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book reviews

Book Review: ‘Belonging’ by Michelle Miller

Belonging: A Daughter’s Search for Identity Through Loss and Love by Michelle Miller with Rosemarie Robotham shows the CBS Saturday Morning cohost go through childhood and adulthood wondering the whereabouts of a mother who refused to raise her. 

Born at the end of 1967, Michelle arrives back in Los Angeles on June 6, 1968. The night before, her father, Dr. Ross Miller, becomes embedded in one of U.S. history’s most tragic events: the assassination of Robert F. Kennedy. Michelle’s father was the first doctor to examine the presidential candidate’s gunshot wounds. Still a newborn, Michelle flies back to the city of her recent birth from Birmingham, Alabama, after her grandmother, Bigmama, discovers her existence. Her father sent his secret daughter to family in Alabama, but Bigmama demanded her granddaughter return to LA. It’s Bigmama’s responsibility to raise Michelle out of sight from her son’s wife and two adopted daughters. This is where the journalist’s story begins. 

Her mother, a Chicana fair enough to pass as White, worked in the same hospital as her married father, a top Black cardiopulmonary surgeon. Their affair sparks hate from her mother’s family; they only see their daughter and sister dating a Black man. Once her mother, known by the pseudonym Laura Hernandez throughout the book, gives Michelle to her father, the doctor depends on his family to raise his first biological child. As Michelle grows up around civil rights activists like her father, attends a historically Black college like her father, and embarks on a news career, she leans into her Black identity while wondering about her other ethnicity and the woman who birthed her. 

“All my life, I had encountered people who would take note of my light skin, long wavy hair, and pointed features and be curious about my ethnicity. ‘What are you exactly?’ they might ask. ‘I’m Black,’ I would tell them, cheerfully removing their confusion. Sometimes, if I was in the mood to claim my mother’s contributions to my heritage, despite her absence from my life, I might say, ‘My father is Black, and my mother is Hispanic.’” 

Growing up in 1970s South Los Angeles, Michelle attends predominantly Black schools at first then gets bussed far away to attend predominantly White schools. Bigmama, who is 73 when she starts raising her newborn granddaughter, is a retired teacher, so education is prioritized in their household. Michelle’s father lives in his own townhouse in Long Beach and visits often after his shift at the hospital. He also brings in girlfriends who become a part of Michelle’s greater village, such as civil rights legend Xernona Clayton, who Michelle lovingly calls “Big.” 

When Bigmama gets sick as Michelle becomes a teenager, a neighbor named Vondela starts to help out in the house. She becomes Michelle’s surrogate guardian and also takes care of Michelle’s adopted sister Cheryl. Bigmama’s house evolves and expands with the village once Michelle attends Howard University to continue her family’s legacy of attending the renowned HBCU in Washington, D.C. There, she develops her journalism career while making lifelong friends like her roommate, actress Wendy Raquel Robinson. After graduation, she starts hitting the pavement looking for opportunities to report on the news.

“For one thing, I had spent years obsessing over the mother who did not stay, and fixating on the maternal surrogates who had been there for me while their relationships with my father ran their course. Yet I had hardly noted that it was Vondela who had truly stepped up to care for me. She had been more of a mother to me than anyone else, save Bigmama.” 

By the time she starts her news career, her father is diagnosed with cancer. He gives Michelle her mother’s contact information. He says her mother should know who she is. Michelle doesn’t know what to do with the information, her motherlessness always lingering in the background of her ambitious life. She eventually calls her mother for the first time. As the years and decades pass, even with Michelle starting a family of her own with former New Orleans mayor and National Urban League president Marc Morial, she finds that every time she reaches out to the woman genetically linked to her as her mother that she longs for answers she may never get. 

“Suddenly, my mother’s decades-old abandonment of me felt as near and as raw as if it had happened yesterday. In becoming a mother, I had stumbled upon a vast reservoir of hurt that I hadn’t even realized I was still carrying, one that might have been forever drained of its poison with one simple act—a phone call or a card from my mother hailing the arrival of our beloved boy.” 

This memoir touches the deep vein of living without a mother who is alive and well. From child to adult, Michelle wonders about her mother’s whereabouts while people around her are wondering the same. She is able to connect with people like a young man she dates during a foreign exchange program in Kenya who didn’t know his late mother, or like her stepdaughter who is raised mostly in the Ivory Coast with her mother without spending the same adequate time with her father in the U.S.

Not having a mother distorts her life journey a bit since she’s always expecting her mother to show up magically to support her for the important events, but other women show up instead. Her motherly surrogates seem numerous as her father inadvertently creates a village for Michelle. She is raised by her grandmother, her neighbor, her father’s girlfriends, and her family friends. The African proverb of it taking a village to raise a child is in action, yet there is still the longing for Michelle to have her two biological parents raising her. 

Overall, from the storytelling perspective, the underlying motherlessness weaves into the author’s life moments smoothly. She wonders where her mother is as a child, for example, seeing other girls at her school getting picked up from school by their mothers. But that feeling remains when she becomes a mother to her own son and daughter and still wonders if her mother will show up as a doting grandmother. The racial undertones of the reason why her mother is missing is also explained well as a reminder that her White-passing Chicana mother refused to be a present mother simply because her daughter was the product of an affair with a Black man. This story shows how there are still families who have missing members due to racism and the fear of prejudice.

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what's lit

‘From Scratch’ TV Review: Aftertastes

⚠️ Spoilers ahead! Read the book, book review, and/or watch the limited series on Netflix.

A wife must come to terms with losing her husband and uniting her family abroad as they grieve in the Netflix series From Scratch. Based on the best-selling memoir by actress Tembi Locke, the series’ last episode summarizes the grief that is expressed throughout the book.

In the last episode, Amy, played by Zoë Saldaña, brought her husband Lino, played by Eugenio Mastrandrea, home to palliative care as his rare soft-tissue cancer worsened with no cure in sight. After a few days of bittersweet heartache, Lino dies. When Amy meets with palliative care counselor in “Between the Fire and the Pan” episode, she’s told to bring her daughter, Idalia, played by Isla Colbert, to Lino after he passes. She does that in the beginning of this episode to let her daughter grieve her father.

