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Jewish Voice for Peace protest in Washington, D.C., 18 October 2023

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In the midst of all the terrible news, a brief post.

This is a good moment to recommend the work of my friend Adania Shibli, who has been in the crosshairs of the current wave of repression and the attempts to silence Palestinian voices. The scheduled awards ceremony at the Frankfurt Book Fair for her gem of a novel Minor Detail was canceled, setting off a firestorm of criticism, prompting withdrawals from the fair, and generating statements of solidarity. The furor has resulted in a mass run on her book, which is currently back ordered, but you can read the transcript of an excellent interview David Naimon did with her on his Between the Covers podcast and sample her spare and devastating style in this piece posted on LitHub.

What gives me comfort in this bleak, bleak moment? I find hope in the people who are standing against genocide despite it all. Yesterday my friends at Jewish Voice for Peace organized an inspiring mass protest in Washington, D.C. calling for an immediate ceasefire. They are saying that Jewish grief must not be used as a weapon of war. (About the suffering in Israel, and the weaponization of grief, please read Gabriel Winant’s excellent piece in Dissent.) And a handful of brave members of Congress, led by Representative Cori Bush (to date all of them black and brown except for Massachusetts’ Jim McGovern) have introduced legislation calling for an immediate ceasefire and the delivery of humanitarian aid to Gaza.

And here I will trot out my old motto from Grace Paley: The only recognizable feature of hope is action. Here are actions you can take today.

Contact your representatives to call for a ceasefire.

Donate to UNWRA, MECA, or to my friends at Sunbula for their partners in Gaza. A longer list of trusted charitable organizations can be found here.

Find a demonstration near you.

Talk with your family and friends about Gaza. The IMEU has a great explainer here.

Lastly, please check out this Books for Artsakh auction fundraiser. My donation to the auction can be bid on here.

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

Spring is really here in New York City—my neighbors’ garden beds are full of bright and blowsy tulips, and the cherry trees in the parks and on the Columbia campus are blossoming and showering pink petals on the ground. Yesterday I went on the first in a series of Spring Migration Bird walks led by the NYC Audubon Society’s Gabriel Willow in Central Park. In addition to the birds—among them an Indigo Bunting, a Black and White Warbler, a Downy Woodpecker, and a Blue Winged Warbler—the park’s paths are lined with wildflowers such as Virginia Bluebells, Columbines, Trilliums, and an assortment of Viburnums. Each week there will be different flowers and different birds.

The solace and hope that we find in the natural world, and in our friends, and in the activities we love (walking, yoga, biking, cooking, knitting, gardening, what have you) are essential in this turbulent time. Also necessary is the work that we do to push back against the cruelty and hatred being manufactured on an industrial scale by the leaders in our country and around the world.

James and I went to Oaxaca City for two weeks this month to take Spanish language immersion classes four hours a day and to vacation. We had never been Oaxaca before, and we loved it. The food was fantastic, the old city was beautiful, and the place was full of street art, street music, museums, radical printmaking workshops, and markets with abundant fruit and vegetables alongside Zapotec handicrafts. The Ambulante film festival was in town while we were there, so we went to a few screenings and had dinner with filmmakers and curators affiliated with the festival.

We went to learn some Spanish because James is working on a limited TV series for Netflix that is set in Mexico and will be shot there, probably in Durango, in Spanish later this year. And I wanted to pick up some Spanish to enhance my work in the New Sanctuary Pro Se Legal Clinic with Central American asylum seekers. The interpreters at the clinic are by necessity fully fluent, a minimum requirement when collecting grim stories for asylum applications, but I can now say a few polite phrases and compose and read text messages from my friends.

At the Oaxaca Spanish Language Immersion School, I had two weeks of individual lessons with two excellent teachers—two hours with Yesenia in the morning, and two hours with Jacobo in the afternoon. It was difficult at first, as words in French and Armenian would swim up in my head when I was looking for a word in Spanish. But it turns out that I love learning ABOUT languages—how they operate, how they relate to other languages—which is a good first step to actually learning to read, write, and speak a new language. My attempt to learn Arabic three summers ago was pretty much a failure, but I have been making good headway with Armenian, and I feel I now I have a solid base to continue with the Spanish. 

I had hoped to work on my novel when we were in Mexico, but I found it impossible to make the necessary mental transition from the compelling sights and sounds and languages of Oaxaca to wartime Beirut. But now that I’m back home, I am able to return to the familiar world of Vera Serinossian and the neighborhood of Nor Hadjin. And so it goes.

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Nancy Kricorian NYC 2019

In Central Park last week, on a bird walk in the North Woods led by an Audubon Society naturalist, we saw a Cooper’s Hawk perched regally in a tree, an immature Great Blue Heron fishing in the Loch, four Northern Flickers, and a half dozen species of warblers that were passing through on their way south, in addition to the abundant Blue Jays, Northern Cardinals, European Starlings, and American Robins that call the park home. The fall wildflowers—Canada Goldenrod, Cardinal Flower, Great Blue Lobelia, White Snakeroot, Spotted Jewelweed, and several varieties of Aster—were in bloom. When the cruel and venal doings of human animals are cause for despair, I take solace in the natural world.

