Carol Bergman

It’s my birthday week so I thought I’d write a post by way of celebration. It’s not a big birthday. No parties, please. I’m not a party person; I like small gatherings. So I didn’t enjoy my birthday party two years ago overmuch. (Is that a word?) Okay, guess the number because I won’t tell. My daughter and husband planned it, I drew up the guest list, but even so, I objected. They refused to hear objections and in the end I surrendered to their loving efforts. There were many highlights: friends and family and a scrumptious M&M cake. I allowed myself to indulge.

It took place in a favorite restaurant. There were balloons, good food, cheerful buzzy conversation, a cash bar. We had the whole back room. Nice. But as soon as I walked in the door—I was already writing about it in my head. “It was as if everything I saw had already been written,” wrote Gabriel Garcia Marquez who was both a journalist and a novelist. Always observing. Always narrating a story.

In other words, even when we are not physically writing, writers are writing. Life’s happenings spin differently and take on odd configurations.

My mother died—healthy and full of ideas—at the age of 99. To the end, she knew what was happening and talked about it. She was a physician so could organize her medical care—how much morphine to drip into her veins, for example, so that her last breath would postpone until one of her grandchildren arrived from Wisconsin. Maybe I get my slightly detached appreciation of life from her. Did she enjoy her birthdays? Yes and no. Certainly the accumulating years were experienced as a gift. Most of her family--our family-- had been killed in a genocide; she was a survivor. And so every day was precious, not just her birthday. But she didn’t like the focus to be on her; she was shy. Maybe this explains my resistance to celebrating my birthday this week. Or maybe I’m watching it unfold into a story.  Read More 

The women characters on “The Affair” all have pouty lips. What a soap opera! That being the case, why am I watching this program other than to relax and laugh?

A writer friend recommended it. I wonder about his motivation. Is it really so well written or is he hooked on the sex scenes? All that time lapse structure from different points of view is impressive, my friend says. Remember “Rashomon,” the 1950 Kurosawa film? There’s a murder involving four people. They all have different stories. Orson Welles used a similar device in “Citizen Kane.” Both films are classics; we watch them over and over again with equal pleasure. And we always notice something new. I can’t say the same of “The Affair,” and though I managed to keep watching until the end of Season 2, I don’t plan on ever watching it again.

Mostly I was fascinated by the predictable/ constant sex scenes, the underbites, overbites and deep red lipstick, and the two main actors, Dominic West and Ruth Wilson, who are both British. It was fascinating to observe their impersonations of hot, shallow, irresponsible, foolish Americans as they feigned regionless American accents. Actors always do their best so I cannot fault them. And Dominic is a hunk.

In journalism we also have something called the “Rashomon effect,” which is much more serious than the POV gimmick in “The Affair.” When we go out to interview people, we must be mindful of subjective interpretations and corroborate every assertion and every accounting and recounting of an event. We gather varying points of view and present, interpret and assess as fairly and accurately as we can. Unless, of course, we are creating factoids for the tabloid press. In that case, we’d still be writing soap operas.  Read More 

I arrived early at The Algonquin for a rendezvous with a writer friend and was directed to one of my favorite locations in the southwest corner of the lobby. The high-backed chair with green leather upholstery is my favorite and comfortable for my back. I’m a regular and know the best seats in the house—both for comfort and line of sight. Who else is here? Just a touristy theater crowd or someone important? Sooner rather than later, a waiter appears. I am greeted warmly and place my order—a pot of hot tea.

On this particular evening, I logged into the Wi-Fi, checked my email and unloaded “Middlemarch” from my backpack. Whew! I wouldn’t be taking it home with me. Either I’d pass it along to my friend or hand it to one of the waiters or managers. It seems that everyone is a reader here. Years ago, when I had a book club that met in the back near the famous Round Table, I left a book with Doomy, who has now finished his education and been promoted from lobby maître d’ to restaurant manager. These days, if Doomy is around when I arrive, I am greeted with warm hugs and a few moments of interesting conversation. He’s doing well and I am proud of him.

Now George, an “associate”—aka a waiter—arrives with my pot of tea and notices “Middlemarch” on the table. He says he’s read it but prefers the Russians. George is college-educated and reads all the time. Just because he’s a waiter, I say to myself, not knowing how to finish that sentence. Here we are, in The Algonquin lobby, talking about “Middlemarch.” I’m thrilled.