The grieving process is palpable. Amy later collapses as her mother Lynn, played by Kellita Smith, and her sister Zora, played by Danielle Deadwyler, bathe her in the bathtub as she uncontrollably cries. We don’t hear the grief as instrumental music drowns them out. Amy then stays in bed while her family takes over her house. Zora tells Amy that she’s afraid of her slipping away. Amy breaks down that she can’t fly to Sicily to bring Lino’s ashes home. She doesn’t have the energy; she already gave her all.

FINDING HOME IN SICILY

Amy finds herself driving on the rollercoaster roads of Sicily with Idalia in the backseat, along with Lino’s ashes. They follow the directions to Lino’s family’s home, where they are greeted by the entire town led by Lino’s mother Filomena, played by Lucia Sardo. Amy rises out of the car and presents Lino’s ashes to his mother. Filomena gets teary as she carries the urn high in a solemn parade through the narrow alleys to her house.

The priest comes to the house for the blessing while Filomena breaks down. Idalia gets agitated about the overwhelming emotion in the room. Amy carries her to their guest room where she explains they are leaving Lino in Sicily. Idalia thought her father would come back with them to Los Angeles. After the blessing, Filomena tells Idalia she can see her father anytime in her imagination. All in black, the family later goes on another trek to bury Lino as the townspeople bow in respect.

The next day, Filomena makes Amy breakfast, consoling her about the everlasting heartbreak of losing a husband. Filomena’s husband and Lino’s father Giacomo, played by Paride Benassai, dies in the episode “Heirlooms,” a year after visiting the family in LA in the “Bread and Brine” episode. Neither of Lino’s parents attend the wedding for Amy and Lino that takes place in Italy, a sore spot in the “A Villa. A Broom. A Cake.” episode that continues to emerge throughout the series. This is not the first time they have spoken, but it’s the first time Amy has been in the family household and is being treated with care by her semi-estranged mother-in-law.

Amy goes to a wine bar for a moment of peace away from her family. She’s the only woman there. The older Sicilian men watch her in suspicion. Not only is she American, but she is Black, and they have probably never seen someone who looks like her up close. The town’s mayor shares his condolences with Amy. She walks out of the bar and notices the women hanging outside on their patios watch her walk back to Filomena’s house. In Italian, they comment on her darker complexion. Amy thinks it’s comical that they don’t realize she understands Italian as she heads home. For another break, she runs up the hills around the town and sneaks a peek of the Mediterranean Sea as the backdrop to rolling green hills. That’s her moment of peace.

TOWN GOSSIP

“Grief in Sicily is not an individual experience but a communal one where people are called upon to witness and support one another,” Tembi writes in the book where she recounts her life with her late husband Saro, who died from cancer. “The way certain African cultures use drumming as an active means of dealing with their grief—the rhythm is played continuously for days, day and night, over and over, as a constant reminder to the community of its loss—in Sicily the story of the deceased is told over and over.”

In the show, the mourning tour continues as Filomena brings Amy and Idalia to other townspeople’s homes to sit and relive memories of Lino. At one home, Idalia gets sick eating too much candy. The nosy women notice Idalia gripping her tummy once they’re outside and convince Filomena to take this opportunity to see the doctor’s house. Nobody has really seen the so-called palace-like interior. The women want to know what’s inside the massive house. Amy can’t believe she’s being wrapped up in town gossip.

Filomena takes Idalia’s hand as they head to the doctor’s mysterious home. He invites them inside to sit with them in the their mourning. They notice a photo of the doctor with Lino framed on a side table. The two are standing outside the restaurant in Florence where Amy and Lino fell in love in the debut episode “First Tastes.” The doctor explains he had visited Florence and met with Lino years ago. He now prays often for Lino. The unexpected visit becomes the most impactful. Once they leave, the women swarm around the family to hear what they saw. Idalia tells them that she saw several chandeliers inside. This satisfies the town gossipers.

That night, Amy dreams of Lino. She finds him in the kitchen in Sicily cooking her a meal. They embrace. Then she wakes up. She can see him whenever she wants. In the morning, she learns Filomena wants her to meet with the family lawyer. Filomena doesn’t give Amy details until Amy finds herself beside her sister-in-law being asked by the lawyer to sign papers. It’s a deed to the land. Now that Lino as the oldest son is gone, Amy inherits the farmland. She refuses to sign the paperwork.

While resting back at the house, Amy is summoned. A dispute over a car accident with the town’s mayor has broken out with a driver who speaks English. The driver tells Amy that the mayor hit his car. Amy explains to the driver that the man in the car is the mayor, and with the townspeople crowding the area, the mayor will win the argument. The driver takes the loss and speeds away. The townspeople cheer for Amy. She’s one of their own.

SANT’ANNA

Amy goes to church with Filomena while it’s empty. Filomena is praying to Saint Anne or Sant’Anna, the mother of the Virgin Mary, the grandmother of Jesus Christ. She says she prayed to this saint when Amy and Lino married, when Lino died. She wants Amy to make Sicily her home. That’s why she sent her to the lawyer’s office to inherit the land. Later, Amy brings Idalia to the spot she had found while running where the hills and the sea create a picturesque vision of peace. Amy tells Idalia that this is where Lino still feels alive because it’s their home.

Sant’Anna’s Day falls on Amy’s birthday. Sant’Anna is the patron saint of travelers and widows. It’s the opportune time to celebrate Lino.

“These women pray to her in times of difficulty and times of celebration,” Tembi writes in the book. “I had also learned that she was the patron saint of widows and travelers. I was born on her day, July 26. I was married on her day. For the people of Aliminusa, that meant she was my personal saint. ‘You drew a good card,’ Nonna told me.” Her family comes to Sicily to join in the Sant’Anna Day procession that starts with a prayer then ends with the band playing in celebration. She describes the moment as the “magic hour,” a phrase in cinematography describing “the moment when the diffused rays of the sun make everything more beautiful.”

