Planet Taco

In the fall of 2016, a co-founder of Latinos for Trump went on MSNBC and warned:

My culture is a very dominant culture. It is imposing and it’s causing problems. If you don’t do something about it, you’re going to have taco trucks on every corner.”

The comment came in the midst of a contentious election and was meant to conjure images of a flood of immigrants from Latin America that would scare the sorts of people for whom Ron Swanson’s skepticism about ethnic food was no joke:

Ron Swanson: "I don't much go for ethnic food."
Ron Swanson, Parks and Rec 3.2, “Flu Season”

For most of the people I know, this sounded like a promise and we’re still waiting.

Jeffrey Pilcher’s book Planet Taco unfortunately predates this political context. Instead, it tackles a different, but no less contentious, issue: what even is Mexican food?

Pilcher’s argument, at its most basic, is that authentic Mexican food doesn’t exist. Or rather, that any claim to authenticity is fundamentally a political statement.

The book opens with an introduction, “A Tale of Two Tacos.” The one of those is a Mexican street taco made fresh on the spot off the beaten path in a small Sonoran city, served with beer and with some lawn chairs as a dining room. The second is a Taco Bell taco, served off a production line into pastel-colored dining facilities at about the same price point.

To ask which of these two is more authentic, Pilcher argues, is to miss the point. As much as authenticity is meant to appeal to a particular sort of identity, it also creates that identity and, ultimately, serves as a marketing buzzword. Pilcher’s core contention, therefore, is that “Mexican food” is actually a range of regional cuisines in and around the modern nation-state of Mexico. These regional dishes might have overlapping flavor profiles and some common ingredients, but they are the product of distinct historical, environmental and technological processes (including immigration) that gave rise to distinct traditions that are each as authentic as the next.

This is the sort of history that I eat up (pun intended). Pilcher punctuates each chapter with contemporary recipe cards for the recipes that he’s talking about, and covering topics as diverse as nixtamalization, the process designed to counteract the nutritional deficits of maize, to the invention of the hardshell taco and the spread of Mexican restaurants in the United States and around the world.

I will admit that I am geared to be sympathetic to Pilcher’s core arguments. While I cannot speak necessarily to the specific details of how these regional cuisines came into existence, the appreciation of the regionality of individual cuisines and lending to each of those an authenticity of their own was a welcome pushback against the impulse that identifies and canonizes a single original, using that to discredit all other comers. As Pilcher rightly points out, this impulse becomes particularly toxic when it becomes bound up with a particular national project that normalizes the group in power and is used to further marginalize everyone who dose not conform.

Naturally, things become even more complex in a country like the United States that both has “-mex” traditions and where there is a long history of people from one tradition cooking and owning restaurants that purport to serve cuisines that are not their own.

All of this to say, I really liked Planet Taco. It is an academic history book so its tone might be a little esoteric for some readers, but it also gave me a lot of food for thought, as well as a new appreciation for one of my favorite restaurants I’ve eaten at in the past couple of years.

Two summers ago my partner and I had just finished an exceedingly hot day at the Kansas City Zoo and just wanted some food before crashing into our air-conditioned hotel room and be ready for a flight the next morning. We settled on going to Ixtapa, a restaurant in a strip mall on the north side of the city (it now has a second location in Overland Park). We drove around the parking lot a couple of times to get a spot and then had to wait as they finished up an early dinner rush, but soon enough were seated and handed menus. We had barely started to look when a man—the owner, it turned out—came over to ask us if we knew what we wanted.

Guacamole, we said, as an appetizer while we looked at the menu.

I don’t know what he saw in us or what was going on in the kitchen, but he immediately responded, “No, no, no. You don’t want guacamole.”

We stole a glance at each other, but he continued “our guacamole is great, but you can get guacamole anywhere in this country. I’ll serve you.” He grabbed the menus, making some more jokes about generic Mexican food and asking what we wanted to drink.

At this point I stopped him with some dietary restrictions and preferences, which he received with perfect calm and began bringing us food. First he brought quesadillas de flor de calabaza (squash blossom quesadillas), followed by mains of enchiladas nopales (cactus) and a pork special with a raspberry chipotle sauce.

After a while we got to chatting with him and it turned out that this was his restaurant and he was immensely proud of the recipe that he put on the menu. We had managed to avoid some of his favorite dishes, I think, because I’m not wild about seafood, which was something of his speciality, or at least composes the largest single section of the menu. Sure, there the menu has basic Mexican fare, including cheese nachos, but such is the restaurant business. What made Ixtapa special were all of the dishes you can’t find at every taco joint and the clear pride he had in the cuisine of his specific region.