I was considering delaying this post until after the Kavanagh “situation” had resolved itself one way or the other, assuming that we will be flattened by despair when the Republicans steamroller the Democrats and the rest of us. It has been almost eviscerating to watch the hearings and then follow the sham FBI probe, and the change in tack by the Republicans to undermine and insult the women who came forward with accusations. I have been “triggered” by Kavanagh’s words, his gestures, his petulance, and his arrogance. I wasn’t alone—tens of thousands, if not hundreds of thousands, of women were angry, distraught, and horrified by the spectacle of ruling class white male privilege and power that played out in the Senate hearings and in the political maneuvering that followed.

Each day there is a new assault on our values and the most vulnerable among us—migrant children warehoused in a tent camp in Texas, gay diplomats’ partners denied visas, the planned weakening of mercury regulations, and revisions to the Department of Justice web site reflecting a harsher stance on kids who are accused of crimes, to name just a few.

But we can’t let them beat us down into apathy and hopelessness. We have to remember the great Soviet Jewish writer Vasily Grossman’s admonition: “In the cruel and terrible time in which our generation has been condemned to live on this earth, we must never make peace with evil. We must never become indifferent to others or undemanding of ourselves.” Grossman lived through World War II, he was a journalist traveling with Russian troops as they liberated Treblinka, his mother was murdered during the massacre at Berdichev, and he survived Stalin’s purges, although his masterwork, the incredible World War II novel Life and Fate, was “arrested” by the Soviets and was not published until after his death.

As Grossman put it: “Human history is not the battle of good struggling to overcome evil. It is a battle fought by a great evil struggling to crush a small kernel of human kindness.” I am not so sanguine as to think that individual acts of kindness are enough in the face of the systemic violence and the cruel policies that we are confronting, many of which are just harsher and unapologetic versions of policies that were put in place during previous administrations, both Republican and Democratic. But while we do all that we can through making irate phone calls to elected officials, joining in strategic electoral organizing, supporting grassroots campaigns run by unions and groups on the front lines, and volunteering with local organizations advocating for the most vulnerable people, creatures, landscapes, and institutions, we can also try to make the world a little less dismal by being kind.

Charles Aznavour, French-Armenian singer, songwriter, actor, and philanthropist, died this week, and I leave you with an old blog post about his family’s small role in the French Resistance and a video of a classic performance of his song “La Bohème.”

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

Joseph Cornell’s “Homage to Juan Gris,” 1953–54

Yesterday I went with my friend Dahlia to the Met Museum to see the David Hockney retrospective, which I admired, and the Joseph Cornell show, entitled “Birds of a Feather,” which I adored. I’ve been reading about Cornell lately because the main character of the novel I’m writing is a collage and shadow box artist whose primary inspirations are the works of Cornell and Hannah Hoch.

While we were wandering around the museum after viewing the aforementioned shows, Dahlia and I talked about our Armenian language studies. We are both working with the same tutor—a teacher who relocated from Aleppo to Yerevan who gives lessons over Skype—and we love her and we love the language, to which each of us has a different and complicated relationship grounded in family history. As we moved into the room with Thomas Hart Benton’s mural “America Today,” we talked about the endless and unfathomable cruelty of the people who are running our country.

How is it possible to keep one’s equilibrium in the face of these daily and unremitting attacks on our institutions, the most vulnerable groups and individuals among us, and our very values? We can’t let them deaden our responses—we have to remain vigilant and dynamic, finding hope in community and action. I recently went to an accompaniment training with the New Sanctuary Coalition and was impressed by their leadership’s strategic thinking and vibrancy, even as their executive director was fighting imprisonment and deportation. At an Adalah NY meeting this week, I was inspired by the other members in the group, many of whom are involved not only in Palestine solidarity work, but are also engaged with a variety of groups organizing around prison abolition, anti-militarism, anti-colonialism, and other struggles.

When Dahlia and I left the museum, there was a small group of women standing on the sidewalk outside handing out fliers about the paucity of women artists in the Met. How had I not noticed until that moment that among all the solo shows currently on view—Hockney, Cornell, Eggleston, Wegman, Golub, Kiefer—there is not one woman artist? (Not only are they all men, but also they are all white men.) On all fronts, we have work to do.

Maxine Kumin’s poem “Our Ground Time Here Will Be Brief”—the title as much as the poem itself—keeps echoing in my mind lately. I find solace in poetry—and in Armenian lessons, yoga classes, bird walks, my family and my friends. May we all find energy for resistance and comfort for our souls.

Nancy Kricorian

New York City

February 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.

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Nancy Kricorian