‘When I do refer to recipes, I prefer to use the web, and my usual process is to skim half a dozen recipes from different websites so I can triangulate the common denominators, and then proceed with the laziest version possible.’
The article is a follow-up to my TV story for China Tonight (video below). You can also watch the full 30-min episode on iview, which includes my chat with Stan Grant about the issue, as well as other stories from the China Tonight team.
Since I started teaching, I’ve said yes to every student journalist who’s wanted to interview me in the hopes that it earns karma for my students.
Not sure if that’s an effective strategy, but here are a couple of the stories: I spoke to Swinburne’s The Wind Down podcast about the Chinese video games industry clamping down on queer narratives, and Robbie Mason from USyd’s Pulp mag about freelancing in this economy.
Episode 1 aired last night with Annie Louey’s story on 躺平 and mine on queer activists, Angharad Yeo on gaming restrictions, and of course Stan Grant and Yvonne Yong with all the news. Catch up on iview and set your alarms for 9:30pm, Monday nights on ABC TV.
It’s International Working Women’s Day today, which means my grandmother would’ve turned 92 next week. She died in December. Her life (1929-2020) spanned nearly 100 years of immense upheaval in China and she survived it all with resilience, dignity and optimism. I wrote a thread remembering her – first on Twitter, and then republished in Chinarrative. Read below.
‘[Evading censorship] felt a lot like a game, actually – a futile yet addictive game that made your heart race as you tried to jump from story to story, ducking and weaving, squeezing as much as you could through an ever-shrinking space.’
For The Saturday Paper’s culture section, I wrote about reliving the anxiety and adrenaline of working as a journalist in China while playing the dystopian newsroom simulation game Not for Broadcast. Read it here.
‘Unlike the pandemic, the playlist doesn’t have a case definition or an epicentre. It’s just an endless filament of sound, the connections between the tracks both tenuous and elemental. It’s as open-ended as Chineseness could be.’