I love generic tacos, too, and have fond memories of finding a fabulous hole in the wall in south Houston for exactly that purpose, and one of my favorite spots in Columbia, Missouri is a Korean taco fusion joint, but each of these examples speaks exactly to the point that Pilcher makes in Planet Taco. Food is an expression of culture that is intimately and inextricably intertwined with the people who are making and consuming it. Rather than indulging in the authenticity wars that use it as a cudgel, let’s celebrate the wide range of possibilities and indulge in the deliciousness of them all.

ΔΔΔ

Book reviews had been a staple of my content here for a few years because it made for an easy writing prompt and gave me a chance to collect my thoughts on each book. One of the consequences of trying to teach during a pandemic is that I entirely got away from writing those reviews such that I wrote about fewer than a third of the books I read between September and the end of the year and none of the books I have plowed through so far in 2021. I doubt that I will get back to where I write about every book I read—I have too much other writing I need to do, not to mention teaching, and only have so much brain power these days—but in fits and starts and modified ways, I intend to get back to writing about books.

On my list to write about in the near future include: N.K. Jemisin’s The City We Became; Yoon Ha Lee’s series The Machineries of Empire, and John Le Carré’s Absolute Friends, and David Chang’s memoir, Eat a Peach. I am currently reading Kathleen Fitzgerald’s Generous Thinking.

What is Making Me Happy: Yoga

Following the model of NPR’s Pop Culture Happy Hour and, to a lesser extent, the Make Me Smart daily podcast, I want to remind myself that there are things that bring me joy. These posts are meant to be quick hits that identify and/or recommend things—usually artistic or cultural, sometimes culinary—that are making me happy in a given week. I am making this quick format a semi-regular Friday/Saturday feature.

This week: yoga

I have never been particularly flexible. In the year since the pandemic started, I’ve noticed that my lack of flexibility has gotten worse in my hips and back, probably because the changes have meant more time sitting with poor posture in an office chair overdue for replacement. About a month ago, I decided to do something about this lack of flexibility.

…and now I have a daily yoga habit.

I started with short videos from the Yoga with Adriene channel and gradually expanded the practice to longer, more complex routines. One month into my practice, I have already begun to notice a difference. As great as this benefit is, though, that is only the most obvious reason that yoga is making me happy.

Each of the past several years I have resolved to start a mindfulness practice using the Headspace app. These are okay, and the gamification of the regular habit works for me—there is a reason that I have a 600+ day streak on DuoLingo—but I found the soothing voices mildly annoying and while I do pretty well with just silent meditation, I also have been unable to find the discipline to regularly make time to look for that calm.

Yoga, by contrast, works for me. I often find movement more calming than stillness because it gives me a focus and incorporating yoga into my daily exercise routine means that I actually do it. In addition, the routines that Adriene Mishler puts out emphasize conscious breath and finding time for stillness as part of of the regular practice, so I still get to work my way to periods of meditation at the end of most sessions. . The result is a sweet spot between physical exercise, stretching, and mindful meditation, whether I’m settling my mind before starting work or using it to find calm later in the day when I have a dozen things going on.

What is Making Me Happy: Sea Shanty TikTok

Following the model of NPR’s Pop Culture Happy Hour and, to a lesser extent, the Make Me Smart daily podcast, I want to remind myself that there are things that bring me joy. These posts are meant to be quick hits that identify and/or recommend things—usually artistic or cultural, sometimes culinary—that are making me happy in a given week. I am making this quick format a semi-regular Friday/Saturday feature.

This week: sea shanty TikTok

I might need to get TikTok. I am not kidding. Although I test-drive a lot of social media apps, I’ve long thought of TikTok as a platforms for teenagers dancing, which always struck me as a) creepy and b) not really my thing. Then this morning I saw videos of people singing “Soon May the Wellerman Come.”

It started with the artist Nathan Evanss throwing the song up:

Soon, there were entire chains of people accompanying him:

But as great as the male chorus is, my favorite version (so far) was when the musician Mia Asano added her violin to mixed group of singers:

I am not exaggerating when I say I have listened to this version more than a dozen times already today. In the purest expression of what is making me happy, sea shanty TikTok is the best thing I have seen to this point in 2021.

