you learn something about your country and the toll it has imposed on certain of its citizens. In ancient times these learnings weren’t so serendipitous. During WWII, for example, you would have known folks on your block who served and came back. And some who didn’t come back.




I started reading about burnout when I walked away from teaching earlier than expected. Suddenly, I couldn’t bring myself to open that door after over thirty years of bounding to work. A series of events wiped away any sense of agency, fairness, or shared values. Their wellness lunch-and-learns didn’t help me, and I soon discovered I’m not alone.

Eugene Russell, a piano tuner interviewed by 
Sughra Raza. Untitled. June, 2014.

In philosophical debates about the aesthetic potential of cuisine, one central topic has been the degree to which smell and taste give us rich and structured information about the nature of reality. Aesthetic appreciation involves reflection on the meaning and significance of an aesthetic object such as a painting or musical work. Part of that appreciation is the apprehension of the work’s form or structure—it is often the form of the object that we find beautiful or otherwise compelling. Although we get pleasure from consuming good food and drink, if smell and taste give us no structured representation of reality there is no form to apprehend or meaning to analyze, so the argument goes. The enjoyment of cuisine then would be akin to that of basking in the sun. It is pleasant to be sure but there is nothing to apprehend or analyze beyond an immediate sensation.

