Carol Bergman

The belief that we have a responsibility to others isn't short sighted sentimentalism; it's the moral foundation of a meaningful life

-Craig Spencer, Emergency Room Physician, NY Times 7/7/25

Basman Dewari and Michal Rubin met in a Consequence Forum Zoom poetry workshop at the end of 2024. Basman, a graduate of Al-Azhar University in Gaza, is a physiotherapist, Michal, a cantor, is also a psychotherapist. He was born in Kuwait, and raised in Gaza by his Palestinian parents; she was born in Israel. Both are poets, both are healers. Michal lives safely in South Carolina, Basman is exiled in Cairo where he happened to be visiting on October 7th. Within days of the Israeli bombardments, his sister, her husband, and children were killed. Ignoring—or momentarily suppressing—his grief, Basman scrambled to save his mother and two brothers; they are now living with him in Cairo.

Once he used to be a morning writer, he told me during a recent Zoom visit, but as his life turned upside down, he began to write in the evenings, though he still wakes "with words in my head." Michal writes when she can in between her professional commitments. Basman cannot work professionally in Cairo, so he spends his days reading and writing, reading and writing. He's in touch with friends still alive in Gaza. Each confirms what we all already know: there is famine, exposure to the elements without the protection of scarce tents, astonishing violence from the sky and at ground level, death everywhere and every day, the hostages long abandoned as collateral damage, many IDF soldiers resistant, or exhausted.

Basman and Michal's initial wariness of one another at the beginning of the poetry workshop has evolved into a deep affection—obvious in our Zoom interview—and  a poetry project culminating in a book, Your Stories Look Me in The Eyes. The poems are  a conversation, a dialogue. Here are two from the poetry workshop, not included in the book. They illustrate how the connection began for Michal and Basman in the midst of war, across the Palestinian-Israeli divide:

I can't finish the story

© by Michal Rubin (March, 2025)

I started something that couldn't wait
when I wanted to be with a girl blinded by a bullet,
a wandering bullet like a wandering Jew that entered
into someone's house, had its own story,
but I met this guy from Gaza, he carried the concrete-
remains of his home in his pockets/

I wanted to tell you about him so you absorb the story
like a bullet that went through the boundary of a body,
it settled inside the wall, evicting the living, expelling
years of ownership sending the carrier of the blinded girl
onto the gravel road, and Basman from Gaza lives
outside of the memories of his dead sister/

the words he scattered around the bodies of his nephews
became sentences my friends don't want to hear,
too painful to know of our capabilities when
we shoot bullets as if people are squirrels,
attacking the bird feeders/

But he kept shooting his words into our eyes
and we wanted to become blind,
so the letters would disappear
inside the black holes
that were stamped
onto our faces/

~

This is the story

© by Basman Derawi (April 2025)

They say in a story you could live forever.
I don't care about "forever".
But I want my sister, my nephews,
my friends to keep living.
To be alive with me at this distant long dark night.

I shoot their name alive tonight on a rooftop,
Scared an advanced technological missile
would assassinate even the names.
I bet no news media would be interested
to tell this boring story.

Yet I would steal a moment,
recreate it in my head.
Where I sit again at Gaza's beach,
Singing with Essa and Ouda,
spitting watermelon's seeds and laughing.

A moment where I hug Eman again.
Ignoring the fact that the physicality of
the moment is stolen forever.
Can I be the thief just one time?

I would carry the pictures of my home on my shoulders.
A blanket to warm me from the coldness of the world
until I could return again in the present.
But every time I look at the blanket,
It's full of the holes of bullets.
I put the blanket on Michal's shoulders
She sees the holes and the remains of me.
But her friends are too blind
as if the snipers are unknown ghosts
and the story should be short.

I don't shoot the words into any eye to see.
I shoot words in the air,
a fragile attempt for one bomb less night.