Magic hour happens onscreen for Amy’s family, who flies from LA and Texas, to join Amy, Idalia, and Lino’s family as they celebrate life. The joyous and heart-wrenching event ends the series.

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what's lit

‘From Scratch’ TV Review: Between the Fire and the Pan

⚠️ Spoilers ahead! Read the book, book review, and/or watch the limited series on Netflix.

Netflix’s limited series From Scratch follows a couple affected by cancer, but after years of remission, they’re seeing cancer rear its ugly head again right when they feel like they’re back on track.

Amy, played by Zoë Saldaña, and Lino, played by Eugenio Mastrandrea, have just found out that Lino’s rare soft-tissue cancer has made a return after seven years in remission. Seven years ago, they weren’t parents to their adopted daughter, Idalia, played by Isla Colbert. They try to strategize how to talk to their young daughter about Lino’s cancer spreading to this lungs.

The family has a picnic at the park, where Idalia wants to share her ice cream cone with Lino. But Amy has to tell her that her father can’t have ice cream because he’s sick. Immediately, Idalia puts her ice cream cone down, as if she knows the history of the cancer and the possibility of its return.

Later, Amy cuts Lino’s hair in their home’s garden. It has become a sanctuary for them to grow the seeds of foods from Sicily that are necessary for Lino’s authentic Sicilian cooking. When Lino was first diagnosed with cancer in the “Bitter Almonds” episode, he cut his hair alone in the bathroom amid his chemotherapy treatments. But now Amy makes sure she’s present for Lino as he sacrifices a part of himself for his illness.

Amy’s mother Lynn, played by Kellita Smith, and Amy’s sister Zora, played by Danielle Deadwyler, takes turns sitting with Lino during his chemo treatments. On Zora’s shift, Lino gets a spiked fever. He’s rushed to the hospital as Zora calls Amy. The family is back in the hospital monitoring Lino. Amy learns that Lino was taking anti-anxiety meds that may have contributed to his fever.

Lino’s condition worsens. Nurses and doctors keep ignoring Amy’s pleas to find out what’s wrong with Lino. They tell Amy that they can only talk to family. Since Amy is Black and so are the family members in LA, the racism patients and their families experience in the hospital is on full display. Amy notifies the carousel of doctors that she is Lino’s wife and deserves straight answers, but she’s not getting any straight answers.

When the rest of Amy’s family arrives from Texas, Amy receives a call from Lino’s mother Filomena, played by Lucia Sardo. Filomena tells Amy that she had a dream of the Virgin Mary. The Lord is calling Lino home. Amy absorbs the heartbreaking premonition and leans into finding out why her husband is deteriorating.

Meanwhile, Lino is so sick that he’s considered infectious, so children are not allowed in the wing of the hospital where he’s receiving care. This adds more distress to Amy because Idalia cannot see her father. The family devises a way to sneak Idalia inside to spend time with her father. Idalia sits beside Lino as they read a book together. The touching moment inspires Amy to later have dinner alone with Lino while he’s propped up in his hospital bed. Lino asks Amy to go back to her life during his recovery. But they still don’t have answers on what the recovery will entail.

Lino is not getting better. Amy calls Lino’s oncologist about the hepatologist also treating Lino. The oncologist says Lino needs a liver transplant. Amy chases the hepatologist down in the parking garage, where the doctor tries to stay mum after hours but then reveals Lino’s liver is failing. After finally receiving a confirmation, Amy yells at the hepatologist for not being straight with her. None of the many specialists treating Lino seem to be communicating as Lino undergoes countless tests. As Lino’s condition worsens even under this magnitude of surveillance, Amy notices an advertisement for palliative care.

Amy and the palliative care specialist talk about giving Lino care as his body dies. He needs comfort at this point. Continuing medical care is pointless and expensive. Amy notifies Filomena about the decision. Lino leaves the hospital via ambulance as their home is prepared for his last days.

Within days, Lino requests a party to see family and friends at their home’s garden. Amy detects his burst of energy, but their family friend Preston, played by Rodney Gardiner, gives Amy the voice of reason that sometimes a burst of energy reinvigorates someone who is dying. The loved ones surround Lino in the garden.

CARING FAMILY

The frustration of seeing a loved one suffer in their condition mirrors the book, where memoirist Tembi Locke describes her journey of falling in love with her husband to caring for him as he dies from a rare cancer. A parade of specialists go in and out of her late husband Saro’s hospital room.

“Suddenly we had descended into a medical landscape of dueling specialists, expert professionals each of whom saw one piece of the puzzle that was Saro’s body,” Tembi writes. “I was the only one looking at the whole of his life, his body, his heartfelt desires. I tried to humanize the patient behind the chart.”

The discrimination is another aspect. Tembi’s omnipresence in the hospital room is not enough for medical staff to understand she’s the main point of contact for her husband’s care.

“As the heads of hepatology, endocrinology, immunology, gastroenterology, and orthopedic surgery made their rounds, I succumbed to writing my name on the hospital room whiteboard: ‘CARING FAMILY: Tembi, wife. Black woman sitting in the corner.’ It was my response after two nurses had asked me if I was ‘the help.'”

Experiencing racism as a caretaker puts added stress on the situation. With some of the book’s elements changed for the screen, this is a situation that needed to be shown that even in a matter of illness, a person’s skin color can impact the information they receive to deal with the illness. It’s one of the several moments throughout the TV series and the book that shows an interracial couple receiving backlash for their union. Even when it’s a matter of life and death, medical care may be subpar. We see in the next episode that when the patient and their family take matters into their own hands, they can live the rest of their lives on their terms.

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what's lit

‘From Scratch’ TV Review: Bread and Brine

⚠️ Spoilers ahead! Read the book, book review, and/or watch the limited series on Netflix.

Christmas 2004 opens up the fifth episode of From Scratch when the parents of Lino, played by Eugenio Mastrandrea, arrive in Los Angeles to care for their son who’s battling a rare soft-tissue cancer.

