post archive

Last week’s excitement was the arrival of the advanced reading copies of my novel THE BURNING HEART OF THE WORLD from Red Hen Press. (You may preorder the novel from Bookshop by using this link that supports the International Armenian Literary Alliance.) I am in the process of correcting the page proofs, and I have been working with the publicist to set up book events for the spring. The full details are not yet available but below is an overview of the current lineup.

March 26-29 AWP Conference in Los Angeles, events at the Red Hen Press booth

Monday, March 31 at Diesel Books in Brentwood, in conversation with Talar Chahinian

Tuesday, April 1 panel at OxyArts with Mashinka Firunts Hakopian, Joanne Nucho, Ara Oshagan

Wednesday, April 2 at the Glendale Public Library in conversation with Shahe Mankerian

Thursday, April 3 at Red Hen Press in Pasadena with poets Lory Bedikian and Arthur Kayzakian

Monday, April 7 at Columbia University in conversation with Marianne Hirsch

Wednesday, April 9 at Greenlight Bookstore in Brooklyn in conversation with Raffi Khatchadourian

Tuesday, April 15 at NAASR in Belmont in conversation with Nanore Barsoumian

Thursday, April 17 at Porter Square Books in Cambridge in conversation with Lisa Gulesserian

Sunday, April 27 in the Detroit area for the local Armenian community

It’s December now and we have a winter to get through, but April and the book launch are on the horizon.

When I was growing up, each year in December, our small Armenian Evangelical Church would put on a Christmas pageant featuring a manger scene, complete with the requisite holy family, three kings, some shepherds, and an array of angels. We sang carols from a small white booklet with red-cheeked choir boys on the cover, and among my favorites were “We Three Kings of Orient Are,” probably because of the dirgeful key, and “God Rest Ye Merry Gentlemen.” Just now when I was thinking of the chorus of that second song, I misremembered it as “tidings of comfort and light,” when it is actually “comfort and joy.”

Joy seems a bit too ambitious for this holiday season as the horsemen of the apocalypse, many more than four of them, are galloping towards us. I’ve lately stopped asking people, “How are you?” which is too fraught a question in these troubled times, and instead have been saying, “It’s so good to see you.” And there is nothing better right now than gathering in the real world with friends, family, and comrades. We need each other now more than ever.

Wishing you comfort and light,

Nancy K

THIS MONTH’S RECOMMENDATIONS

READ

The latest issue of Wasafiri Magazine, entitled Armenia(n)s—Elevation is now available for purchase. My essay “His Driving Life,” about my late father and his relationship to motor vehicles, is available for free download to the first 50 readers. If you miss the chance for the free version, let me know and I will send you the PDF.

A powerful essay about life in Shujaiya in Northern Gaza entitled The Mirror by Nadera Mushtha, one of my We Are Not Numbers mentees. (Nadera’s GoFundMe is here.)

“The Bullet,” a poem by Sahar Rabah, translated from the Arabic by Ammiel Alcalay. Sahar was accepted into the MFA Program in Creative Writing at Rutgers/Newark, but she has had to defer her admission because she is unable to leave Gaza. The crossings are closed to all but a handful of severely injured people who have been allowed to evacuate for medical care abroad.

LISTEN

For the London Review of Books podcast, Adam Shatz interviewed Dr. Ghassan Abu Sittah, a pediatric plastic and reconstructive surgeon, and journalist Muhammad Shehada about Gaza’s past, present, and future.

The Intercept’s Briefing “Syria: What Comes Next?” is an excellent and informative interview with Syrian journalist Rami Jarrah.

WATCH

Indiewire’s 17 Best First Films of 2024 includes our progeny Noah’s Summer Solstice, which is described as a “sun-dappled and warmly directed buddy comedy.” If you haven’t yet seen it, the film is currently streaming on several platforms.

