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By Heidi Sutton

When Catherine and Anthony Hoang’s young son A.J. lost a family heirloom during a visit to the Suffolk County Vanderbilt Museum in the winter of 2017, the security staff, including Ed Clampitt, helped the Huntington family retrace their steps through the sprawling grounds and estate. The two-day search finally produced the precious object and became the inspiration for a new children’s book, Patches and Stripes: A ‘Vanderbilt Magic’ Story. Written by Clampitt and his fellow Vanderbilt Museum colleague and friend Ellen Mason, the beautiful 20-page book, told entirely in rhyme, features gorgeous illustrations by Olga Levitskiy. A book launch held at the museum in mid-October sold over 300 copies. I recently had an opportunity to speak to the two authors about their latest venture.

Ed, tell us when you first met the Hoang family and what did they lose?

It was a very cold Sunday, around midday. I greeted the car as I do all our visitors. They explained to me that they had visited the day before and lost a hat. They inquired if one had been turned in to the lost and found. When I told them no hat had been turned in, they asked if it was OK if they searched the property themselves, revisiting all the areas where they had gone. Of course, I said yes and offered them a ride to the mansion where they would begin their search.

On the initial trip down, they explained to me the significance of the hat and how desperate they were to find it. I encountered them a few more times during the day and each time their despair became more evident. All I could do was offer them hope and reassure them that, if the hat was indeed on the property, we would find it. The hat was indeed found. I won’t give away the ending. To briefly sum it up, I will say that I was overcome with joy knowing we helped the family and their joy in getting back the hat was immeasurable.

Why was this hat so special to them?

EC: The hat was a precious heirloom passed down from previous family members, eventually coming to little A.J. The hat itself can best be described as a small engineer’s cap, a style from days past. It had blue and white stripes  and was adorned with vintage patches depicting various railroad lines.

What inspired you to turn this true story into a children’s book?

EC: When I started to tell people the story and saw their reactions I knew it was a story that needed to be shared. When I shared the story with Ellen she immediately agreed and it fueled an inspiration in her that led to the book.

EM: After Ed told me the story of the hat, I wrote 10 stanzas of the poem fairly quickly. I just felt the story had the makings of a children’s book.

What parts of the museum are explored in the book?

EM: The security guards search for the hat in different areas of the museum. They start at the two eagles near the entrance, which originally stood at Grand Central Station in New York City. They proceed to the 6 ancient columns from Carthage that are 1000 years old. The mansion’s courtyard and iconic bell tower are beautifully illustrated as are the Habitat with the whaleshark. This lower museum was built in 1929 as a private museum for the entertainment of the Vanderbilt’s guests. The animal dioramas will remind visitors of those in the American Museum of Natural History in New York City.

How did the Hoang family react when they heard you were writing a book based on their experiences?

EC: My first contact with Catherine about our plans for the book were via email. From the very beginning she was extremely honored and excited.

When did the family get to see the book for the first time?

EC: I believe they saw the book for the very first time at the book launch (see page B26). Ellen and I did our best to keep it under wraps as long as possible!

Tell us about the illustrator, Olga Levitskiy. How did you three connect?

EC: Olga is an immensely talented young woman that currently resides in New Jersey. I’ve had the pleasure of working with her in the past on previous projects. When Ellen and I decided to go forward with the book my only stipulation was that we use Olga as our illustrator. Having never met Olga, Ellen put her trust in me and I’m sure she would agree it was the right decision.

Her illustrations perfectly capture what the museum looks like. What was her process like?

EC: After we contracted with her, Olga visited the museum grounds and took photographs of just about everything imaginable. While I can’t speak to the exact process I can say that she first did a preliminary story board based on the text. She then does each illustration in pencil and eventually colorizes them in watercolor and colored pencil. Each page becomes an original piece of artwork, much larger than the pages of the book. Suffice to say that once you see the illustrations in the book you can really appreciate the painstaking process it involved.