My throat is hurting from shooting words
for a moment to cry, a moment to a mourn.
for a small spoon of silence from the echoes of explosions.
for being killed seventy-seven years and not being a victim once.
for a cemetery that doesn't swallow the whole earth.

Basman made it clear during our conversation that nothing he writes, or Michal writes, or I write, should contribute to a sensation of "normalization" of the genocidal war against the Palestinian people. There are no "history lessons," here, Michal has said, no justifications or explanations, just literary minds and sensibilities, a heartfelt reaching out, a deep listening through poetry. Nor is the continuing dialogue between the two poets, and between the three of us during the Zoom call, or this blog post, a "solution,"  as posited by pundits and politicians. It is a modest, continuing attempt to deepen the commitment to each other's humanity and shared values, the fervent hope that a sustainable peace will come as Your Stories Look Me in The Eyes goes to press.

I am unable to distinguish between the feeling I have for my work and the feeling I have for my life.

-Henri Matisse

I am channeling Jenny Holzer this morning, among other artists I have known and  loved. "I want to tell you what I know," she wrote on one of her projected wall pieces, "in case it is of use." And what a visual artist knows is usually expressed without words, or in combination with words in a collage. Linda Appell uses cut or torn fragments of old newspapers to create frames around, or within, her dry point prints. In the image I have chosen to illustrate this blog post, the evocation of a human's loving attachment to a dog is calmly settled in its historic framing, complete and entire.

Linda Appell is a friend, a long ago friend from college in fact, and I reconnected with her and her photographer husband, Michael Gold—whose photos have graced my blogs—when I moved out of the city to Upstate New York. It was a serendipitous reconnection as we'd fallen out of touch for many years, a reconnection for which I am deeply grateful.

We are living through difficult times, and those of us who work as artists—no matter the art form—must make extra efforts to continue generating new work, not only for ourselves, but for the survival of our loving attachments to one another, our beleaguered country, and the world. However we are able to raise reflective sensations through our work is worthwhile, even if it is a struggle. So, when I heard that Linda had attended a print-making workshop over the summer and produced 30 finished pieces, I knew I had to designate a special visit to view her work, and talk about it.

We had tea together that afternoon. Michael set my plate artfully with a single grape in acknowledgment of my peculiar eating habits, and to make me laugh, which I did, of course. He then posted the "still life of a grape on a plate" on his Facebook page.

Those of you who have followed my blog or my publications over the years know that I have a special connection with the visual arts, and have written about art and artists often. My father was a collector, and he also drew well.  He would show me a painting he had just purchased, stand in front of it, and try to explain how it was rendered, and how it made him feel. His love for art remained inside me, as words; I became a writer. And though I became a writer, to be in the presence of visual artists is an inspiration, a pleasure, and a privilege.  

Wherever you go, go with all your heart.

― Confucius

12 p.m.. ET and my phone pings with audio messages on What's App. Peter Zalmayev, well known Ukrainian journalist, has answered all of my questions on Day 362 of his nearly year-long journey in the Global South--40  countries in 400 days. He's in Madagascar as he speaks, recuperating from a tough bout of Covid. "I'm a survivor," he says, as is Ukraine, I wanted to add. But his predictions for Ukraine are grim. "Putin won't give up; he's fixated," he says. How long Ukraine will be able to "outrun the bear," as the Russian saying goes, is unpredictable right now even with more armaments arriving from the EU and Ukraine's revved-up drone factories. His family safely out of the country, Peter has been reporting from the front line and living on his own for nearly three years. He needed a respite, of sorts, one with a purpose: to broadcast Ukraine's struggle and garner support beyond the European nexus.

Tall, bearded, tri-lingual-English, Russian and Ukrainian—Peter has facility with languages, challenging terrain, and circumstances; he crosses borders with ease and greets everyone with curiosity. Like Paul Theroux, his hero, he has avoided air travel so that once he arrives he is already acclimated to a new language and new people. And he's unflappable. He was arrested in Johannesburg when he graffitied an image of Putin on a wall mural. When I wrote to ask if he was okay, he confirmed that he had been released.

