Hello Chicken Soup

Goes the market women’s mantra song waiting for customers in Sapa, Vietnam.

Basic English is all you need to sell chicken soup. It arrives with long white noodles. Food women work from 5 a.m. to 8 p.m. seven days a week. 

Sellers, shoppers, locals, a few tourists with guides or in pairs feel comfortable with inexpensive market food. What is the profit margin, food cost, labor cost? 

Two foreigners live here. One is a Frenchman mid-20 with a brown ponytail. He speaks fluent H’mong. He stands on the cement staircase between the cloth market and sprawling food tables. He stares at people eating. He doesn’t smile.

He was married to a local H’mong girl, 19. She had a baby. Two years ago he left her. He pays support. Now he is chasing a Red Dzao girl. He works for the International Manipulate Relations Love Company with a Big Orgasm.

A fluent thin foreign man in his 20’s wearing large framed glasses carries a worn knapsack. He walks fast. He buys greens and tofu. He goes into a small shop for cooking oil. He hurries away over broken disjointed concrete blocks covering the central sewage system. He is in exile from far away. 

The Red Dzao women are persistent sellers, Buy from me. Repeat. Repeat. They never give up.

Mo, my 10-year old teacher gave a good lesson in how to handle these sellers. We were hanging out.

She said, When the women ask you to buy something, don’t say maybe, or later, or not now, or tomorrow, they will remember you and now and maybe and later and tomorrow they will tell you, you said tomorrow, later, maybe, now, Thanks for the lesson, Yes, I don’t know but I understand.

My and Mo, Sapa, Vietnam

Red Dzao

Mo

Grit & Gratitude

Being nine Lucky helped 4th grade geniuses become more human near Jakarta.

Engage-study-activate. Everyone had fun.

Students learned that whining was boring and useless. Smart ones knew without understanding. They knew what they didn’t know.

Kids shared Socratic discussions. They explored and expanded creative imagination journal writing, cross-disciplinary art, chess and teamwork development projects. They built and flew kites.

They practiced good manners and treated everyone with respect.

They focused on developing character: zest, courage, grit, self-control, social intelligence, gratitude, optimism, curiosity, fairness, generosity and integrity.

They shared soft eyes, relaxation techniques and meditation mind maps. They accepted personal responsibility for learning and exploring the process of becoming.

He assisted them to develop critical thinking skills outside imaginary social and educational conditioning traps. “I am here to help you make mistakes.”

One day a young teacher kid said, “We need challenges, Teacher Lucky.”

“What kind of challenges?”

“We need hardship and deprivation.”

“Yes,” said another teacher, “we need to take more risks.”

“How do you develop courage?”

“Through failure. We love to fail better."

“Correcto mundi. Welcome to The Think for Yourself Academy. Everything we do is an experiment.”

They planned, designed and constructed an elaborate high-risk rope and creeper vine obstacle course in jungles challenging body, mind and spirit. Teamwork skills blossomed like orchids.  

*

Residents near his garden sanctuary passed a tall green spiky cactus stretching arms into bluebird songs. A nanny carrying an infant memorized the echo of white cat paws trailing flip-flops. Faustus, seeing throughinnocent eyes rode behind his pedaling Chinese father.

A laughing skipping girl negotiated freedom.

A beggar wearing broken shoelaces studied pavement. A man spinning in his labyrinthine puzzle struggled with an activated cell phone in worn green baggy shorts hoping the call would save him from loneliness, boredom, alienation and metaphors like death.

Children in pink pajamas collected brown leaves and fragrant yellow-white hibiscus flowers.

In Bahasa sun a middle-aged daughter spoon-fed her mother in a wheelchair. Swallowing love her smiling mother remembered when she did all the feeding.

The Language Company

 

 Gili Air Island

Knife Sharp Man

One morning after Saigon noodles in a cold alley a man, 60 after wars and cold hard survival prematurely ages humans, sits sharpening a knife for a woman customer, redefining the steel.

No left foot. He curled his leg stump back resting it on a boot.

In the afternoon he walks past with a shuffling gait. He's wearing a green fatigue shirt, hat, motorcycle helmet, carrying his worn red plastic bag of simple tools. Knowing his truth, not knowing his story. A land mine or a stray bullet?

His left boot is an old combat relic, a discarded war object. It is split down the front.

It is brutally hot. The sun is behind him. How does he feel? Where is he going? Home for lunch and rest? Looking for more dull edges.

I am always walking, he said. I stop, find work, sit, sharpen an edge, get small money, put away my tools, put on my fake foot and walk. I eat noodles or rice on the street. I nap. I walk and work until dark. Then I go home. Home is where they have to take you in.

I am a storyteller with tools for sharpening life’s dull imperfections and sharp mirror reflections.

I am surrounded by amputees, he said. They approach me on their crutches, their hands out. They wheel themselves down the street on little trolleys, without legs, low to the ground truth.

A one-armed young man wears an old blue baseball hat. He sees local businessmen approaching. They wear fresh pressed white shirts, leather shoes and shiny silver belt buckles.

He takes off his old hat. Holds it out. It is empty. They ignore him.

He puts it on his arm stump, runs his one good hand through his black hair, puts his cap on and moves down the street. 

I am in the army now, he said, an army of the legless, the armless, armies of physically wounded forgotten humans. They know you and you know them.