When the hotel was sold a few years back—it’s now managed but not owned by Marriott—they kept on all their wonderful employees—no one got fired or lost their benefits. Some have been at The Algonquin for decades. They are landmarked, just like the building, and its long, literary history.  Read More 

My husband asked me to read a book he had published for a client. It was a short book but the subject didn’t interest me. No matter. He valued my professional input and I said okay. I cannot say no to my husband, nor should I, not to mention that this was a client’s book. My husband is a screenwriter, among other things, and is getting into producing, as he describes it. Now he was thinking of producing the story he had just published as a movie. But he wanted to know: would this story make a good movie? It’s about a boy who gets lost in the woods, discovers a den of wolves (do they live in dens?) and is led home by a very talkative wolf who has a profound philosophy of life based on Greek mythology.

It wasn’t my cup of tea; I can never get into this kind of fantasy. But my husband can, and our daughter likes it, too, and so do many other people; it’s a viable popular genre.

I tried reading the book in my office, on the kitchen table and in the living room. I never got past page 10 before I needed a cookie, miso soup, some crunchy celery, a handful of walnuts, or a sandwich. Not necessarily in that order.

Then one day, the deadline for my answer looming, I went downtown for a swim, and instead of taking the speedy subway home, I took a bus. I had taken the book with me and I thought, maybe I’ll be able to finish this book on the bus.

Long bus rides, bless them. I remember when I first arrived in London and had some time to get to know the city before my job started. Every day, I hopped on a bus—a different line each time—and took it to the end of the line. London is a vast, complex, wonderful city. That’s how I got to know it. I took small orange WH Smith notebooks with me and jotted down all my thoughts and observations. Everything interested me in this new landscape. And now I was on a New York City bus headed uptown and there was something about it’s lumbering stop-start movement that eased my mind. Also, I was trapped—no kitchen. I got into the book and finished it. Then, I took out my phone and sent my husband an email: I finished the book on a long bus ride home. In answer to your question—would it make a good movie—I’d have to say: I have no idea. I enjoyed the bus ride, though. The gritty urban landscape was the perfect antidote to the den of talkative wolves.  Read More 

I met a composer from Berlin at the Pain-Quotidien café near Lincoln Center. We were sitting at the communal table and began to chat. I was editing a manuscript and he asked if I was a writer. I heard his German accent and asked what he was doing in New York. Our conversation continued for at least 30 minutes: politics (our election, Merkel, the refugees), support for artists (or lack thereof) in our respective countries and cafés. We are both grateful for Pain-Quotidien however slight a resemblance it bears to a European café. When he is in New York on business, it’s the closest he can find to his regular Berlin café. He took out his phone and showed me a photo of his favorite café in Berlin. Most people would show a picture of a loved one so this was amusing. He missed his café.


The café of my dreams is in Paris, London, Prague or Berlin, I told him, and it’s an outdoor/indoor café with cheerful canopies and friendly waiters who know me well because I am a regular. I have a special table in a corner with a vantage of the street, the perfect seat, which I have earned after many years of being a regular. I arrive around 3 p.m., order my coffee and strudel, take out my notebook and write by hand or read until a friend arrives. I never know who that will be, no arrangements have been made, they are not necessary. It’s a given that this is where we spend a couple of hours of every day away from the rigor and solitude of our writers’ desks. It’s verboten for any of us to talk on our mobile phones or bring our laptops. We are here to converse with one another.

Converse, what a quaint notion. Am I dreaming? I suppose I am. In truth, I reside in a city which has no café culture whatsoever though the bar culture is very strrong. Can a culture be strong? Can it obliterate all other cultures? And so I am wondering what can be done about this, if anything. And then I wake up from my dream in a café in my neighborhood, far away from Lincoln Center, where everyone is plugged-in and wired-in and a man wearing a headset is sitting next to me. There are odd very large paintings of rhinos and elephants on the wall—a special exhibition—and he is looking at them, so I say, “Do you like the paintings?” and he seems shocked, even annoyed that I have broken his insular reverie. “Oh I wasn’t really looking,” he says, and he turns back to his laptop and increases the volume on his headset.

Once upon a time my husband and I planned to open a writers’ cafe in New York, not just for writers, of course. Even in the planning stages I knew it was a bad idea: exorbitant rents withoout commercial rent control and so much time spent in administration we’d have no time to write. But after ten years abroad, it was a dream, a dream of bringing a European artist’s avant garde aesthetic to the city of my birth and to revitalize a café culture in Greenwich Village where writers used to hang out—when they had time and didn’t have to work money jobs to pay the rent.

“Midnight in Paris,” that nostalgic Woody Allen film, caught my mood exactly.  Read More 

“If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence.”
--George Eliot, "Middlemarch"

Upon my word, I have finished “Middlemarch,” finally. This is a long book, 794 pages in my Barnes & Noble edition. I did not only read the hard copy—that I kept on my kitchen table. I also downloaded it onto my Kindle app and read it on my iPhone and iPad... sync sync sync. What would Mary Ann Evans, née George Eliot, have said? I think she would have been pleased. Writing in the 1870’s about the 1830’s, a time of rapid technological change in Victorian England, she would have been fascinated by the internet, for example, or by women politicians.