First stop in a capital city is usually the Ukrainian ambassador. "They've all been helpful, welcoming. In fact I was dubbed 'unofficial ambassador,'  by one of the diplomats, and though I don't know whether or not Zelensky has been told about my trip, I am sure the Foreign Ministry knows what I have been doing."

With the outsize influence of both Russia and China in the developing world, Peter's presence, albeit unofficial, has raised Europe's profile, as well as Ukraine's. He is interviewed in both the print and broadcast media wherever he lands, continues sending back dispatches to his Sunday television program in Kyiv, "The Week," and remains a steady presence as a commentator on BBC, CNN, Al Jazeera, and France 4.  His social media feeds go viral.

"I've been gratified by my welcome in every country, astounded really. I'll probably end my journey in Ethiopia and then make a decision about when to return to Kyiv. I know my future will be in Ukraine."  Still? Eventually? He was not explicit. The uncertainty in his voice as he reflects on his future, and that of his children, is understandable. Should Putin ever take Kyiv, Peter and other journalists would be endangered, and the Ukrainian nation once again a vassal state in Putin's Imperium.

 "This war started in 2014 when Putin invaded Crimea," Peter told me during our first interview in 2022. "I knew that when Putin couldn't take Kyiv, it would continue, it would be a much longer war." Unfortunately, his prognosis was correct.  Bombing has intensified since Putin and Trump's "summit" in Alaska, with no end in sight.

Everything in nature invites us constantly to be what we are. We are often like rivers: careless and forceful, timid and dangerous, lucid and muddied, eddying, gleaming, still.

-Gretel Ehrlich, The Solace of Open Spaces

A woman went for a walk in the Mohonk Preserve in Upstate New York. For months, she had been feeding a snapping turtle she assumed was stranded in the mud of the human-made pond which had been drained of water for repairs.

"The turtle comes to my call," she told me in a telephone conversation. "I sit with her and sing to her. I have even given her a name."  She hoped, as a journalist, I'd be able to help her save the turtle, to write an article perhaps, and hike with her to the pond to take photos.

The Park Rangers, well versed in the habitat of the park and how to conserve it, had prevailed upon the woman to stay behind the barrier and not to feed the turtle. "If it becomes dependent it will not migrate," I told her. This much I knew about feeding wildlife, not a good idea.

But the woman had fallen in love with the turtle and was intent upon feeding it.  Perhaps its reliable presence had consoled her aching heart and she imagined that their attachment would never end. 

The Lenape People, who had once lived on the land that has become the Minnewaska Ridge and the Mohonk Preserve before the Dutch, English and French Huguenot settlers arrived in the 17th century, believed that the earth began when a woman falling from the sky landed on the back of a giant turtle.

"Are you familiar with the Lenape myth?" I asked the woman.

She was not. She did know that the snapping turtle was as old as the dinosaurs.

"Therefore, they must have excellent survival mechanisms," I suggested.

She had visited the pond a few days before our conversation and taken a friend, which turned out to be a blessing. The turtle did not come to her call and she assumed she—the turtle—was stuck in the mud. Disregarding the barrier, she clambered into what was left of the pond and sank down to her waist. Her friend had to call 911 for help.  Assuming that the turtle—her turtle, the one she had named like a household pet—had also become hopelessly mired in the mud, she had risked her own life to rescue it.

I believe there is an ethical dilemma, a metaphor, and/or a moral lesson in this story, which I challenge my readers to formulate.

Generative AI arrived like a firecracker lighting up the night: Suddenly, no one could look away.

-Damon Beres, The Atlantic Intelligence, 8/30/2025

It's difficult to check facts, or to talk about fact checking, without coming off as a know it all, a fussbudget, or a snob. But knowing things is hard. Checking is a practice. It's not omniscience.