Amy, played by Zoë Saldaña, is standing at the end of the escalator with her mother Lynn, played by Kellita Smith, as they wait for Lino’s father Giacomo, played by Paride Benassai, and Lino’s mother Filomena, played by Lucia Sardo, to come down to their level in the airport. Amy has to run up the escalator to help them since they probably never used one before. Once they all arrive at the house, Lino becomes the focus.

Filomena rushes to her bedridden son while Giacomo stops before the front door and remains in the garden. As a lifelong farmer, he sees myriad mistakes in the boxes where plants like garlic and parsley are growing. He stays outside to tend to the garden.

Inside, Filomena opens up her heavy suitcase to reveal glass jars of pastas, spices, herbs, and tomatoes. She cooks a hearty meal for Lino, but Amy has to tell her that Lino can’t eat that type of meal on his medications. Lino gets jealous others get to eat his mother’s cooking, so he stuffs his face. And, of course, he gets nauseous before his scheduled stay in the hospital.

The transportation of the food happens in the memoir by Tembi Locke as she tells the story of falling in love with her late husband Saro and moving through the stages of grief with her daughter in Saro’s homeland of Sicily.

“Bread and Brine” is the name of a chapter. With the book mostly focusing on Tembi’s time in Sicily after her husband dies, the chapter shows the relationship between Tembi and her mother-in-law Croce, who cooks as she grieves.

“She had never let me cook in her house. Never. Not even her chef son was allowed to,” Tembi writes. “No matter how many nights I slept under her roof, no matter how many times she washed my bras and ironed my underwear, I was her guest. Even if I was also family. She preferred to work alone, at her own pace; she didn’t want company while she cooked. In the past, I had just passed through, made small talk, but had never lingered from start to finish. She, like many women in town, saw their time at the stove as their domain. I was forbidden to even set the table.”

coffee break

As Lino recovers from surgery, Giacomo finally comes to greet his son in the hospital bed. They have a small heart-to-heart when Lino says he would like a cup of coffee. This gives Giacomo a spring in his step as he walks around the hospital in search of coffee without knowing English. He finds a doctor who seems to know a bit of Italian who helps him use the coffee machine. He tells a story about seeing Lino in the hospital when he was a kid who had broken a bone, but now it’s different.

When he returns to the hospital room, he sees Amy’s father Hershel, played by Keith David, bonding with Lino. Standing by the door, he notices the connection between the two, blossoming over his absence from his son’s life at a time when he expanded his family.

Lino soon comes home, where his family and friends sit down to watch football, also known as soccer, on the Italian channels. Giacomo asks one of Lino’s friends about his son. As they talk about kids, Lino becomes increasingly irritated because the chemotherapy has threatened his reproductivity. He gets up and leaves with his crutch.

IT COULD GET WORSE

For a moment of escape, Amy runs to her and Lino’s mutual friend Preston, played by Rodney Gardiner, to drink scotch and talk. He welcomes the opportunity, especially when he’s just watching the Black Christmas classic Holiday Heart starring Ving Rhames as a drag queen helping a girl and her drug-addicted mother. Amy is upbeat about Lino’s surgery to remove the cancer. But Preston has other thoughts. He offers the possibility that Lino may never quite fully recover; the cancer can return.

The doctor tells Amy and Lino that the surgery was successful, but recurrence is possible. Lino describes cancer as “like a weed” to his parents, who learn they have to tame their excitement over the surgery.

Since the surgery was technically a success, Lino now qualifies for a clinical trial. He announces the news at dinner with the entire family. Then Amy’s sister Zora, played by Danielle Deadwyler, announces her engagement to her longtime boyfriend Ken, played by Terrell Carter. The family congratulates the happy couple. Even Giacomo stands up ready to give a toast. Lino is in disbelief. His own father who didn’t go to his wedding is happy an unrelated couple is getting married. The bright mood plummets.

Going back to the book, Tembi brings Saro and his parents to her native Texas to meet her family. Saro’s parents enjoy a Houston Texans football game and struggle to figure out the art of eating Texas Barbecue. Tembi catches her mother-in-law taking in the scene, looking at her son constantly until she turns to Tembi’s sister Attica Locke, who serves as the head of the Netflix series, to tell her her surprise about Saro being welcomed in America.

“And as I sat there with everyone eating—not just consuming food but sharing our dreams, our aspirations, our histories—I could see how the stakes, the specter of illness, had changed all our lives,” Tembi writes. “What was important had changed. We were far from the wedding in Florence, reading telegrams from the half of our family who had refused to come because of race and fear. That trip to Houston was the first time we didn’t have to wonder what it would have been like to have both parts of who we were together in the same room.”

The next morning on the show, Lino and Giacomo clear the air with a hug as Lino’s parents head out for their flight to Sicily. The cancer is gone, and the family is at peace until the next monumental changes come along.

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what's lit

‘From Scratch’ TV Review: Bitter Almonds

⚠️ Spoilers ahead! Read the book, book review, and/or watch the limited series on Netflix.

Delivering a cake to a Sicilian baker’s third cousin leads to a new job opportunity for Amy, played by Zoë Saldaña, in From Scratch as Amy’s husband Lino, played by Eugenio Mastrandrea, fulfills his dream of being the head chef in his own restaurant.

The Netflix drama is based on the best-selling memoir of the same name by actress Tembi Locke about her relationship with her late husband Saro, who succumbs to cancer, and her journey through the grief in Saro’s homeland of Sicily.

In the limited series, Amy starts volunteering at the Watts Tower with teaching kids art. She feels more of a purpose as a volunteer compared to her job at an upscale art gallery. When her boss calls her to convince a client to keep their work in the gallery in the middle of a volunteer session, Amy realizes she would rather make the community gig full-time.

Meanwhile, Lino loses his job. The greasy Italian restaurant he had been working at since he moved to Los Angeles is closing over loss of business. The owner says he’ll keep the building, but operations will cease. Lino asks if he could finally cook his own authentic Sicilian cuisine in an experimental dining experience. The owner agrees, making Lino the head chef of the new iteration.

Amy wrestles with her decision for the lower-paying job, so she calls her father Hershel, played by Keith David, for advice. Hershel reminds her that she’s a married woman who needs to discuss the life-changing decision with her husband.

