Where is the "New Hope," again?

Sorry, I haven't gotten my pictures back yet — you'll have to use the picturemill in your mind. :)

On the road to Comilla, in the Chittagong District of Bangladesh, thin power lines stretch between clusters of houses and shops.
The bigger, steel utility poles, visible for miles, shepherd clusters of wires toward industrial concerns. "New Hope" is one such, a giant blue factory on N1, the Dhaka-Chittagong Highway, biggest structure for miles, with a Bangladeshi flag for its logo and Chinese characters in its name. It produces fish and poultry feed, and seems to have employed locals to carry sand in baskets to create a sand flat.

There is something difficult in seeing an small older woman in an ochre sari carrying a basket of sand on her head, dumping it, and slowly moving back toward the mammoth sandpile. I'm not sure why. It's honest work. Isn't she carving out the landscape like Bostonians did, building a future city's foundation by moving earth, creating a peninsula where it hadn't existed before?
That earthmoving work, done by the nameless thousands, undergirds Boston's present-day public transportation system, our school days, our nights on the town. People moved earth with their hands, with baskets, and in carts, because those were the tools available — it was a job, presumably for a poorer colonist.
But Boston wasn't contending with quite this level of powerful private industry when its landscape was forming. Maybe that's why this scene still feels ominous to me. The giant factory is so large, and her body so small. She will tire. She will shiver in the rain. She is susceptible to worms and bacteria and hunger. She will come and go. The giant blue feed factory, "New Hope," will live forever, susceptible only to rust, dependent only upon utilities and some organizing human brain — but not hers. (Who decided fish and poultry needed a factory so they could eat? Was that the best choice for this community?)
Is it somehow more ominous because her body is so vulnerable compared to earth-movers and backhoes? Does it feel problematic because the people in the countryside break their backs in the rain to do work that could be done by machine?
Yes. Because the people who hire them know this. Her worth is perhaps 1/100th of a machine. If she says "no," or "how about this way," there will be other bodies to carry sand, if those bodies begin to ask for benefits or education or a neighborhood school, the company might just decide it's cheaper to bring in a machine after all — I can just see that memo, the middle manager looking at his margins, saying, "Pay the damn freight! This has gone too far."
At least the worker who maneuvers the machine is the master of something. Skilled. More than just her arms, her legs, her basket.
That consistent chant of developers, "it'll bring jobs, bring jobs, bring jobs" — what does that mean, exactly, in this kind of landscape? Is any job a gift? What would it take for these jobs, and the local people who hold them, to carry weight and bargaining power? It's not enough to pay for a week's food, while leaving the powerlessness of poverty intact. What would jobs look like that did more?
I should add that New Hope does offer jobs besides carrying sand. Here's an ad for a control center operator for the Gazipur factory. New Hope also has charitable impulses. It has publicly distributed blankets to local residents during the Bangladeshi winter.
But, as developed nations working in developing nations, our responsibility, in service to the larger goal of development, is to offer more than handouts or two or three good jobs in a district. We shouldn't just get families through the week or through the winter, even if they are poor and uneducated. They are not dispensable.
What would a real investment look like? Doesn't she, in her sari in the rain, deserve to be supported in her vision for a better future? Climbing the hill with her basket, does she earn a place at the table, making decisions about the company's future in her community? Does she earn the time to spend with a manager, a decision-maker in the company, talking and thinking about what would support her family's livelihood in the long term?
When she does, that faceless blue factory will start to earn its name.

Snakes and Dragons: Breathing in order to Walk Down the Street

Though I'm embarrassed to say it, after several days in a whole different country, with an entirely different way of dressing, a complex set of cultural norms to learn and experience, and no small amount of political upheaval, my first blog post is about, well, me.

I haven't been sleeping. I'm full of anxiety. I've been really sick with a chest cold. I love my sister's apartment and it makes me happy to share the space, even though she's far away. My Google web sites are showing up in Bengali/Bangla because I had to change the timezone on Google calendar.

And it's hard right now for me to leave the house. Not just because I'm sick -- because I'm anxious. I try to leave the house early in the morning, as a kind of vaccination for the rest of the day -- if I do it once, I can do it again. The guidebooks tell you as a white person here you're always the center of attention, that especially for women it's worse and, of course, more dangerous to be on your own. I get so anxious thinking about it that it's better just to do it. A walk down to the river with some people staring is not nearly as bad as the books make it sound. You really do get to greet almost everyone. People smile. You get to read people's faces, see what they bring to the interaction, without any words. This lady asked me to take a picture with her kids.

Generalized anxiety is like a set of boa constrictors, which never quite kill you but choose a different part of your body and squeeze and squeeze until you're all worn out and scared. And if anxiety is snakes I guess fear is dragons -- enormous obstructions that stand in a path you might take and breathe fire at you until you either give up, or steel yourself to walk through the fire.

I've meditated once since I've been here, a simple vipassana. This I find very nourishing. While I am labeling thoughts and focusing on breath, it becomes clear where my mind is, the patterns it is falling into.

At the end of this vipassana, realizing how much anxiety and fear were present for me, I decided to do a bit of tonglen meditation: breathing in the heavy and icky, breathing out light and effervescence.

I have always done tonglen with some degree of reservation. Pema Chodron describes the practice as breathing in the crap of the world without resistance -- as she puts it, the practice "dissolves the armor of self-protection we've tried so hard to create around ourselves." I strongly resist the idea of breathing in the crap of the world. I never know how to breathe in the heavy, polluted yuck that exists in the world without allowing it to stick to me. Sometimes when I do tonglen, I keep that thick, heavy feeling all day.

But this time I read Pema's passages on tonglen differently -- she really sees this, too, as a place to confront our inner demons. "Start where you are. This is very important. Tonglen practice (and all meditation practice) is not about later, when you may get it all together and you're this person you really respect... You don't have to transform anything... That light touch of acknowledging what we're thinking and letting it go is the key to connecting to the wealth that we have." (Start Where You Are, 1994, Shambhala, 35)

The beauty here is that whatever you do for yourself, you do for others, and vice versa. Breathing in my snakes and dragons, being with them, their fangs and fire and scales and terrible constricting bellies, I had to breathe in fully. And, the next moment, I was still there, breathing. The snakes and dragons weren't gone, but they weren't freaking me out so much. Chodron writes, "When the resistance is gone, so are the demons."

I always thought that finger-wagging phrase, "Wherever you go, there you are" had a deterministic and judgemental cast to it -- I have often interpreted it to mean that my wanderlust was sort of an ill-disguised attempt to try to escape myself. The puritanical schoolmaster in me tells me to stay where I am, don't try to get fancy, don't focus all that energy on getting away.

In fact, "wherever you go, there you are" is an amazing and expansive truth --  wherever you go, you find opportunities to work on different things about yourself, you get to know different things about yourself. Different pieces of you are exposed to the light. Wherever you go, you discover new and beautiful and crazy things about you. There you are.

Here's a funny thing from today... I asked a friend if we could go to a bank, and we ended up at an ATM in Baridhara. There's a smiley guy who sits at the little ATM kiosk and opens the door for you. All day! He sits with the bank all day. There are no tellers, no bank managers, just this guy and the ATM kiosk. And he was pleased as pie to see us.