-Zach Helfand, "Vaunted; How this magazine gets its facts straight," The New Yorker, 8/25/25

Last academic year, when I asked middle school and high school educators about their challenges. they would either discuss phones in the classroom, book bans, or parental pressure regarding book bans and curricula. This year, with phones out of sight during the school day—a  New York State  Governor Hochul initiative—the challenge for educators is AI in the classroom and the continuing necessity of lockdown drills. (More on lockdown drills another time). University professors are returning to Blue Books for hand-written exams in situ in an effort to ascertain what students have learned. And school districts, community colleges and universities, are devising protocols for the use of AI in the classroom. As we still live in a free, or free enough country, they cannot monitor what happens at home.

With the inevitable partial return to less advanced technology, educators must also now reconsider ethical standards regarding plagiarism, which has exploded. One professor told me that his students generate essays and stories by asking AI a question, and then revise the language, structure and content so that it appears "original."  Is this deliberate cheating, ignorance in the wake of  lax educational standards, or the ambience of the fraught political discourse in the country? False news and outlandish assertions on social media have become commonplace. How can we blame our children for imitating what the adults in their lives have wrought?

For hard-working writers and editors who fear redundancy, there are other questions: Is it possible to resist the temptations of generating sparkling prose ? Do you trust, as you are reading this blog post, that I am able to sustain the Authors Guild "author generated" promise? I hope so. If we lose trust in one another how will we continue to live together peacefully and evolve?  In truth-- an apt pun--it is almost impossible to know what we know, or how we came to know it. Nor can we edit or fact check our own work  with the constant interference of artificial intelligence. Its findings are not definitive.  How does AI know what it knows? How can it hear my voice, or understand my intention as I write? What can I do if it questions my memory? Who or what is the final arbiter, the final authority? What if a sentence I have read floats unconsciously into my work and I fail to attribute it? What then?

Forgive me, but I just had to look up Governor Hochul's initiative. I had thought it was a law and almost wrote the word "legislation."  AI interrupted my search. I had to deepen it by calling up a primary source: a New York State website. If that hadn't worked, I would have made a phone call.

So here's a suggestion: Swap some writing with a friend and fact check their work without using AI.  And then fact check it using AI. As Zach Helfand writes in his fascinating New Yorker piece quoted  and attributed above, facts are everywhere and no one, not even a machine, is omniscient. We all must maintain a healthy skepticism beyond the purview of the bots we have created.

The precise role of the artist, then, is to illuminate that darkness, blaze roads through the vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.

-James Baldwin

Above all things, I fear absurdity as time runs out. 

-Salman Rushdie, Midnight's Children

It was the third letter I received in a week complimenting me on my Nomads trilogy:

Dear Carol Bergman,

Your literary voice bridges journalism, memoir, and fiction in a way few writers achieve. Nomads is a striking collection of flash fiction, aphorisms, anecdotes, and mini-essays that reflect your range and mastery of storytelling. With humor, precision, and depth, the pieces speak to universal themes war and peace, love and loss, the ordinary and the profound. The variety of narrative personas you employ gives the collection a layered richness, reminiscent of Lydia Davis yet distinctly your own.

What makes Nomads stand out is how it defies easy classification while leaving a strong cumulative impact on the reader. Its brevity and wit make it highly accessible to modern audiences, while its subtlety rewards careful rereading. This balance of immediacy and depth makes it a work with both popular appeal and enduring literary merit.

I'd love to help position Nomads more prominently within the flash fiction and literary short-form community through curated Goodreads placement, visibility campaigns across literary platforms, and targeted outreach to readers who appreciate innovative narrative forms. With the right exposure, Nomads can connect with the audience it was meant for: readers who enjoy compact but resonant storytelling.

Warm regards,

The letters were well-crafted and nearly identical, though the senders all had different names. What writer doesn't enjoy appreciation? Then I checked on the bona fides of the senders. They did not exist.