Still from Summer Solstice

Nancy Kricorian

~

After the dismal, if predictable, election results, I am trying not to get sucked into the vortex of constant doom scrolling. The incoming administration’s motto seems to be “A fox in every henhouse,” and they want us shocked and incapacitated. The fascist clown car is coming for us all, with immigrants at the top of the list for unspeakable cruelty. We’re going to be running around putting out fires on every corner, and it really has an end of empire vibe. Perhaps the scariest prospect is their plan for an extractavist carnival when we have such a short time to turn climate catastrophe around. Everyone I know is thinking about how best to organize for resistance—I keep hearing Mariam Kaba’s advice: “Choose your lane, find your people.” I will continue working on Palestine and immigrant justice, lanes where I have connections, some knowledge, and a few skills.

I am still mentoring three young writers in and from Gaza—two are still in Gaza (one in the north where starvation is rampant and ethnic cleansing is underway, and one in central Gaza where regular missile attacks and food scarcity hold sway) and the third escaped to Malaysia. Each morning, I check my messages to make sure they and their families have survived the night. Their suffering is immense, but the bravery and ingenuity with which they face each day are remarkable. My mentee Nadera Mushtha wrote an eloquent piece about giving English lessons in her home to  young students whose schools had been destroyed.

The situation in Lebanon is also heartbreaking where my friends in Beirut are being terrorized by drones, planes, and missiles. Israel continues using its Gaza playbook—targeting hospitals, medics, and civilian apartment buildings, while pulverizing entire villages in the south. There is talk of a ceasefire deal, something that is being reported as a planned gift from one depraved authoritarian to another.

While immediate and medium-term prospects are bleak, we must find ways to keep ourselves sane and ready for action. I have shifted away from spending time on Musk’s increasingly hostile X/Twitter, which has been losing prominent users, to more hospitable Bluesky, which now has over 20 million users and has seen traffic increase by 500% since the election. You can find me on Bluesky here. You will also find me walking in Central Park and on country roads, looking for birds and mushrooms.

We need to gather in the real world with like-minded people and build the power of our groups and institutions to protect ourselves and others. We will need to defend public libraries, public schools, universities, Social Security, immigrants, LGBTQ rights, abortion rights, Palestine, and the planet. Choose your lane, find your people. Friends and comrades are and will be our refuge.

Yours in struggle,

Nancy K

RECOMMENDED READING

In response to thirteen months of genocide in Gaza, over 7,000 writers, myself among them, have now pledged to boycott complicit Israeli cultural institutions.

Mosab Abu Toha’s new poetry collection, FOREST OF NOISE was published last month. You can listen to an excellent and moving interview with Mosab on the LARB Radio Hour.

Swedish climate organizer Greta Thunberg penned a powerful op-ed in The Guardian decrying the hypocrisy of the petro-dictatorship of Azerbaijan’s hosting COP29. She went to Armenia, where she visited the genocide memorial and later learned how to make Jingalov Hatz.

Wasafiri 120, an issue of the UK literary journal devoted to Armenia and Armenians, is now available for pre-order. My new essay about my father, entitled “His Driving Life,” is included.

AGBU’s ARARAT Magazine has been digitized, including the special CHILDHOOD supplement that I edited in 1999.

I was happy to see that my upcoming novel THE BURNING HEART OF THE WORLD is included in The International Armenian Literary Alliance’s Holiday Book Guide. You can preorder it here.

“Too much of a past, too little ahead, but wait a minute, we always lived day to day, so where’s the difference?”

~ Etel Adnan, Shifting the Silence (2020)

*

Last week my friend Barbara Harris passed away after a long illness, and Gerry, her beloved husband of 67 years, asked me to speak about her activism at the funeral this Monday. Barbara and I met in 2003 through CODEPINK NYC and worked closely together for over 13 years. In 2008, The New York Times ran a profile of Barbara and the campaign she organized working to keep predatory military recruiters from targeting vulnerable high school students. Mel, a former CODEPINK NYC staff member commented, “Barbara was a gift to the anti-war movement and the activist community. Whenever she showed up to a demo, I felt like things were going to be okay. She had so much knowledge and such a calming presence. Cristina and I joked about making Barbara dolls to carry around for reassurance when things got rough.”