When Amy and Lino come together to talk through their career moves, they convince each other to follow their dreams.

ONE STEP FORWARD, TWO STEPS BACK

A banner for L’Isola, Lino’s test run of a dining experience, hangs over the old restaurant’s signage for opening night.

Amy’s sister Zora, played by Danielle Deadwyler, brings her former NFL boyfriend Ken, played by Terrell Carter, to the new restaurant. Zora is acting on Amy’s advice to introduce her boyfriend to their mother Lynn, played by Kellita Smith.

Frenzied by serving patrons, Amy tells Zora that she did not expect the introduction to happen on the opening night of her husband’s restaurant. But Zora explains that they would all be under the same roof, so it makes the most sense until Lynn rebuffs Ken every time he shares information about himself. The introduction is a fail, especially without Amy being able to sit down with her family to be a mediator. Zora becomes upset with Amy for the bad advice.

A DREAM DEFERRED

One day, Lino comes home after a long day at work complaining about pain in his knee. Amy checks the knee and notices it’s swollen. Noting the hardened texture, she suggests Lino should see an orthopedic doctor.

Amy reaches out to Zora for an orthopedic doctor since Ken would know one with his professional football background. Zora becomes enraged; she feels she’s being used by her needy younger sister again. She gives Amy the information but warns her about her dependence.

At the doctor’s office, the scan of Lino’s knee leads to a referral to an oncologist. Lino eventually gets diagnosed with a rare soft-tissue cancer. Right away, Lino is rushed to chemotherapy, as Amy suddenly becomes a caretaker.

Though L’Isola is getting rave reviews, the trial restaurant closes immediately without Lino being able to be on-site as the head chef. Amy must convince her former unfeeling boss at the art gallery to give her contract work in order to keep her health insurance policy. She doesn’t share Lino’s diagnosis, but her sobbing convinces the boss to help her.

Zora comes by the house to see what happened to Lino’s restaurant. As soon as she’s at the door, Lino collapses behind Amy. They rush Lino to the hospital, where he has to stay. Amy reveals to her family Lino’s cancer diagnosis and how it has already upended their lives.

THE BITTER AND THE SWEET

The name of the episode, “Bitter Almonds,” is also the name of a chapter in the memoir. But the book focuses more on life in Sicily after Tembi’s husband Saro dies from cancer. During her time of grief with Saro’s mother, Tembi receives a heavy bag of almonds from a neighbor in the town who said the almonds were from a cousin of Saro’s mother. When Tembi brings the almonds to the home, she realizes she brought another chore to the kitchen. Cracking the nuts open becomes a worthwhile experience to taste authentic Sicilian almonds.

“Bitterness, Sicilians understand, is an essential flavor both in food and in life. It has shaped the island’s culinary identity. There is no sweet without bitter. The poetry of island tells us that the same is true of the Sicilian heart.”

Saro’s cancer diagnosis is first detailed in the chapter “At the Table,” where Tembi describes the hardship of becoming a caretaker while still working as an actress. They are exhausted from the medical situation until Saro suggests Tembi should “take a lover.” They can’t enjoy their time together as he gets sicker. The swift transition came with her husband’s chemo rounds and knee surgery. The cancer is still a secret to his family.

“Many rounds of chemo, three hospital stays, and a major surgery later, Saro still had not told his parents about his diagnosis,” Tembi writes. They soon have to notify his family, who fly to LA. Like in the next episode where Amy must pick up Lino’s parents at the airport stateside and prepare mentally on how to deal with the parents who have failed to build a relationship with her.

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book reviews

Book Review: ‘Acne’ by Laura Chinn

Acne by Laura Chinn tells the story of the television writer/actress’ tumultuous childhood and young adulthood and how her struggles were reflected in a severe case of acne. 

Laura Chinn created and starred in the 2019 Pop TV sitcom Florida Girls (think Broad City with Florida Woman adventures) that unfortunately received the ax during the Covid-19 pandemic. The entertainer, who has written for shows like The Mick and Children’s Hospital and acted in shows like Grey’s Anatomy and My Name Is Earl, actually was born in the Los Angeles area where she lived with her “hippie” parents and older brother Max. Though her mother is White and her father is Black, she doesn’t get a sense of her biracial identity until she’s eight-years-old. She never noticed the concept of race since everyone in her house has a different complexion. While Max has brown skin and is often confused for “Mexican or Hawaiian,” Laura has fair skin and dirty blonde curls, so she’s considered outwardly White. Growing up in La Crescenta, she is homeschooled with other kids in her neighborhood. Her childhood is disrupted when her mother announces the family is moving to Clearwater, Florida, the best place for Scientologists like themselves after Los Angeles. Laura, Max, and their mother move to Clearwater while their father stays behind to tie up loose ends. 

Laura’s father never moves to Clearwater as Laura navigates her new preteen life in a new place. She starts to notice red pimples erupt on almost every surface of her face. How can this be? She and her family eat a strict healthy diet. Her father blames his genetics for the acne since he says he had the same skin condition as a teen. Scientology tells Laura and her family that internal toxins are clogging her pores. She tries to cleanse the acne that is putting a damper on her social life as she befriends girls like Tori who also have lopsided family situations. 

At thirteen years old, Laura is going through the abandonment issues stemming from her father’s decision to not join them in Clearwater. To make matters worse, Max moves back to Los Angeles and stays with their father. There, her brother is diagnosed with a brain tumor. He has to have a surgery that he may not wake up from. Laura and her mother fly from Tampa to Los Angeles to be by Max’s side. He survives the surgery at Children’s Hospital Los Angeles, but he has a mountain of health issues that keeps Laura and her mother in a hotel as they witness her father parading his barely-adult, chicken nugget-addicted girlfriend Chardonnay around the intensive care unit. Laura returns to Clearwater alone to go back to school. She gets picked up by her mother’s alcoholic boyfriend Joe who drops her off at home with some money for food. 