Literary Agent Orange

Rip my heart out. Build the tension with cinematic pace. Then en masse in a dramatic climax they escape the clutches of the evil manipulators. In the falling action they join a safe community women’s shelter based on healing, recovery, regaining personal strength, dignity, self-respect, empowerment.

         They learn new job skills like cutting and selling ice.

         They learn how to weave. They discover their life needle leads a story thread. They take control of their life.

         They form love killer groups and hunt down men and women who betrayed them. The women kill them with love and compassion. The denouement is their brutal REVENGE. Best served cold. Calm, detached and honest. Short fast and deadly.

         BUT, said agent alliterated, I’m pretty. I’m pretty busy reading obscure vague query letters and synopses filled with vowels, consonants, phrases, sentences, paragraphs, tough love, mysteries and dime store romance, not to mention salacious graphic comics.

         Get to the verb. Get to the action. Establish a scene. Paint a voice. Develop characters, narrative, structure, plot, thematic unity, setting and multiple marketing platforms from recycled manuscripts. Pulp. Keep me turning the page.

Make the characters want something even if it’s a drink of water in the middle of the Gobi. Everyone needs water. Leo can tell you about the value of water in the Gobi.

         You mean, said Ice Girl, writing is like standing on the edge staring into an abyss called civilizationwith Leo, a courageous noble savage cannibal wearing an alarm clock around their neck committing sewer side with absolute free will above shimmering blue pools of incandescent liquid molecular frozen particles with brave stone cold clarity immobilized at heights of illusionary immaculate freedom seeing their immortality, their deepest fear in ROOM 101 alongside brave OTHERS unflinching in their love, compassion and goodness, this infinite potential?

Destiny in eternity? Where all points end at infinity? Where eternity plays with time? Before jumping they yell, People think art is easy. Tell them it’s like jumping off a 12 story building every day. JUMP!

         Yes, said the agent. I know it can be heart breaking. You develop your wings after jumping.

         You don’t know the meaning of heartbreak said Ice Girl. I’ve buried more people than you’ve published. Once I witnessed an old man wearing a rainbow knit cap write Eternity on a paper napkin in Planet Paradise, a coffee joint in Eugene, Oregon.

He torched Eternity with a match. His tired traveling blazing eyes watched Eternity burn to a cinder. Black and white ash and dust fluttered from his fingers. He mumbled incoherent incantations about fate’s joke, meaningless life, existential choices, irony and consequences. Something like that, said the agent with vague ineptness. Life is a chess game of experiences we get to play.

         The burning seer burned his inner light. He walked into a world trailing ash, feeling wind in his heart. Sun burned his retinas. Tides of time in the long now ebbed and receded where the event horizon blurred his cognitive facilities.

He lapsed into a stream-of-consciousness run-on sentence talking to shadows, ghosts and shamans. He approached the point of universal consciousness with mind-at-large where fiction memory dream and imagination are the same thing. He confronted the endless abyss. He jumped. He saved himself, said Ice Girl.

         Go on, said agent. The publishing world is a crapshoot. A casino. After expanding the narrative angle give me mythical evil, cold blooded sadistic mega maniacs, corrupt politicians, civil servants, millions of poorly paid laconic Asian teachers, nurses, doctors and financially motivated international bankers and politicians practicing fraud, sexual harassment and NGO graft under the auspices of organized crime.

Finch's Cage

In Sapa, Vietnam I discovered a side street and thick cold java at a run-down Internet cafe. I sat outside.

Finch had a yellow chest, red beak and brown feathers. It was outside a plate glass door. It’d escaped from its small yet safe bamboo cage in the main room.

Someone, perhaps the young mother worried about her wailing infant or her brother worried about dying of boredom or her old mother worried about dying alone had left the cage open.

Finch sang, “Where’s my home? What is this beautiful world?”

Finch hugged the ground. It looked at green trees waving across the street. It saw a deep blue sky. It inhaled clear, clean mountain air. It heard birds singing in trees but didn’t understand them. Their songs were about nesting, exploring, flying, clouds, trees, sky, rain, warm sun, rivers, bark, worms, snails, and melodies of freedom.

I wondered if Finch would fly away. I hoped so however I knew it was afraid to go. Perhaps it lacked real flying experience, the kind where you lift off fast beating your wings to get up and get going to escape the weight of gravity or memories filled with attitudes, beliefs, values and fear pulling you down.

Free, you turn and glide, relax and soar.

Finch being conditioned to the caged world of bamboo with a perch, food and water looked and listened to the world.

Finch retreated from the possibility of free flight and pecked at loose seeds in a narrow crevice below the door. It smelled the dark stale room where the cage hung on a wire. It pecked under the frame. It wanted someone to rescue it.

It sang, “Help! Let me in. I want to come home. I’ve been outside and I’ve seen enough. It’s a big scary place. I promise I’ll never try to escape again. I was curious, that’s all. I’ve seen enough. Let me in.” 

Finch was amazing in it’s beauty. Yellow, red, brown and bright eyed in its aloneness. 

An old woman opened the door. She trapped Finch in a purple cloth and returned Finch to its cage. She closed the bamboo door and snapped the latch shut.

“Did you learn your lesson little bird?” she said.

Finch sat on its perch, enjoyed a long cool drink of water and sang, “Thank you. Now I am truly happy.” 

The old woman didn’t understand this language.

Muttering under her breath about inconvenience she shuffled down a long dark hallway to a kitchen where she killed a chicken for lunch.

Mandalay