I read “Middlemarch” exclusively over the winter break holidays. I let the New Yorkers pile up and did not open another book. This is very unusual for me as I am always reading at least two books at the same time: a fiction and nonfiction book. “Middlemarch” is both a character-driven story and a book of ideas, all intertwined and satisfying. Yes, it is polemical at times, but not overly so. Yes, it is flawed, but what novel isn’t?

And I love all the characters, imperfect and troubled as they all are. Ardent Dorothea and sweet observant Celia, her sister, and their kind Uncle, and all the misguided, struggling men, a plethora of those: Lydgate and Ladislaw and Sir James Chettam and deadly dull Casaubon. Into this male-created universe George Eliot, drops corseted, clever, uneducated—or undereducated—women who ask questions and defy convention and expectation, as Eliot did herself. She lived with her partner, Henry Lewes, for more than twenty years—unmarried. She was a free-thinker and a successful author in her own lifetime.

Yes, it was time for me to read “Middlemarch.” I will, undoubtedly, read it again, but I am moving onto “Daniel Deronda,” Eliot’s second master—or should we say mistress—work. I will keep you posted on my progress, dear reader.

Why “Silas Marner” was on the curriculum in my high school, I shall never understand. What –American—adolescent could ever fathom Eliot’s complex sentences? Her thoughts ascend into the stratosphere and back down to earth in loops and swirls. I had to read many of them more than once. And that was both a challenge and a welcome antidote to our sound-byte culture.

As writers we are the custodians of literature and language; it is the foundation of what and how we write today. What is past is not past, nor is it arcane, however difficult to read and interpret.  Read More 

I remember the first time a student brought a laptop into my writing workshop. His eyes were on the screen as he was taking notes and, even worse, he was hiding behind the screen. I asked him to shut it down and have not allowed laptops into the workshop since—unless a student has a disability that requires the amplification of the computer. Otherwise, no. And here’s why:

The workshop is real, it is dynamic, it has three dimensions, perhaps more. And, most importantly, it is interactive. We read, we talk, we talk to each other and make warm, solid eye contact.

Please understand, I am not a cyber luddite, not at all. I am in love with my iPhone and iPad. I am writing this blog post on my computer. I use a Kindle app, look up words on my electronic dictionary, donate to Wikipedia every year, and occasionally ask a student to look something up on her smart phone in the midst of a class. But I also still have notebooks, pens and journals. They slow me down. Hand to paper, I think differently. I don’t want to skid along all the time, I want to pay attention. And what I’ve found over the years is that my students really appreciate the opportunity to write by hand in their journals too. In just a week or two, they are showing off the rich, thickening pages in their hand-made, hand-written books. Every writing project begins there before it is transported to the computer; one technology does not preclude the other. In the silent, serene space between their hand-held pens and paper, there is no hurry and no fear of making a mistake. Nothing is written in stone (as in a cuneiform stone), nothing is permanent, it’s all process. And writers, especially beginning writers, need this gentle freedom.

And so it is a bit alarming to hear that instruction in cursive writing has been abandoned as part of the “common core” curriculum changes in America’s schools. What are the implications for writers? They will grow up only knowing how to print! Or, they will only use the computer which has many other drawbacks, most significantly the illusion that everything we enter into the computer is final and perfect. It is not.

Yes, we want to be slowed down, but print is too slow! Cursive—which means “running”—was invented to create fluidity in writing (and to spare delicate quill pens).

There has been the suggestion—once again, in educational circles—that italic script is a possible compromise. Certainly it would be for writers. That is the only hand-writing English children learn in school and they learn it right away; it spares them shifting from print to cursive in third grade, part of the pedagogical problem, apparently.

I’ll weigh- in on this debate: let’s think about italic. It’s clear, it’s simple and it’s fluid, a writer’s dream. I learned it myself when I lived in England though I have retreated to cursive in recent years. I’d pick it up again in a heartbeat. I love those nibs.  Read More 

And the city is quiet and the air is fresh. I heard the plow at 6 am or so and went to look out the window. Yes, the forecast was accurate, we are locked in for the day, though I will certainly go walking with my ski poles up the hill and into the park if the wind dies down. The children will be on their sleds, a wonderland. Rudy and his dog friends will be wearing their booties to protect their paws from the salt. We will all romp, we will all smile. And it’s a perfect day for reading, writing and napping. I’ve been away for several days, unable to write except for journaling. Stories for my collection--Nomads 3-- accumulate, recorded as titles in the back of my journal.