In the short time of raising herself as her parents deal with Max’s cancer diagnosis, Laura is stealing and drinking alcohol with Tori and other friends who are already having sexual relations with boys at school. Laura’s acne is still on a volcanic level as she uses makeup to cake up her face and go on living her unsupervised life. Then Max’s cancer progresses in other parts of his brain, so the family who again tap into their Scientologist teachings to find alternative healing methods decide to move to Tijuana for a form of chemotherapy not approved in the U.S. Laura drops out of the ninth grade to join her family in Mexico. 

After realizing she’s better off finishing her education rather than helping Max who has their mother as a caregiver, Laura moves back to Clearwater to finish her freshman year. This time, Joe moves in, but Laura is still raising herself de facto. Due to the miracle of Accutane, teenage antics progress like her losing her virginity.  

Accutane had healed my face, neck, chest, and back; it seemed like a wonder pill until, like with all pills, the side effects kicked in. First it was dry skin, then peeling skin, then every day I would shed my entire face like a snake. My lips were painfully cracked and bloody, so for the third time in my life, I didn’t smile for months. Then my vision started to get weird. 

Her quick-fix cure makes her think she has cancer like her brother, whose diagnosis came from blurry vision, but she doesn’t. She develops suicidal thoughts while on the medication and while watching her friends find boyfriends she can’t seem to attract. She’s realizing her neighborhood is full of dysfunctional people, including the woman next door who burns her house down to cover up her husband’s murder, as her own mother and brother return to Clearwater unchanged by the failed treatment in Mexico. Laura has to put aside her acne and adolescence to help her mother care for her dying brother, but she still finds herself caring more about what her friends are doing and how her skin is doing. 

The older she gets, the more she sees being a high school dropout is not enough. Her father agrees and invites her to live with her half-sister and her niece in Woodland Hills, a section of Los Angeles. Laura finally feels like she’s being supervised but again she can’t help but think what’s going on in her Clearwater social circle. She eventually moves back to Clearwater. Then she gets her GED and tells everyone she’s going to be a famous actress in Hollywood, so back to Los Angeles she goes. But she breaks her arm, so that means back to Clearwater. Despite what’s going on with her family and friends and her face, she has a knack for acting that slips behind the pages. 

Once she permanently stays in Los Angeles, makeup artists on sets complain about her acne. Thanks to her father, she heads to the Church of Scientology Celebrity Centre to undergo a rehab experience to clear up her acne. She feels imprisoned by her acne. It’s not until she realizes all the physical and metaphorical losses she has experienced over the years had somehow manifested into an extreme case of acne.

Now I forgive with a deep intensity and a passion. I take all the money, effort, and time I was putting toward microdermabrasion, facials, and benzoyl peroxide and I put it all toward learning how to forgive. I honestly wish I could bottle forgiveness and sell it; I’d put Proactiv out of business in a week. 

If you ever watched Florida Girls, you will see the comedic messiness there in the pages of Laura’s memoir except her real-life version of events seem more depressing as she details her life as a teen practically unmonitored because of her brother’s unthinkable disease. Her friends experiment and indulge in drugs and sex at a very young age that the peer pressures stunt their growth. The conflict of being a selfish teenager while having to care for her family is deeply realized since most teen girls would be the same way with wanting to focus on boys and controlling their acne to avoid what’s going on at home. 

We see Laura’s mother as the main caregiver for Max despite her alcoholic boyfriend turned husband in the house and her ex-husband unable to cope with his son slipping away. Laura helps as much as she can, especially when her brother’s health deteriorates to the point he is blind, deaf, and immobile. It’s heartbreaking to see the transition of her athletic, skateboard-loving brother becoming a very sick young adult who can’t take care of himself. With her life divided between two places that can be difficult to survive in, Laura sees more tragedy within her family and her friend group as she tries to establish herself in Hollywood. 

Overall, the memoir connects the dots on a common skin condition that has been relegated to teenage hormonal activity. The author spends her lifetime digging deeper for the reason why her face is covered in pimples on top of pimples, quickly recognizing that her friends who are the same age as her are not dealing with the exact issue but they do have their own issues. It takes years for her to classify acne as her visible issue as she overcomes abandonment and loneliness growing up in an interracial, Scientologist, bicoastal, divorced family. Her love for acting, even in the book, is weaved in and out because her environment is overwhelming her. It’s impressive that she, like many people who had announced they were heading to Hollywood to be a big star, actually overcame the obstacles to achieve her dream that’s still in incubation. 

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Book Review: ‘Crying in H Mart’ by Michelle Zauner

Crying in H Mart by Michelle Zauner

My rating: 5 of 5 stars


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Crying in H Mart by Michelle Zauner is a grief memoir detailing the author’s journey in grappling with the death of her mother while suppressing the fear of losing the only tie to her Korean culture in America.

What makes this memoir beautiful is the descriptions of the food being used as examples to show readers the depth of Korean culture for the author, who identifies as biracial with a Korean mother and a White American father. Her mother’s cancer prognosis motivates Michelle, a twentysomething musician holding down odd jobs in Philadelphia, to move back home to Oregon to help care for her mother. As the author goes into caretaker mode with her father unable to handle the stress, she finds herself questioning if her mother dies, will her connection to Korean culture die.

The main way her mother is able to highlight her Korean culture in America is through food and venturing to Korean grocery stores. That’s why the book starts off with Michelle shopping and eating at H Mart, a Korean supermarket chain, after her mother dies, trying to piece together meals she had shared with her mother throughout her life with the right ingredients. But seeing other people sit with their families in the dining area and cruising the aisles for dish must-haves makes the author cry every time as she navigates her culture without her mother.

I closed my eyes and let my tears flow. I tried to envision us together again in Seoul. I tried to envision the mung bean batter sizzling in grease, meat patties and oysters sopped and dripping with egg, my mother explaining everything I needed to know before it was too late, showing me all the places we’d always assumed we’d have more time to see.

Growing up in Oregon, the author stays by her mother’s side as her father travels for work. Michelle and her mother take biannual trips to Korea to stay with family and absorb culture in the homeland. Being American, Michelle is seen as more rebellious, even as a child, a trait that escalates in her teenage years, upsetting her parents. The stain of adolescence lingers in the background as Michelle experiences her family as an adult and soon as an unexpected caretaker.