And speaking of things getting rough, yesterday Azerbaijan launched a full scale military assault against the people of Artsakh, announcing the planned “evacuation” of the Armenian population. Of course, anyone who was following the news could have seen this coming, but that doesn’t make it any less devastating. The use of the word “evacuation” clearly indicates a campaign of ethnic cleansing. Governments, NGO’s, and human rights groups have issued condemnations, but the shelling and terror continued undeterred. The Azerbaijani Army is known for its torture and beheading of captured Armenian soliders, and even civilians are fair game for their violence and cruelty. The fourth century Amaras Monastery, established by St. Gregory the Illuminator, is now under Azerbaijani control. And if the Azerbaijani government stays true to form, they will say that it’s an “Albanian Christian” monument and sandblast the Armenian inscriptions. It’s heartbreaking and infuriating to watch all this happening in real time on social media while the world does nothing. And Turkey’s ever helpful Erdogan announced at the U.N. General Assembly yesterday that Armenia must open the so-called “Zanzegur Corridor” allowing Azerbaijani passage through the territory of the sovereign Armenian Republic. This morning a “ceasefire” was announced and the Azerbaijani army took full control of the area. I’m dreading what comes next. You can follow what is going on via live updates from EVN Report and you can contact your elected officials using this tool from the Armenian Assembly of America.

Yesterday I also received word from my literary agent that she was closing on the last few open points in the contract for my new novel with Red Hen Press, a small, independent, non-profit publisher based in Pasadena. Red Hen will publish The Burning Heart of the World, a novel about an Armenian family in Beirut during the Lebanese Civil War, in 2025. This submission process was long and grueling, and I cannot tell you what a relief it is that the book has found a home, and with a press whose values align with so many of mine.

I’m leaving on Friday for a two-week trip called “The Mushrooms and Culture of Greece.” My friend Betsy and I will be traveling to Zagori in northwestern Greece with a group tour led by several radical mycologists. If you follow me on social media, expect to see lots of photos of mushrooms, food-laden tables, mountain villages, and the rocky shore.

Day to day, I try to open my heart to the sweetness of this tough world.

P.S. For your reading pleasure, here’s an interview with our filmmaker progeny. And here’s an article about The Wisdom of Fungi.

Nancy Kricorian

As a child I went to a Pioneer Girls Christian camp starting in the summer after fifth grade through the summer after my senior year in high school. The now defunct New England Camp Cherith was on Lake Bunganut in Alfred, Maine. It was on the camp’s 130 wooded acres that I had my first experiences with hiking and camping and was taught how to build a campfire and to cook a tin foil dinner. When I was a counselor in training, we were required to learn the names of five trees, five wildflowers, five birds, five rocks, and five constellations. In the Nature Cabin, I pored over field guides, and at night the other C.I.T.s and I would lie on our backs on the mown hill staring up at the stars. I had always loved our large yard and garden in Watertown, turning up the marble steppingstones to look at the insects underneath or resting my cheek on the soft moss between the peach tree and the hedge of lilacs. Now I came to love the broader canvas of the camp’s forest, lakeshore, and rolling hills.

When I was a student in Columbia’s Graduate Writing Division in the 1980’s, Arizona poet Richard Shelton, who passed at the end of last year, came to deliver a Master Class. He had a warm and relaxed charm, and he read us a few of his poems that were full of details about the Sonoran Desert. He told us, “If you don’t know the name of a thing, you can’t fully see it.” He described the way that people unfamiliar with the desert would experience it as an empty space, but if you studied it the way he had, learning the names of the plants, the animals, the insects, and even the stones, you would understand its fullness. These words have reverberated in my head for decades now, and when I walk through the forest behind our Columbia County house, I recite the names of what I recognize—the wildflowers, the trees, the birds, and mushrooms. But I feel overwhelmed wondering about the names I don’t yet know for the ferns, the mosses, lichens, and grasses on the forest floor. As the poet Maxine Kumin put it, “Our ground time here will be brief,” and I wish I had begun this concerted study much earlier.