Update: there are more!

1984 Is Here

#1984ishere is trending on Twitter this morning, started by a group of people operating under the delusion that Twitter and its decision to permanently ban Donald Trump’s account constitute the arrival of the totalitarian state imagined in George Orwell’s classic novel. A cursory glance at the tag shows users who superimpose the Twitter logo with the hammer and sickle of the Soviet Union or one image of the names of social media companies on the arms of the swastika on the Nazi flag. More frequently, people bemoan that this is yet another sign of “censorship” from those who can’t tolerate divergent opinions. However, even setting aside the various incitement and imminent danger tests for first amendment protections that the events of this week make a reasonable case for, these claims ignore that these are private companies who now deem the banned accounts in violation of their terms of service.

(See also: Simon and Schuster deciding that Josh Hawley’s role in the attempted coup merited cancelling his book contract. This is not cancel culture; actions have consequences.)

1984 does have some commentary about speech, both in the Sapir-Whorf-esque effects of Newspeak and the fear of retaliation and reeducation. After all, Big Brother is watching you. But there’s the rub. Private social media companies like Twitter and Facebook and prominent publishers like Simon and Schuster may seem like they control the marketplace of ideas, but this is not the same thing as absolute state control of the sort that Orwell described. If anything, the former group show the need for more government regulation given their data collection and lack of accountability, and conflating this with totalitarianism demonstrates a facile reading of the book.

(I know, I’m giving people too much credit: most likely know about these things as buzzwords magnified through the very media echo chambers that they’re using the terms to attack.)

Private companies making business decisions about their platforms is not Orwellian, particularly when the social media companies seem to be acting at least in part to lay the groundwork for arguing in front of congress against regulation. Nor is any government regulation you object to automatically Orwellian—at any time, let alone during a pandemic.

1984 is a harrowing book. Doublethink, Big Brother, and the Thought Police sound sinister and are easy topics to latch onto, but they are also easy to misappropriate. More relevant to the present moment are other aspects of the book. Its setting is Oceania, a nation locked in a forever war with one or the other of the global powers (Eurasia and Eastasia) and with the power to absolutely revise history as to who is the enemy. In fact, Winston Smith getting an indication that Big Brother has been deceiving people serves as the inciting incident of the novel. Big Brother himself is a present-yet-distant charismatic leader who serves as a focal point for adoration. It is at his direction that reality is disseminated to his people: only Big Brother can protect you.

Sound familiar? Try this, excerpted from a scene in 1984 about the ritual Two Minutes of Hate:

In its second minute the Hate rose to a frenzy. People were leaping up and down in their places and shouting at the tops of their voices in an effort to drown the maddening bleating from the screen. The little sandy-haired woman had turned bright pink, and her mouth was opening and shutting like that of a landed fish. Even O’Brien’s heavy face was flushed. He was sitting very straight in his chair, his powerful chest swelling and quivering as though he was standing up to the assault of a wave. The dark-haired girl behind Winston had begun crying out, “Swine! Swine! Swine!” and suddenly she picked up a heavy Newspeak dictionary and flung it at the screen. It struck Goldstein’s nose and bounced off; the voice continued inexorably. In a lucid moment Winston found that he was shouting with the others and kicking his heel violently against the rung of his chair. The horrible thing about the Two Minutes of Hate was not that one was obliged to act a part, but that it was impossible to avoid joining in. Within thirty seconds any pretense was always unnecessary. A hideous ecstasy of fear and vindictiveness, a desire to kill, to torture, to smash faces in with a sledge hammer, seemed to flow through the whole group of people like an electric current, turning one even against one’s will into a grimacing, screaming lunatic. And yet the rage that one felt was an abstract, undirected emotion which could be switched from one subject to another like the flame of a blowlamp.

Then the face of Big Brother faded away again, and instead the three slogans of the Party stood out in bold capitals:

WAR IS PEACE
FREEDOM IS SLAVERY
IGNORANCE IS STRENGTH

But the face of Big Brother seemed to persist for several seconds on the screen, as though the impact that it had made on everyone’s eyeballs were too vivid to wear off immediately. The little sandy-haired woman had flung herself forward over the back of the chair in front of her. With a tremulous murmur that sounded like “My Savior!” she extended her arms toward the screen. Then she buried her face in her hands. It was apparent that she was uttering a prayer.

Now try Five Years of Hate.