EM: When Olga visited the museum she came on my mansion tour. Unbeknownst to me, she photographed me in the courtyard and later included me in one of her illustrations.

How did you go about getting published?

EC: Having previous experience self publishing children’s books, I was familiar with process. We used a printer that I have worked with in the past as well. They are based in Ohio. Another part of the blessing working with Olga is that she handled all of the technical aspects of the job for us.

From left, illustrator Olga Levitskiy, authors Ellen Mason and Ed Clampitt, and the Hoang family: Catherine, Anthony, son A.J., daughter Clara and grandfather John Gembinski, pose for a photo in the Vanderbilt Museum’s Carriage House during a book launch on Oct. 17. The family was presented with a family membership to the museum by Elizabeth Wayland-Morgan, Executive Director of the museum, a portrait of A.J. wearing his precious hat and copies of the book. The Hoang family gave the authors and illustrator each a railroad hat of their own. Photo by Heidi Sutton

This is also a great way to introduce children to the Vanderbilt Museum, yes?

EC: Absolutely! From the beginning our hope was to have the book become an extension of the museum, a way of being able to take the property home with you. The intent was to have the story take you on a tour of the museum and the grounds.

EM: Yes, the book may elicit interest in visiting to see the actual sites and exhibits highlighted in the book and can also reinforce a previous visit as well.

EM: Many school groups and summer day camps visit yearly. There are plans to perhaps offer the book in birthday party packages booked at the museum.

What type of response has the book been getting?

EC: The response has been amazing! Everyone has been so impressed and supportive. We are so proud of the finished product. It represents the Vanderbilt well and has allowed us to realize our dream.

EM: The Vanderbilt staff is so appreciative of how the illustrations capture the smallest details of the architecture and exhibits. Ed and I feel especially proud that this is the only children’s book ever written about Eagle’s Nest and it includes Max the cat, who now basks in his fame at the gatehouse.

What message do you want children  to take away from reading your book?

EC: On the forefront, the message is that the Vanderbilt is a true treasure, a place that we hope we inspire all to visit and continue to support. Additionally, it is a story of teamwork, hope and magic!

EM: The message is that there is value in studying history and the natural world; that one man’s life and generosity can enrich many other lives as well; and that goodness spreads; and the realization that all families have traditions that are important to them, sometimes symbolized by a treasured object.

Why do you think the Vanderbilt Museum is such a ‘magical’ place?

EC: Stories such as this one, the story that inspired the book, do not happen elsewhere. The place has an energy to it. It’s hard to explain. For those of us who are blessed to be able to work and spend time there, there is a love we share for the place … it makes you love it.

EM: I think it’s magical because of its romanticism — William K. Vanderbilt II built the estate out of love for his wife, Rosamond. The architecture and breathtaking setting that have been chosen by so many couples for their weddings.

Where can we pick up a copy of this book?

EC: Right now the books are sold exclusively in the Vanderbilt Museum’s gift shop. There will be the ability to purchase them online from the museum website soon. This entire project was intended as a donation to the Vanderbilt and proceeds go directly to benefit the museum.

Is there a recommended age group?

EC: I would say early readers but personally I am a big advocate of reading with a parent or as a family. I think this book is the perfect vehicle for that.

EM: Because the book is written as a 44 stanza poem, the musicality is suitable for younger children to be read to. Independent readers (grades 3 and 4) will pick up on the rhythm and rhyming pattern. I would love “Patches and Stripes” to inspire young readers to write their own poems showcasing a treasured possession.

Any more books on the horizon?

EM: One is already in the works, featuring Max the museum’s resident cat and his friend, security guard Ed. This one is also a narrative poem, like “Patches and Stripes.”

Catherine and A.J. Hoang

What advice would you give to someone who is thinking of writing a book?

EC: Write! Write! Write! If you have a story to tell, tell it! To write and create something that you can share with others is one of the most rewarding things you will ever do!