For the conclusion of my Beirut novel (no news yet—I promise as soon as there is anything to tell, I’ll send out a flare), I wrote a folk tale called “The Girl Who Talked with Birds.” I started birdwatching ten years ago as part of the research for this novel, which has avian imagery woven throughout the narrative, but also as an extension of my engagement with the natural world. The protagonist of the folk tale, a girl named Sosi, thinks to herself:

Sosi understood that each living thing had a name, and she wanted to learn what to call each flower, grass, and insect. Her mother knew many of the names, and her grandmother knew even more, but neither of them knew them all. In response to Sosi’s incessant questions, her grandmother said, ‘The Creator made them, and only the Creator knows the name of each and every one.’

Writing a novel is a way of creating a world, and, because of my interest in history and need for historical accuracy, of recreating a world, filling it with people, places, events, sounds, textures, and smells that are at once invented and rooted in lived reality. I want the reader to open the book and to be transported into the world that the characters inhabit. And the more I know about this beautiful, resilient, and fragile planet on which we live and the people and other creatures who roam its precincts, the truer this fictional world can be.

P.S. Our adult child Noah Schamus has a film premiering at the Provincetown Film Festival this weekend. Watch the trailer here. This nuanced, funny, and moving film is mom approved (I’m the mom, of course, but I’m relatively objective, having told Noah in elementary school that they gave the second-best performance in the school production of Romeo and Juliet). I’ll send out news about where you can see Summer Solstice when it’s made more widely available.

Nancy Kricorian

My mood has been a little down lately—family health struggles, no news yet on the book front, rising fascism in this country and around the world, and other calamities I don’t have the heart to enumerate—so I haven’t much felt like composing one of these notes. But there have been some bright spots—things to watch and read and see—that I’ve been collecting to share. And here they are.

Watch JURY DUTY on Amazon FreeVee. This is the best TV I’ve watched in a very long time, and I have recommended it to a dozen friends all of whom have loved it. It’s funny and deeply kind.

Watch this trailer and then go to the movie theater to see ARE YOU THERE GOD? IT’S ME MARGARET. Abby Ryder Fortson’s performance is phenomenal. Then watch the documentary JUDY BLUME FOREVER.

Read this beautiful previously unpublished story by the late Laurie Colwin in The New Yorker.

Read my spouse James’s Op-Ed about the Writers Guild Strike in The Guardian.

Check out this piece about Armenia’s vibrant new fine wine and dining scene in Food & Wine.

Read about Harout Bastajian, a Lebanese-Armenian artist renowned for painting domes in mosques around the world. He volunteered to paint a mosque in Dearborn, Michigan, and years later when he fell on hard times in Beirut, the local community helped him relocate to Michigan.

Read about Arno Yeretzian and Abril Books of Glendale, California, both national treasures, and then order some books from Abril to support their work.

Also, we made it through the winter. It’s Spring! Get outside and look at the flowers, the migrating and nesting birds, and the mushrooms that are starting to pop up.

Nancy Kricorian

A few weeks ago I received a request from a friend at Agos Armenian Weekly in Istanbul. They were soliciting responses from Armenian artists to the following questions: How has being quarantined/isolated influenced your creative process? How do you foresee the future of your art and creativity once the current situation of isolation fades away?

This was my response:

For the first several weeks of our confinement I was unable to focus on reading or writing. My spouse was sick with the virus, and we were quarantined from the world and from each other in our home. We slept in separate rooms, washed our hands dozens of times a day, wiped down doorknobs, handles, and counters, and sat twelve feet apart at the kitchen table and in the living room. We were lucky: his case was “mild” and I didn’t get sick. It took four weeks for his energy, as well as his sense of taste and smell, to return. Once he was better, wearing masks, we were able to go outside for short walks. The trees were flowering and the birds were building their nests.