My mother had struggled to understand me just as I struggled to understand her. Thrown as we were on opposite sides of a fault line—generational, cultural, linguistic—we wandered lost without a reference point, each of us unintelligible to the other’s expectations, until these past few years when we had just begun to unlock the mystery, carve the psychic space to accommodate each other, appreciate the differences between us, linger in our refracted commonalities. Then, what would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.

This memoir has raw moments around the author seeing her mother deteriorate quickly to stage IV squamous-cell carcinoma and searching for joy amid the process. As her mother is dying, she puts on her chef’s hat and leans on YouTube to guide her through recipes for traditional Korean dishes such as doenjang jjigae, described as “a rich, hearty stew filled with vegetables and tofu” that her mother had loved serving, and jatjuk, a porridge made of pine nuts, rice, salt, and water, perfect to serve to the sick. While her mother tries to keep food down, Michelle works in the kitchen to perfect her Korean dishes to preserve the culture her mother taught her.

Of course, like in most families, there is drama around who can care for her mother the way she needs as a Korean woman in America. The author finds herself butting heads with one of her mother’s Korean friends, who seems to know everything to do to make her mother comfortable. Her father is largely absent, unable to accept his wife is dying on the cusp of retirement; a fantasy full of travel is dashed by cancer. And at 25 years old, Michelle is trying to stabilize her life as a musician and maintain her relationship with her partner, as she worries what her life will be like without her mother.

Overall, the memoir illustrates the elaborate details we all experience in our own cultures, but the art of writing customs that are practiced and the foods that are eaten elevates the story. The balance of bittersweet is on every page, as the author deals with her mother dying but also experiences a renewed interest in diving into her Korean culture. It’s the uncertainty of being able to carry on the culture without the parent who taught you the culture that hops off the page. Despite the story leading up to the grief of losing a mother, the memoir ends on a hopeful note that as long as the roots are planted, they stay within you and the loss empowers you to nurture those roots.

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Book Review: ‘Bone Black’ by bell hooks

Bone Black: Memories of Girlhood by bell hooks

My rating: 5 of 5 stars

Bone Black by bell hooks is a raw narrative of a Black girl navigating a world that seems to not be able to accept who she is.

bell hooks’ girlhood memoir starts in the countryside of Kentucky where the author is given a keepsake from her late grandmother and sensing the talk around why she gets the beaded purse when she wasn’t her grandmother’s favorite, nor her mother’s favorite. The book opens with a foreword emphasizing how the author’s behavior as a Black girl among six daughters and a son in a poor family came off as rebellious as she pushed against the frustration her family felt for not being able to understand her behavior.

She was sent to bed without dinner. She was told to stop crying, to make no sound or she would be whipped more. No one could talk to her and she could talk to no one. She could hear him telling the mama that the girl had too much spirit, that she had to learn to mind, that that spirit had to be broken.

The main theme throughout the memoir is the loneliness she feels within her family. She is considered the bad girl in the house, and that accusation eats away at her though she tries to conceal it through finding her comfort in raising her voice. She asks her family for a Black doll. Instead of happiness that she wants a doll that looks like her, she’s met with aggression; the White dolls are cheaper and easier to find. But somehow she gets her Black doll, Baby. This example shows bell’s young self fighting for what she wants, something that shouldn’t be a hassle, but her family processes her asking for a Black doll as a hassle. And those conflicting perspectives make bell look like the “problem child.”

She wants to express herself—to speak her mind. To them it is just talking back. Each time she opens her mouth she risks punishment. They punish her so often she feels they persecute her.

Backtalk is a cornerstone of one of her books, Talking Back: Thinking Feminist, Thinking Black , that explores the concept as a way to silence people, especially people of color, who have been taught to stay quiet and not talk to others with equal authority. In her memoir, her family targets her for backtalk, but she feels she’s just expressing her thoughts. Because of her tongue, her family brands her in essence an “old soul,” or how she puts it as an “old woman born again in a young girl’s body.” How she speaks seems to scare her family, according to her, to the point she is believed to be a witch. That leads to her being given a book of fairy tales that describe old female characters as cannibalistic and evil. But a book in her hands transports her to another world, a world where she doesn’t have to be with her family. And reading so much inspires her to start writing.

Loneliness brings me to the edge of what I know. My soul is dark like the inner world of the cave—bone black. I have been drowning in that blackness. Like quicksand it sucks me in and keeps me there in the space of all my pain.

The color black is a recurring theme. Not necessarily about race, but more about the darkness she feels as being treated like she’s too different to understand. “Bone black” is a color she learns about in art class. She defines it as “a black carbonaceous substance obtained by calcifying bones in closed vessels.” To burn bones into ash is like disappearing altogether. Her art teacher allows her to paint with all the black she wants. Her mother doesn’t allow her to wear black because it’s a color only for women. bell rebels against this notion, but it becomes a point of contention between her and her mother. While her mother may not think it’s appropriate for a girl to wear black, bell thinks she should be able to express herself the way she wants.

Overall, the memoir, told mostly in third person, observes everyday acts and unpeels the trauma of a Black girl trying to use her voice when it’s restrained by others. The restraint becomes overwhelming, as in she knows her faith in believing her voice could be stomped out, and that conjures feelings of invisibility and unimportance. Instead of her voice being valued, it’s devalued with her family saying she’s too weird, incomprehensible. Though it’s set in the 1950s and 1960s in rural Kentucky, the pain points of being misunderstood, being silenced, being depressed, being poor, being female, being Black resonate beyond its time, unfortunately since these issues remain commonplace for many children in American households. The writing is simple, but every word conveys more meaning than what meets the eye.

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Book Review: ‘Unfinished’ by Priyanka Chopra Jonas

Unfinished: A Memoir by Priyanka Chopra

My rating: 3 of 5 stars


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Unfinished by Priyanka Chopra Jonas is a memoir that delivers insight on the global star’s upbringing before and after fame in the U.S. and India.