EM: My advice is to be patient. The process can move slowly, especially if illustrations are involved, but is well worth it. It never occurred to me to write any book, least of all one that rhymes. Yet here it is and I am so proud of it and grateful to Ed for suggesting that we collaborate on it. We present it as our gift to the Vanderbilt Museum for the many wonderful times it has given to us.

Anything else you would like to add?

EC: From the very beginning of all of this I have felt so strongly that this entire story, from the back story of the day the family visited, to the day we launched the book, is a story that needs to be told, from our point of view as well as the family’s. It is a story of how fate stepped in and changed lives … all for the better … how a simple visit to a local museum brought despair, then joy, validation, inspiration, pride and do much more … for the family, for Ellen and me and yes, even for the Vanderbilt … just a place, a piece of property devoid of feelings and emotions … unless you believe in magic.

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The cover jacket of Steven Drielak's latest book
Long Meadow farmhouse shortly after the kidnapping. Three Brookhaven Town policeman can be seen standing on the property. Photo courtesy of the Three Village Historical Society
William Parsons and Alice Parson's Frank McDonell conducting a news conference at farm. Photo courtesy of Three Village Historical Society
115 volunteers leaving the Stony Brook Boys's School auditorium to being the search for Alice Parsons. Photo courtesy of the Three Village Historical Society
This New York Daily News front page on June 11, 1937 was similar to others in Chicago, Washington, D.C., and San Francisco. Photo courtesy of Newspapers.com
Forensic expert delves into disappearance of Stony Brook heiress

Reviewed by Rita J. Egan

The only thing more intriguing than a mystery is a true story that happened practically in the reader’s back yard. That’s the case with author Steven C. Drielak’s book Long Island’s Vanished Heiress: The Unsolved Alice Parsons Kidnapping recently released by Arcadia Publishing and The History Press.

Drielak tells the tale of the real-life kidnapping case of 38-year-old Alice McDonell Parsons, the heir to a vast fortune, who disappeared from Long Meadow Farm in Stony Brook on  June 9, 1937. The accounts of three witnesses — her husband, the housekeeper and the housekeeper’s son — were reported in newspapers across the United States. It was a case where the Federal Bureau of Investigation stepped in to help solve, but despite countless interviews, crews combing and revisiting beaches along the north and south shores of Long Island, and the careful excavation of the farm, a body was never discovered.

For Long Islanders, the story will have added appeal with the familiar backdrop of Stony Brook and other local areas mentioned such as Huntington, Bay Shore, Glen Cove and more. While many may be familiar with the case of Alice Parsons, who reportedly was last seen getting into a large black sedan with a couple to show them a family estate in Huntington, there is so much more to learn as Drielak takes the reader on a trip into the past using articles from the Brooklyn Daily Eagle, The New York Daily News, The New York Times, and the Chicago Tribune as well as FBI case files.

Right from the beginning, the author shows immense attention to detail as he takes us step by step through the infamous day starting at  6:30 a.m. as Alice Parsons’ husband, William, starts the morning feeding the livestock. He also describes what the Parsons’ Russian housekeeper Anna Kupryanova was doing that morning as well as Anna’s 10-year-old son Roy. We also get to meet Alice before her disappearance.

Early chapters give some background on the main players in this unsolved case. The reader learns of Alice’s privileged past, how William Parsons became involved in agriculture and events that led to Anna’s arrival to the United States. Delving into everyone’s pasts and characters, as well as how they interacted, helps the reader in understanding the possible motives of all the suspects in this case.

What many will find interesting is a case such as this one in the 1930s relied more on interviews and interrogations than forensic science as it wasn’t as developed as it is today. As the story unfolds, so do the clues, confessions and lies.

Making the story even more compelling is a disappearing chloroform bottle, paper found in the house that matches the kidnapper’s ransom note, a near confession and, to add even more to the intrigue, an affair that cannot be ignored.