In the past few weeks, finally able to concentrate for an hour or two a day, I have returned to work on my latest novel. The book has three sections: the story opens in New York City on the morning of the 9/11 attacks, the second part is set is in Beirut during the Lebanese Civil War, and the final section is a folk tale set in Hadjin on the eve of the Armenian Genocide. The novel is about generations of trauma and resiliency in one Armenian family, and the fear and stress of the present moment are permeating the descriptions I’m writing about those other difficult times.

There is so much suffering around us as people continue to be sickened by this illness that has taken so many lives in New York, and around the world. Prisoners are in crowded cells without soap to wash their hands. Millions have lost their jobs; so many are worried about how they will pay the rent, and how they will feed themselves and their children. Immigrant families without papers are not eligible for the meager assistance the government is providing.

Even as we are isolated in our homes, we are finding ways to support each other through mutual aid projects in our neighborhoods, through car protests outside detention centers, and through online organizing to create collective power. My creative life has always been entwined with my activist work, and as I continue writing, I will join friends and comrades in our struggle for a kinder, more equitable, and greener future.

Nancy Kricorian

New York

May 2020

You may read the other artists’ statements on the Agos site.

When I was in college, I studied for one semester with a poet who dispensed counsel the way my grandmother handed out hard candies. This poet told me that if my boyfriend didn’t make me feel like I was the most beautiful woman in the world, he wasn’t doing his job and I should fire him. Another memorable bit of advice was about writing, and left her lisping voice echoing in my head with this mantra, “Respect your process.”

During my student days, I was prolific. I wrote a poem a day in long hand on narrow ruled yellow notepads, and often they sprang fully formed from my head like Athena. I rarely revised, and often didn’t even type them. I would bring them to my professor on the yellow notepads, he would make a few comments, and say, “Just keep writing.” And so I wrote and wrote and wrote. In graduate school I learned about revision, and often took a poem through ten or more drafts before I was satisfied with it and moved on to the next one. This was in the old days when it was possible to keep track of drafts because I typed each one on a sheet of paper using an IBM Selectric Typewriter.

By the time I started working on my first novel, Zabelle, I was writing on a computer. Gone were the yellow lined note pads for the first draft, and gone also was the stuttering and humming electric typewriter. The only way I could think of attempting something so long and unwieldy as a novel was by breaking the task into story chapters. I had the stamina to write one ten-page chapter, and after that was done, I started the next. Once I had a stack of these chapters, I figured out how they fit together and then rewrote them so they made a coherent, if episodic, narrative. Revising a text that was two hundred and seventy pages long was a much more daunting prospect than rewriting a one- or two-page poem. By the time I got through the last chapter, I went back to the beginning and noticed more things that needed fixing, and went over the whole thing once again. Working on a computer, there was a lot of continuous fiddling with bits here and there, so it was harder to keep track of how many drafts I did, but it was probably upwards of three before I even sent it to my agent. With her suggestions, I did another draft before she showed it to the editor. There was another pass with the editor’s notes before the production process started. The copy editor did a thorough once over, and then it was done. This was pretty much how it went with my two subsequent novels, Dreams of Bread and Fire and All the Light There Was.

You would think that the fourth time I approached this kind of project, I’d march ahead with assurance. But no, when I started writing my latest novel, I felt as though I were at the bottom of an enormous mountain peering up at a peak that was enshrouded in clouds. How would I ever manage to get to the top? I’m a slow writer—in part because I do a massive amount of research before I start writing, and because other aspects of my life (my family’s needs and challenges, my geriatric dogs, my work as an organizer, as well as the distractions of our calamitous political moment) often crowd out my writing. I can’t write for more than two hours a day. I used to be able to produce two pages in two hours, but now I eke out one page a day.