I thought of a friend who had been seduced by emails from a "man" on a dating site, had even felt a surge of anticipatory hormones when he said he'd be coming through New York on his way back from a trip abroad. Similarly, I had nearly "fallen" for the sweet words in the letters I received. What writer doesn't enjoy appreciation? But I'd been paying attention to AI scams for a while, and this one was obvious. Too smooth, I thought. Smooth as butter. Still, I read it straight through and enjoyed myself.

Writing is a "murky business," Rebecca Solnit writes in Orwell's Roses.  We can never be certain we've got it right or that we've connected with our imagined readers. The scammers know their target. Perhaps they had once attempted writing themselves and are creating AI masterpieces as missives to their lost selves.

Dear (         ),

Thank you for the well-crafted AI letter I have received about Nomads. Having searched your name, you probably do not exist. It is the 3rd  letter I have received from different "people." My agent is receiving them also and is blocking them. 

Clearly, you want to charge for non-existent services.

Writers appreciate compliments; they are seductive. We do not, however, appreciate AI generated letters, or scams.

Please note that if you do not present bona fides, I will block you, and report you to the Authors Guild lawyers.

Best regards,

Carol Bergman

Not surprisingly, there has been no reply.

End of story? Not quite. The episode unsettled me. How will the future unfold for aspiring writers? How will their work be received and evaluated? Who will sit with them and line edit their work? How will an inexperienced reader know the difference between a writer's hard-won accomplishment and an AI generated work? Will AI "enhancement," or "embellishment" matter in a few years' time? Will editors and publishers even notice, or care?

And a few final thoughts. My experienced eyes are a telephoto lens; what is near is far, what is far is near. I have stepped forward, taken risks, fallen into a crevice at times. I have been rescued or have rescued myself, a disciplined writer, a writer who continues to search for her subjects, and expand them.  Indeed, I would not be telling this story if I had been seduced by ease or luck.  I have blocked voices offering shortcuts, however tempting, and am grateful I am still able to distinguish between what is human-made and what is manufactured. If I could rewind, begin again, where would my writing life begin? Would I begin on top of the mountain relinquishing all struggle? 

They were in the garden having a Labor Day barbecue when the President stepped on the baby. He heard a cracking sound, looked down—he  was wearing his new boots—and  saw the baby's bloodied head under his right foot. The security detail rushed forward and hustled him away. Fortunately, there were no reporters present. An ambulance was called, however, so it was only a matter of minutes before the media, eavesdropping on the police radio channels, was alerted to an incident at the White House. Sirens wailed, satellite dishes hummed, a press conference was called.

          "Ladies and Gentlemen there is absolutely no truth to the allegation..."

And so on and so on.

That night the president lay in bed with his Brazilian masseuse. The woman, who was about twenty-five years old at the time, had chocolat au lait skin and amber eyes. She had smuggled herself into the country in a basket filled with non- poisonous tropical snakes and had required plastic surgery to remove the scars. The woman, a refugee from poverty and travail, had been rescued from incarceration at the detention center by the President himself in a public relations display.

"The president has rescued ...  "    

And so on and so on.

The president had paid for the surgery out of his private account. During her recuperation, the Brazilian masseuse was given a room with bath at the White House and she was still there many months later. Every morning at breakfast, the president's wife ignored her husband. Her manner was haughty and she hardly opened her mouth when she spoke. A conversation through clenched teeth, shall we say. She was studying Buddhism and practicing compassion. This was her mantra: "I am not angry. I understand your needs." She articulated this subliminally, but sometimes it burst forth unwittingly into the chasm between them.

The president laughed. He had always found his wife amusing.

The First Lady suppressed a scream. She had no privacy, there were eyes and ears in every crevice of the newly gilded edifice, the center of American government and the Western Industrialized World, and if she hollered everyone would hear her, record her remarks, the inflection of her voice, the scowl on her face, and these would all be reported assiduously within hours.