What will leave the reader even more suspicious of Alice’s husband and housekeeper is the marriage of William and Anna in 1940 before the heiress is declared legally dead. The new couple never waited for a body to be found before starting a life together in California as husband and wife. Their relationship definitely raised eyebrows, especially since Anna was the last to see Alice alive.

There are also transcripts of recorded interviews between William and Anna that were part of the investigation. The conversations are interesting in that it seems as if Anna was dominant in the relationship, telling William he didn’t know what he was talking about when it came to a chloroform bottle being found. She also mentions that Alice is still alive. The conversations are an example of how difficult it was to solve how the heiress disappeared or if she was kidnapped or murdered.

Last but not least, the photos used in the book, many from the author’s personal collection and the Three Village Historical Society, are interesting to see. Local history buffs especially will enjoy them as some of the photos depict Stony Brook in the 1930s with William addressing reporters outside of his home, and volunteers ready to search the area standing outside The Stony Brook School. The photos drive home that this unsolved mystery happened right here in our own back yard.

Author Steven C. Drielak is an internationally recognized expert in the area of Hot Zone Forensic Attribution. He received his master’s degrees from John Jay College of Criminal Justic and has more than 30 years of law enforcement experience. He has authored six textbooks in the areas of environmental crimes, weapons of mass destruction and forensic attribution, as well as two historical fiction novels. Long Island’s Vanished Heiress is available at ArcadiaPublishing.com, Book Revue in Huntington, Amazon.com and BarnesandNoble.com.

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Jerry Seinfeld revisits his best work across five decades of comedy in new book

Reviewed by Jeffrey Sanzel

“Is this anything?” is what every comedian says to every other comedian about any new bit. Ideas that come from nowhere and mean nothing. But in the world of stand-up comedy, literal bars of gold. You see that same comedian later and you will be asked, “Did it get anything?” All comedians are slightly amazed when anything works.

— Jerry Seinfeld

Jerry Seinfeld. Photo by Mark Seliger

Is This Anything? (Simon & Schuster) is a wonderful window into the brilliant mind of one of the most successful comedians of the last thirty years. Jerry Seinfeld started out as a stand-up comic, playing clubs on both coasts, before launching to stardom in his eponymous sitcom, Seinfeld, which ran for nine seasons (1989 to 1998). The 180 episodes have been a syndication mainstay, and it is a rare day when you can’t settle down to an episode or three. It was awarded Emmy’s, Golden Globes, and Screen Actors Guild Awards; in 2002, TV Guide named it the greatest television show of all time.

The driving force behind the show was the wit and insight of its star, Jerry Seinfeld. The plot was simple: It followed the mostly minor trials and tribulations of a New York stand-up comic named Jerry and his oddball friends. It became known as the “show about nothing.” But it really was a mirror of Seinfeld’s take on the world; a point of view he had been developing since he entered the comedy scene in the 1970’s.

Seinfeld’s new book is an assemblage of all his material created over the years, broken down by decades. Each section is preceded by a short introduction, and, while they are amusing, they are also introspective. Here, he will use a joke to illustrate a point but mostly he’s giving an intimate access to his process as well as reflecting on that period of his life.

At the outset, he shares his earliest influences: Phil Berger’s book The Last Laugh, about the world of stand-up comedy, and Dustin Hoffman in Lenny, the film based on the stage play about the life of Lenny Bruce. Even at a young age, he marveled: “Comedians seem to hurtle through space and time untethered to anything but the sound of a laugh.”

Even in exploring his own work,Seinfeld  remains unsure. “I still don’t know exactly for sure where jokes come from. I think it’s from some emotional cocktail of boredom, aggression, intense visual acuity and a kind of Silly Putty of the mind that enables you to re-form what you see into what you want it to be.” He also zeroes in on the main challenge. “The real problem of stand-up, of course, is that you must constantly justify why you are the only one talking while a room full of people sit quietly.”