At one point over a year ago, I said to my spouse in despair, “How am I ever going to get this thing done?” He answered, “If you write one page a day, you’ll eventually finish it.” In other words, “Respect your process.” And much to my surprise, at the end of October I printed out a completed rough draft of this novel about an Armenian family in Beirut during the Lebanese Civil War. It opens with this same family in New York on 9/11, and ends with a folk tale about a girl who talks with birds. It’s rough, and it needs a lot of work. But it’s done, and my first and most trusted reader, the aforementioned spouse, confirmed that the structure is sound—this was my biggest worry. 

I took a hiatus from the novel so that I could come back to it with fresh eyes. While on this break, I wrote a talk that I delivered on a panel at Columbia on November 20, which was published last week by the Armenian Weekly. Also in November, Egg & Spoon Theatre Collective staged an off-off-Broadway adaptation of Zabelle. My novel All the Light There Was recently appeared in Turkish translation from Aras in Istanbul, which had previously published Dreams of Bread and Fire. And three weeks ago I saw the cover of the Arabic translation of Zabelle, which will be published in February 2020 by Fawasel Books in Syria.

And now it’s time to get back to work.

Nancy Kricorian

It’s finally spring here in New York City. The appearance of the early spring flowers—crocuses, Lenten roses, daffodils, and hyacinths—makes me feel that there is hope. Hope for what? On the absolutely mundane level, it is a belief that the tulips will open very soon, and that after them the lilacs will appear. It reminds me of the Armenian proverb, “The sun will rise whether the rooster crows or not.”

When I walk the dogs early in the morning now, the trees are alive with birdsong. I recognize the songs of the cardinals, the robins, and the blue jays. I hear other songs that my sadly unmusical hear has not yet learned to identify, but I’ll be starting up again with my NYC Audubon classes next week and will expand my repertoire.

When I write to or talk with friends now, asking them how they are doing, I say, “Aside from the devastating political dumpster fire in which we are living, I hope you and yours are okay.” How do we do this? How do we wake up each morning to ever more cruelty, venality, and greed—each time I think we’ve hit rock bottom, I’m stunned to learn that it’s possible to go lower still—and still manage to go on with our daily routines? I have to count myself among the lucky ones who can carry on with my work and my relationships in relative peace while the unlucky ones, to paraphrase Wally Shawn, who are undocumented, or poor, or live in a country devastated by our wars and occupations, are struggling mightily. I hope for us all that we can organize to vote a bunch of these jerks out of office in the fall before they do even more damage.

These are sources of solace: flowers, birds, knitting, baking, walking, reading, talking with friends, and doing one act of resistance each day—phone call, letter, political organizing meeting, sanctuary accompaniment, street demonstration, donation, or a spontaneous gesture of kindness. May we all find moments of happiness and satisfaction that will give us energy for the work ahead.

Nancy Kricorian

New York City 2018

Mural in Nor Hadjin

When I arrived in Beirut on the evening of October 27, I took a taxi to Baffa House, a guesthouse in Mar Mikhael where I would be staying for two weeks. The goal of my trip was to become familiar enough with the nearby Armenian neighborhoods of Bourj Hammoud and Nor Hadjin where the characters in the novel I’m currently writing reside so that I could thoroughly inhabit those streets, buildings, schools, and churches in my imagination. I had started writing the novel, but then got stuck. I wrote a scene in which Vera Serinossian, the narrator and protagonist, was walking from her school in the Armenian “suburb” of Bourj Hammoud, a 1.5 square kilometer municipality just outside Beirut city limits, to her home in Nor Hadjin, a small Armenian neighborhood of about four square blocks on the other side of the river within Beirut’s boundaries. As she was crossing the bridge, Vera sees an elderly Arab man lying dead on the pavement. He has a sniper’s bullet hole in his forehead.