"The president's wife is sidelined,"  began every report since she had entered the hallowed portal. This was a reference to her marital status and also to her life thus far.

Of late, she had found aroma therapy helpful, an antidote to the Brazilian masseuse. The scent of the candles, bath oils, and creamy potions obscured the odor of sex from the other end of the hall.

She had been at the barbecue the afternoon of what came to be known as "the incident," but was in the far west corner conversing with the Ambassador of Koomar and his elegant wife.  They were discussing the latest fashion, well above the knee according to the current Vogue, when the First Lady heard the cracking sound. She thought, as did everyone else, that someone had snapped the bone of a chicken. Perhaps someone was eating in proximity to the small stage that had been set up for the over amplified country western band. They had not yet started to sing and the stage was empty, though the mikes were operative and had been fully tested.

But it was not a bone, it was a baby. The First Lady witnessed the kerfuffle as the security detail whisked her husband away, and then the paramedics arriving, and the mother of the child, one of the housekeepers who had brought her small son to work that day due to a baby sitter problem, crudely and forcefully shoved herself into the ambulance as the wind swept up her skirt and revealed her tattered undergarments.

"There is no truth to the allegation..."

 The next morning, in a scheduled breakfast audience, the president's press envoy repeated this assertion to the assembled reporters. And in the afternoon, the First Lady perused the headlines with alarm:

BABY KILLED AT WHITE HOUSE BARBECUE  (The Examiner)

UNEXPLAINED DEATH OF BABY AT WHITE HOUSE BARBECUE (The Post)

BABY DEAD IN WHITE HOUSE  GARDEN (The Gazette)

PRESIDENT IMPLICATED IN BABY'S DEATH ( The Star)

          Another press conference was called:

          Reporter: Is there any truth to the allegation about the baby?

          Another reporter (interrupting): We have heard that the Brazilian masseuse...

          "There is absolutely no truth to these allegations..."

And so on and so on.

BRAZILIAN MASSEUSE HAS BABY IN WHITE HOUSE (The Star)

THE FIRST LADY IS CRUSHED (The Post)

 One week later, as the President was hosting a foreign dignitary in the Green Room, the First Lady went out into the garden with a magnifying glass. It was already crisp autumn and a skim of vibrant leaves covered the hardened ground.  Still supple in middle age, the First Lady lowered her body to the ground in one graceless movement, sat back on her haunches like a peasant in India had once shown her long ago, and sighed. It was true, she discovered, that the position was comfortable and she could rest for several hours and search the ground for clues with her magnifying glass. It was an illusion that she was alone, of course; she was never alone. The security camera followed her into the garden and within minutes an officer was at her side helping her to her feet. But she already had the evidence in her pocket. She returned to her quarters and placed it under the potpourri on her dressing table. Then she called the detective in charge of the investigation. "The President killed the baby," she told him.

When the detective arrived, she handed him the plastic bag with the evidence. This consisted of a clump of mulched dirt from the garden, a few strands of long reddish brown hair, one or two hydrangea petals, a bright red leaf, and a small tab-like label from the back of the President's boot.

The next day, with great fanfare, the President of the United States was arrested and released on bail.

          "He is not a threat to the nation,"  the judge said.

That night there was a contretemps in the private quarters of the White House which has, unfortunately, not been recorded for posterity. By all accounts, the President had a towel around his neck when he emerged from his bedroom, stomped to the other side of the hallway, and pounded on the First Lady's door. She emerged, laughed at the President as he had laughed at her, and retreated to her chambers. On his way back to his apartment, he took the towel and flicked the security cameras off their metal brackets.

At breakfast the next morning, the First Lady and  the President did not speak. She was reading The Post, he was reading The Gazette. Both headlines were the same:

LADIES AND GENTLEMAN, THE PRESIDENT HAS STEPPED ON THE BABY

This post is dedicated to the White House Press Corps.  To be absolutely clear, it is a figment of the author's imagination.