Priyanka’s story starts in India where she is a regular seven-year-old, the daughter of military doctors. Naturally when her younger brother is born, she acts out with another sibling in the house. That leads to her being sent to boarding school, where, after the abandonment subsides, she learns how to live independently with her classmates and with decorum. The opportunity eventually leads to going to high school in the Midwest then New York with her aunt and cousins. She gets her first taste of American culture, which of course comes with bullying over her skin color and race. Americanized, she returns to India for her final year of high school, where she exchanges her midriff-baring style for tunics and pants. Now her brother doesn’t want her in the house and sends her photo to be in the Miss India competition.

She prepares for the unpreparable: representing a country that wins global beauty pageants on a regular basis. Without formal knowledge, she and her family string together whatever they can to help her learn to compete on the national level with other young, smart, beautiful women. Her dedication leads to her being crowned with the intention to represent India at the Miss Universe pageant. Though she flubs the final question, she still wins the pageant, securing India back-to-back wins. Since Bollywood film projects want a pageant queen, the woman who had aeronautical engineering goals is now blinded by the entertainment industry that eventually takes her abroad to her leading role in ABC’s Quantico.

Her family is an important part of the story. She is close to her parents who are portrayed as loving and supportive; she even acknowledges that her parents may be more unique than others. A series of botched surgeries to treat cancer takes the life of her father, and she expresses the toll of the grief of seeing her father suffer then recover then suffer again. She also describes the close relationships to her aunts, uncles, and cousins, and how it’s their culture to take care of each other, which affords her the opportunity to go to high school in the U.S. Her marriage years later to pop star Nick Jonas, ten years her junior, is told, where she explains how their courtship just happens naturally and results in a quick, extravagant wedding.

Her Western fame that includes simulating sex scenes sparks backlash in her home country. An insensitive terrorist storyline involving Pakistan on Quantico puts her in the line of the fire again. When she first entered the U.S. entertainment scene as a singer, a gig with the NFL reignites the racism she dealt with in high school. She is accused of getting a nose job when a sinus surgery goes wrong that leads to multiple surgeries fixing the bridge of her nose. The constant criticism motivates her to tackle it head-on, she says, pointing out the hurt of being in the public eye while living out her wildest dreams.

Overall, it’s a celebrity memoir that feels like it’s missing some depth, but learning about the international star and her rise on another continent is interesting as so is learning about her experiences in the U.S. as a teen from India and how that prepared her for the global pageant scene and her acting career.



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Gold House Releases Second Book Club List Featuring Asian Pacific Islander Authors

On the heels of Asian American Pacific Islander Heritage Month, Gold House launched its second book club list on Tuesday selecting stories that explore identity written by Asian Pacific Islander authors.

A part of the largest nonprofit collective of top Asian and Pacific Islander cultural leaders, the book club list highlights works to emphasize this year’s “Resistance & Resilience” theme.

“Through the selection of books in our second Reading List, we will explore ways in which ‘Resistance and Resilience’ forges Asian American identity, particularly through the lens of grief, oppression, and cultural assimilation,” says Cindy Joung, Gold House’s Gold Records director, in a statement.

The book club list is as follows:

June 2021: Crying in H Mart: A Memoir by Michelle Zauner

July 2021: Good Talk: A Memoir in Conversations by Mira Jacob

August 2021: On Earth We’re Briefly Gorgeous by Ocean Vuong

September 2021: The Woman Warrior: Memoirs of a Girlhood Among Ghosts by Maxine Hong Kingston 

October 2021: America Is in the Heart: A Personal History by Carlos Bulosan

November 2021: This Is One Way to Dance by Sejal Shah

“At a time when many Asians and Asian Americans are feeling unsafe, unseen, and unwelcome in this country, the Gold House Book Club seeks to share stories that exemplify our strength, our contributions, and our multifaceted identities,” Cindy says. “Ultimately, we hope these books and our programming will bring the community together for moments of introspection and discussion while highlighting API representation in the literary landscape.”

The list was curated by Gold House’s advisory council of 22 API writers, activists, and professors, including celebrated authors Amy Tan, Helen Zia, and Viet Nguyen.

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Book Review: ‘When They Call You a Terrorist’ by Patrisse Khan-Cullors and asha bandele

When They Call You a Terrorist: A Black Lives Matter MemoirWhen They Call You a Terrorist: A Black Lives Matter Memoir by Patrisse Khan-Cullors
My rating: 5 of 5 stars

When They Call You a Terrorist: A Black Lives Matter Memoir written by Patrisse Khan-Cullors and co-written by asha bandele explores Patrisse’s journey growing up poor in Van Nuys area of Los Angeles and how that led to co-founding the Black Lives Matter movement. I read the book for research on the 1992 LA uprising, which is mentioned once in passing, but the book is very relevant in light of the protests across the U.S. over the death of George Floyd.

The memoir starts with a quote from Assata Shakur and a foreword by Angela Davis, emphasizing the civil rights activism message. Patrisse is raised by a single mother in Van Nuys in an impoverished barrio, a mere mile away from the wealthy neighborhood of Sherman Oaks, now known in the black community as where the fictional Black-ish family lives. She has two brothers and a sister, but she watches her brothers get stopped by the police often as teens, and one of her brothers, who’s later diagnosed with schizophrenia, eventually lives a life in and out of prison. She’s loved by her father but learns he is not her biological father, so she develops a relationship with her biological father, who also is in and out of prison. She describes both those relationships with love to focus on the importance of fathers in a black girl’s life. By the time she’s in her teens, she senses she belongs to the LGBTQ community and makes lifelong friends. She’s on the road to becoming an activist for people like her, but the death of Trayvon Martin in 2012 leads her and fellow activists to form Black Lives Matter to raise their voices for black people killed at the hands of police and racists.

Her story is beautifully written in a poetic prose that remains in present tense throughout, which is rare for a memoir where the past is in past tense. The attention to which details to share is extraordinary as well. She points out the autobiographical details that informed her activist path such as walking down the street as a kid with her mentally ill brother and watching the police frisk him over nothing. It was difficult to put down the book with the flow of the words and the story.

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