After I wrote this scene, during an interview that I conducted at the end of this past summer with someone who had lived the war years within these precincts, I had been told that this bridge between Bourj Hammoud and Nor Hadjin was called “The Death Bridge” because of the snipers that targeted people who crossed it. The Phalangist militia was on the hill of Ashrafiyeh within shooting range, and to the north the Leftists and later Syrian troops posed a similar danger. It occurred to me that my idea of having my family cross that bridge from home to school and back on a daily basis during the war years might make no sense. I needed to go to Beirut to find out.

The guesthouse in Mar Mikhael was a five-minute walk from Nor Hadjin and Khalil Badawi, another Armenian neighborhood adjacent to Hadjin. It was another ten minutes on foot to Bourj Hammoud. So each day of my stay I walked those neighborhoods. Through my network of Armenian friends in Beirut and in America, I had the good fortune to meet and to interview a host of people who had lived through the war years and had stories they were willing to share. I met the editor of the Ararat Daily Newspaper who told me about the night the Phalangists had set off a bomb in the newspaper’s offices in 1978. I visited Dr. Garo, the sole physician in Nor Hadjin, who had treated everyone from survivors of the Karantina Massacre to wounded Palestinian fighters in Naba’a to local Armenians who had been injured during various rounds of shelling. I interviewed the principals of two Armenian Evangelical schools—the Gertmenian School in Nor Hadjin and the Central High School in Ashrafiyeh. I attended Sunday services at Sourp Kevork Church in Nor Hadjin.

My friend Antranig, who grew up in Nor Hadjin, gave me a tour of the neighborhood, pointing out the ironwork on the facades of some of the houses, knocking on doors so he could show me the beautiful original tile work in some of the apartments, and explaining how Nor Hadjin had been a completely self-contained Armenian village within Beirut. “We had everything we needed. There were three schools, a church, a dispensary, grocery stores, a compatriotic union, and all kinds of artisans and craftsmen. The only thing missing in the early days was a confectioner, so the leaders of Hadjin convinced one to move from Ashrafiyeh to open a sweet shop.”

He also told me a story about the Death Bridge. During a ceasefire, Antranig and his friend took bikes and crossed the bridge to Bourj Hammoud. The two teenagers had just made it to Bourj Hammoud when shooting broke out between the Syrians and the Khataeb (Phalangists). The boys ditched their bikes and jumped into a building where they waited out the shooting, which went on for over five hours.

Antranig’s father, who could make out the bridge from his balcony in Nor Hadjin, called a friend in Bourj Hammoud to find out what had happened. There were dead bodies on the bridge, he was told. So he went down to the bridge to check the bodies to make sure his son was not among them.

By the end of my two weeks in Beirut, I had accomplished what I had set out to do. The Serinossians would not be crossing the Death Bridge on a daily basis. I had decided to situate my family in the small, self-contained neighborhood of Nor Hadjin, with extended family living across the river in Bourj Hammoud. I had determined which school the children attended, the church in which the family worshipped, and even the house in which they lived. In addition, like a bird assembling twigs, twine, and grasses for a nest, I had collected dozens of anecdotes, stories, and historical details that would help me in pushing forward with the novel.

—

Nancy Kricorian

I’ve been meaning to send write a new blog post for weeks. On my daily to-do list for the past tens days, I have dutifully printed, “write blog,” and then ended up copying it onto the next day’s list. So here it is the end of summer—Labor Day is upon us—and I’m finally sitting down to do it.

On the personal front, the summer has been a restorative one. We spent long weekends in the country where I worked in the garden and devoted at least an hour a day to watching the birds. On our front porch alone there were three active nests—a family each of robins, house wrens, and house finches with much flying to and fro by the parents and much cheeping by the nestlings. James and I also went to Chicago in July for the Socialism 2017 Conference where we heard some inspiring talks, enjoyed meals with like-minded friends, and felt comfort in assuming that we were the most conservative people in any room. We also took a family holiday to Provincetown in mid-August. I went on an Audubon-led shorebird walk, we spent afternoons on the beach, and we took in two drag shows featuring the supremely talented Jinkx Monsoon.