Sometimes it’s hard to begin again, a bit like a lay-off from the gym, the muscles lazy and atrophied. But the desire is too strong for resistance to win. And so it is for the new students I will meet this term. Many have resisted registering for a writing workshop year after year, or they didn’t have the time, or the money. (Writing workshops are getting expensive!) Now here they are, pens and notebooks at the ready. I will welcome them eagerly.  Read More 

There are some days when I write all day. There are some days when I do not write at all except for entries in my journal which may take me up to two hours, so that is writing, too, of course. And then there are days when I have no time to write because I am teaching or traveling, and by the end of the day I am so full up with ideas and sentences that I feel as though I will explode. This is especially true if I witness injustice of any kind. It’s because of my background and I have accepted it.

Yesterday was such a day. I took the subway from the gentrified enclave where I live in upper Manhattan to 135th street in the heart of Harlem. I am in search of a lap swimming pool, one that I can afford, or my insurance company will pay for. The Harlem YMCA was on the list, an obvious choice, I thought. YMCAs are always well run, immaculately clean and friendly. The pools are gorgeous and well life-guarded. I was not disappointed with the Harlem YMCA; it is an oasis, albeit an oasis amidst a wasteland.

And it is the images of that wasteland that woke me at 5 a.m. this morning, my heart pounding. I did not feel safe walking from the subway station to the Harlem Y. And this suprised and upset me. I am a street-smart native New Yorker. I have hung out in Harlem a lot since I returned to the US, but not this particular neighborhood. It’s a swath of neglect. And I was scared walking into it.

I write today from my immediate physical experience, traveling from a safe neighborhood into an unsafe neighborhood where there is no supermarket in sight and few people on the street in the middle of a weekend day.

Why is our city and our nation so divided? Are our neighborhoods still being redlined? That has been a great injustice in the past. Is it possible it is still going on?

I joined the Harlem Y even though I won’t be able to travel there after dark and my husband does not want me to travel there at all. I walked around the facilities filled with people of all ages and complexions, America’s dream fulfilled, except for the frustration of not being able to get there safely.  Read More 

“Wearing down seven #2 pencils is a good day’s work.”
--Hemingway in a Paris Review interview with George Plimpton, Spring 1958

And this was the first of several surprises in the Morgan Library’s exhibition of Hemingway’s papers between the wars: he wrote drafts of his fiction in pencil. And why did he use pencil instead of pen or a typewriter? So the text would feel “malleable and fluid” and could be improved. The penciled draft went to a typist and then was scratched over again—in pencil—with deletions, additions and word changes, and then went to the typist again. The last chapter of “A Farewell to Arms” was written 39 times. And only then did Hemingway contemplate a title. He made long lists, ideas from poetry, the Bible, Shakespeare.

This is the exact opposite of my process so I found it interesting. I have long lists of titles in my journals some of which get made into stories or nonfiction essays, most of which do not. The title becomes the armature, or is the armature, and I don’t begin until I have it solidly in my mind. The fluidity for me comes with revision of the text; I rarely change the title although sometimes an editor will.

Hemingway worked well with his editors though, like all of us, he was resistant to certain changes. But in the end he studied the suggestions and revised his work. He changed plot outlines, developed new characters, read voraciously as he was writing, kept notes.

“The Sun Also Rises” filled seven small notebooks. There is plenty of space between the lines and the handwriting is eminently legible. Hemingway crossed out, changed words, shifted phrases, but he rarely re-structured. I think this was because he was already a practiced writer before he attempted fiction.He had deadline experience as a reporter, a wonderful discipline for any writer—fiction or nonfiction. Copy had to be quick, clean and precise. His first journalism job was with the Kansas City Star, then the Toronto Star and, finally, with Collier’s during World War II. Last year, I downloaded his dispatches from the Toronto Star. They are wonderful to read—dynamic and prescient.

I don’t think it matters if we use pencil, pen, a computer or our smart phones—we all find our own way—so long as we are disciplined in our writing lives. Until he became debilitated by alcohol, Hemingway was a disciplined writer, as was his friend and rival, Fitzgerald. They read each other’s work and critiqued it. Casualties of war, suffering from undiagnosed “shell shock,” that we now label PTSD, both men self-medicated and eventually blew themselves away, Hemingway with a shotgun, Fitzgerald with booze which he gave up—too late.

The exhibition of Hemingway's innovative drafts and correspondence will be at The Morgan until January 31st.

http://www.themorgan.org/exhibitions/ernest-hemingway  Read More