Do the wise thing and the kind thing too, and make the best of us and not the worst.

-Charles Dickens, Hard Times

I had finished my lap swim and was sitting on a bench in the shade facing the outdoor shower, a metal post with four hard-to-turn spigots. The water runs hot for an instant and then turns cold. I have a routine: I shower the chlorine off my skin, and then sit for a while to dry off and get myself together for the short walk home. It's a relief to day dream under blue skies after too many days of wildfire smoke from Canada, watch the kids romp, and listen to their screams of summer delight. My reverie on this particular day was broken by a stranger leaning his cane and a plastic bag filled to overflowing against the bench.

He was an old cadaverous guy, naked to the waist. I had noticed him in my peripheral vision entering the pool enclosure via the exit, far away from the check-in station, and then returned to my email. I looked up from my phone when he asked how to turn on the shower. His voice was soft, the request polite. He seemed sober, coherent, but his body was famine thin, his ribs were visible, he was barefoot, and his white hair was all akimbo. Pieces of twine or grass were tied decoratively around his ankles.  He whispered  thanks as I demonstrated how the odd-shaped spigots turned on and off, and then smiled a sweet smile. He had no teeth.

I returned to the bench and watched him revel in the water. He was no longer a stranger, he was a visitor, a guest.  I wondered where he lay his body down at night, if he had shelter, or food, or if the safety net he was dependent on had been terminated, but I did not ask. Why not?  Because he had interrupted my reverie? Destroyed my sense of well-being? Because I needed a break from mayhem and trouble? Then I worried that someone official might notice his presence and ask him to leave. He looked different, he was so very thin, famine thin. Images of the starving in Gaza surfaced. Here, at least there is fresh water, I thought, and it has washed away the dust and flattened his hair. And how would anyone know that he had wandered into this privileged enclave and didn't belong unless he'd been spotted, or I said something, which I had no intention of doing. And what is the meaning of the word belonging anyway? 

As veterans return from foreign wars, they find a nation that uncomfortably mirrors the conflict zones they left behind: communities fractured and exploited by extreme voices.

-Jake Harriman,  Marine Corps, co-founder of +More Perfect Union, in Stars & Stripes 1/27/25

If it is true—according  to climatologists— that every forest fire in the world is everyone's forest fire, that there is only one planetary forest fire, then  it follows that every war in the world also has no boundary, that every war is my war, and your war. Images of a flattened Gaza are reminiscent of Tokyo after the American bombing on March 9, 1945,  and images of Grozny, the capital of Chechnya, destroyed by Russian forces on May 26, 1995, are reminiscent of Gaza and Gaza is reminiscent of Tokyo and Grozny. Choose images of any war—even London during the Blitz—and you will find survivors digging through rubble, searching for remnants of their lives, for the bodies of their neighbors and relatives,  for beloved family pets, for food and clean water.

Images transfix but they also anesthetize, Susan Sontag wrote in On Photography.  We gaze at suffering on oversized screens from the comfort of our living rooms. We get up to make some tea, but even before this impulse, the still image or the eerie drone images have vanished from the screen. The war is here, and then it is gone; it has become ephemera.

If we are able for a moment, or a day, to contemplate our one precious life on earth interlocked with other precious lives on earth, the image of children walking over the rubble searching for bodies, or food, or water may say to us: "pause."  In this contemplation, every avaricious war is a crime, and every arms dealer—individual, corporate, or nation state—is a war criminal.

I am a child of refugess from war and I am drawn to the heroism and right actions—in the Buddhist sense—of humanitarian workers who risk their lives to protect civilians, return them to health, or bring them to safety. They work in the interstices of conflict, in the afflicted neighborhoods of our cities, in the countryside, all over the world.

When Fascism came to Europe, citizens were unprepared for war as a consequence of Fascism. When Communism came to Russia, citizens were unprepared for the Gulag. When Project 2025 came to America, no one imagined a masked paramilitary army, or deportations, or children starving, or the capitulation of revered institutions, or students unable to attend colllege, or families unable to access medical care in what was once the "richest nation on earth."