The work on my novel has been slow, but steady, as I continue writing while interviewing Armenians who lived the war years in Beirut in person and via Skype. The stories have been fascinating, and each anecdote feels like a piece in an enormous jigsaw puzzle I’m assembling. I’m planning another trip to Beirut for late October—will be on the ground for two weeks, staying within walking distance of the neighborhoods I’m writing about.

On the public front, each day has brought a new outrage or a new disaster, both in this country and abroad. I won’t catalogue all the misery that I’m sure you have been following as well, but I will say that I’ve been trying to find a way to process the unfathomable—both difficult to understand and seemingly bottomless—cruelty of the people currently running our national government.

While not a mental health professional, after much observation of Donald Trump’s Tweets, his public appearances, and most recently after reading the full transcript of his speech in Phoenix, I have come to the conclusion that Trump is suffering from cognitive impairment complicated by his long-term narcissistic personality disorder. (James suggested the he might also be a sociopath.) A friend shared an interview from October 2016 with singer Aimee Mann in which she talks about the song she wrote about Trump entitled, “Can’t You Tell?” (The refrain to the song is, “I don’t want this job. I can’t do this job. My God, can’t you tell, I’m unwell, I’m unwell.”) Mann said, “At this point, it’s like being angry at a rabid dog. You just have to solve the problem and get the dog in a cage.” Arguably, easier said than done. The anger is better directed at the enablers in the Republican Party who complain about Trump’s behavior and yet take no meaningful action against him because they’re still hoping to use him as a blunt instrument to push through their cruel and hateful agenda. I have some ire reserved for the Democrats who seem to have learned nothing from their defeat in November (check out this piece for a sizzling takedown of American liberals).

For things Armenian: French-Armenian entertainer Charles Aznavour received a star on Hollywood’s Walk of Fame at the age of ninety-three; the New Yorker published a profile of Chess Master Levon Aronian; The Telegraph (UK) ran a piece about Manchester United soccer star Henrikh Mkhitaryan; Smithsonian published an article about the “Nest Neighbors” program in Armenia to monitor white storks; Houshamadyan posted a brilliant demographic study of an Ottoman-Armenian village; Al Jazeera ran an article about war photography featuring Lebanese-Armenian photojournalist Aline Manoukian; and Print Magazine had a delightful post about Armenian typography.

On the literary beat, I enjoyed this profile of novelist Claire Messud, My favorite part was this paragraph:

Messud frowned when asked if she ever tried to make her work more commercial. ‘‘I reckon you don’t write to please other people,’’ she said, slowly and deliberately. ‘‘That’s what your integrity is.’’ Her voice was husky; we had been talking all morning, as the dogs pattered in and out. ‘‘There are bell bottoms and miniskirts, and there are pencil skirts and stiletto heels,’’ she said. Fashions come and go in literature, too. ‘‘You can write something that’s a perfect work of art, but if it’s a pencil skirt that falls in a miniskirt moment, God help you. You just have to make your pencil skirt and be you.’’

Jeff Sparrow wrote a smart and nuanced review of The Kingdom of Olives and Ash: Writers Confront the Occupation, an anthology edited by Ayelet Waldman and Michael Chabon. Adam Schatz did a brilliant podcast interview with Wally Shawn for the London Review of Books. I was thrilled to happen across this thorough and appreciative reader review of my third novel on Goodreads.

There are so many other interesting articles I could share, but who has time to read them all? I will offer you this last engaging piece from Waging Non-Violence about clowning as a tactic of creative resistance.

The bird nests by the pond and on our porch are mostly empty now, our older daughter has moved to Bushwick (in Brooklyn), and our younger daughter has headed off for her senior year in college. The flap and noise of summer will now give way to the quieter but equally colorful days of autumn. I’m hoping to get a lot of writing done!