An expat in Vancouver first impressions: food

I’ve only been in Vancouver a week, so as the post title states these are first impressions. We’ll see how they stand up to time.

Diversity

Vancouver is practically synonymous with diversity, and much of that comes from Asia. Yes, Chinese noodle houses and Japanese sushi joints are ubiquitous. But within walking distance to my condo I can also get Ukrainian borscht, Malay roti, Montreal smoked meat, Lebanese falafal, Indian Korma, Korean BBQ and more, as well as the usual pizza, tacos and burgers. The presence of this diversity doesn’t mean it is all good (or hygienic). Just that it’s there.

Locavorism

In Portland, it goes without saying at almost any modern eatery that the food is locally sourced, seasonal and organic. Even chain groceries like Safeway and Albertson’s are giving organic more than lip service. In Vancouver, that ethos is present but not a given. More often than not the Asian grocery stand, while carrying almost everything you’d need in a kitchen from Japanese boiled chestnuts to Italian tomatoes, will not carry organic produce. Vegan is fringe; compare that to Portland where the Oregonian’s FoodDay has a vegan columnist.

Chinese influence

The most striking immediate change on the scene is the great Chinese food. The demand for excellent dumplings, seafood, noodles, vegetables and, it must be said, viscera, from the many Chinese from the PRC, Hong Kong, Taiwan as well as Canadians of Chinese descent, benefits us all. On our first night we were driven by hunger to a drab, unesthetically lit noodle joint in a non-descript mall in the nearby municipality of Richmond (almost 50 percent Chinese) for a simple and authentic meal of shrimp dumplings, “fish tofu”, noodles, gai lan in broth that comforted and sated.

Now I need to track down one of those dim sum food carts I’ve heard about.

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An expat in Vancouver first observations: health care

Today marks the end of my first week as an official Vancouver resident. This was an easy move because we did not have far to go (from Oregon), there are no language barriers in dealing with mainstream society, and the environment is very similar to what we left.

And yet, there are differences. As in all foreign cultures, the reasons for why things are done a certain way reveal much about differences. E.g., there is a lot of Chinese acupuncture here. It would be obvious to assume the reason is the large Chinese population. True, but more pertinent is the fact that traditional acupuncture is covered by health plans because of that large Chinese population.

This is so different from the US, where acupuncture is not covered by mainstream insurance plans, nor is there any acceptance that I am aware of any health treatment that originates from one of the US big ethnic segments. Are Korean herbs covered in Koreatown, Los Angeles?

I’ve noticed a lot of therapeutic yoga on offer. Again, this is because many health plans cover it as a treatment, for multiple sclerosis in particular (MS is more common in the Pacific Northwest than in many other parts of the continent, one theory being that the lack of sun and Vitamin D are to blame). If it were covered in the US, there would be the same incentive for studios to offer it.

We’re learning a lot about the famous Canadian health care system. As in the US, it is beset by political debates. Of course, there is virtually no debate on whether or not it should exist. The arguments center on how to improve delivery and quality and keep costs under control.

It is also not “free” if you consider the taxes (high) paid to insure everyone. There are also fees, such as on prescriptions. Drugs aren’t cost-free, but what you pay is determined by income. That seems fair. What a concept.

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Ozu’s “Late Spring”

Some time ago I watched Yasujiro Ozu’s “Late Spring” again, in part to examine the parallels between that beautiful film from 1949 and a French one released in 2008, “35 Shots of Rum” by Claire Denis. In the bonus section of the DVD, Denis explains how “Late Spring” inspired her film, and indeed, there are many similarities in focus and narrative between the two.

Lots has been written about this quintessential Ozu film, and the very strong, often perplexing to contemporary audiences, bond between the adult daughter and her father. Some critics have suggested that their relationship is incestuous or at least a demonstration of Oedipal urges, but most focus on the director’s subtle but profound representation of changing post-war family relationships.

Myself, I wonder if Ozu wasn’t tapping into the same foundational shift in Japanese culture that in modern times led to kawaii culture and Takashi Murakami’s Superflat art movement, which express Japan’s postwar impotence and infantilism as a response to the blind subservience to a militaristic, godlike Emperor, the trauma of the atomic bombings and an American occupation. There is the famous, apparently random “still life” shot of a Coca-Cola sign in the movie as a reference to WWII and the changes it brought.

Ozu’s films deal with people and emotions, however subterranean, and not trivialities. The daughter wants to remain at her father’s side forever, she is revolted by the idea of sex, and resists pressure to marry and strike out on her own until sadly giving in. Even after her marriage plans are underway, she makes one last heartfelt plea to her father to stay with him. This is a touching story.

Yet all during her struggle, the daughter wears a subservient, childlike smile that presages the forced cuteness of Hello Kitty.

It is an unusual story too. Who among us can relate to a young woman who does not want to break out and be free of her parents? Was Ozu sensitive, consciously or not, to the battered psyche of traumatized Japanese who were nostalgic for the security and familiarity of a father figure but knew they could never have one again?

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AboutUs.org and My Travel Candy

I’m referenced on aboutus.org regarding travel sites. AboutUs is a fun site where anyone can contribute an idea. 

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Slow Travel

My favorite travel websites.

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