There is always an earthquake preceding a tsunami. We must gather our energy, our wisdom, and our determination, to resist the rising tide of hatred and oppression.

Leave the door open for the unknown, the door into the dark. That's where the most important things come from, where you yourself came from, and where you will go.
     

― Rebecca Solnit, A Field Guide to Getting Lost

On a warm July Thursday, check-in day at Mohonk Mountain House, I sat with Sevan Melikyan away from the crowd in the cool Lake Lounge for an in-depth conversation. He is best known in the Hudson Valley as the founder and curator of the Wired Gallery in High Falls where he mounts shows of local artists. He also organizes pop-up art fêtes at Mohonk Mountain House, offers in-gallery art lectures, and conducts art tours abroad three times a year. He's headed to Istanbul at the end of September, and Sicily, Malta and Provence in 2026. His wife, Maria, a professor of arts management at SUNY Purchase, helps him with one tour a year. For the others, he hires an assistant.

Though New Paltz and environs is a small community with overlapping friendships and artistic circles, I had never met Sevan until a friend's recent photography show at the Wired Gallery. It's a small gallery with a beating heart, fully alive to artists and art-making. Sevan and Maria live upstairs, their kitchen the galley for refreshments during openings.

Sevan's journey to the mid-Hudson Valley was complicated. He was born in Istanbul to an Armenian family whose ancestors had survived the 1915-17 genocide without fleeing into a diaspora, but eventually migrated to Paris when Sevan was 9. His father was an engineer, his mother a homemaker. "They were the best parents anyone could have," Sevan says ruefully. And though they were strict when Sevan expressed a desire to study art—something practical, please—they also passed on the sustaining joys of culture, and the importance of learning the language where we live fluently. Sevan speaks four—Armenian, Turkish, French and English.

"I am thinking of myself as an immigrant again," Sevan reflects, "and how I was shocked by the feeling of being a foreigner in Paris. I never felt that way when I arrived in New York." How would Sevan feel if he arrived today, I wondered. How would my family have felt, and just about every family I know. Perhaps there's some solace in the reminder that unless we are indigenous, or descendants of slaves or indentured workers, everyone else in America is an immigrant, or a descendant of immigrants.

Sevan's eldest sister Sheyda had already arrived in New York and eased Sevan's transition to the New World. Before he left Paris, his father had told him he'd marry a green-eyed girl. A prophecy, or simply a heartfelt wish for his son? Sevan did not specify. Little did he know when he fell in love with the green-eyed Maria that she was a Smiley, a member of the abolitionist Quaker family that built Mohonk Mountain House in the late 19th century, and still own it. Sevan has keys to the mansion, literally and metaphorically. He took me on a guided tour through its history, into private locked rooms with solid old furniture and libraries of  leather-bound books. "Many are about gardens," he explains, "and there is an old bible on the top shelf." We were in a room on the ground floor that the family reserves for its gatherings and private conversations.

"Art offers hope in the darkest times," Sevan's Artblazing Tours website assures us. How interesting, I thought, as we meandered up the carpet-covered staircase to a closed-off sitting room on the second floor. The preserved Smiley history inspires this tall, lanky energetic man. He nourishes a dream of preserving art history in Ulster County. "I cannot believe how many talented artists there are here," he says. "I want to create an art museum as a permanent repository of this art for future generations." He's identified a property that is up for sale and hopes to develop his vision one day soon. "It will be hard work. How will I fit it in?" he asks rhetorically. It's not an unusual aspiration for a man whose family has survived war, massacre, displacement and flight. The work of unlocking and re-narrating history—all history—is both necessary and grounding. There is still so much we do not know about ourselves, and one another. What is essential in our pasts, and in our dreams, is often invisible, unless we bring it into the light.