The book records the dozens of jokes that have been part of a four-decade career. It is like visiting old friends, full of ah-hah moments of remembering a particular line or seeing the source for an episode of Seinfeld. (A perfect example is “Dry Cleaning” where he imagines bumping into his dry cleaner wearing his clothes.) It is fortunate that he has kept all his material from the beginning of his career, every idea, every scrap of paper. Even some of his earliest jokes remained in his repertoire twenty and thirty years later. It is a pleasure to read the book and, of course, hear his flawless timing in your mind’s ear.

Seinfeld is unique in his domination of the world of observational humor. (Perhaps the only challenger would be the late George Carlin.) All of the wonderful pieces are here:  dogs and pockets, ruining an appetite, musings on laundry, etc. Some topics are just in passing and others get the epic treatment: milk, coffee, cereal, cars, driving. There are moments of tirade — friends we could do without, other people’s children, the post office. These are contrasted with more existential thoughts, such as in “Northeast Guy.” “TV Flip,” with its refrains, sings almost as a tone poem.  Seinfeld’s ability to anthropomorphize reaches true heights with “Cookies”: “You can almost feel their little chocolate chip eyes on you.”

In “Halloween/Candy,” he traces a child’s whole history of Halloween from costume to trick-or-treating to aging out of it. He also shows that everything with children is “up” — wait up, hold up, shut up, clean up, stay up — while everything with parents is the opposite — calm down, slow down, come down here, sit down, put that down, you are GROUNDED. They’re wry observations but underneath is something much more profound.

It’s not just that his observations are funny; they are also reflections of the truth. His perception of relationships is dead-on. He bridges his dating years into his marriage at 45 and subsequent fatherhood. As he grew, so did the depth of his understanding.

The stories in the sections titled “2000’s” and “The Teens” focus a great deal on marriage and weddings. Seinfeld skillfully compares marriage to “a bit of a chess game … except the board is flowing water, and all the chess pieces are made of … smoke.” He easily shifts to a comparison of marriage as a game show and “you’re always in the lightning round.”

Throughout, the book briefly touches on the milestones: his debut on The Tonight Show with Johnny Carson, his television show, and his HBO special, I’m Telling You for the Last Time, in which he retired his material to date. When he decided to return to the stand-up world two years later, it meant that he had to embark on a whole new leg of his career, starting in small clubs, night after night, month after month, to develop new material.

Is This Anything? could simply be looked at as a compendium of Seinfeld’s jokes. But it is more than that. It’s a peek into a brilliant and insightful performer’s inner thoughts, someone who is able to dissect and articulate a unique view of the world. We both get inside his mind as he gets inside ours. The simplicity of a statement like “it’s not hard to not go to the gym” speaks volumes to the listener. He manages to be every man and yet no one is quite like him.

In the end, Seinfeld says he has returned to where he began — like a horse in a race who ends up back at the start. But, unlike the horse, he is where he wants to be.

Is This Anything? offers select but deeper insight into one of the great comedic minds of our time. It presents his fears and his doubts. It shows that success is a combination of perseverance, hard work, and more than a touch of genius. But, ultimately, the book is just very funny. Really, really funny.

Is This Anything? is available in hardcover, ebook, and audio formats at Book Revue in Huntington, Amazon.com and BarnesandNoble.com.

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Parallel Perspective cover

Reviewed by Jeffrey Sanzel

‘It was uncanny how we discovered that similar subject matter had attracted our attention, as did our affinity for color and light.  When Ward explained that he changed color, moved things around and added and replaced shapes according to his inner vision, I laughed and replied that that was exactly how I created my images!  Parallels between his painting and my photography continued to reveal themselves as our relationship developed. Pure serendipity … or were we destined to meet?’ — Holly Gordon

The word “celebration” echoes within Parallel Perspectives (City Point Press), and that word — “celebration” — perfectly reflects the work of Holly Gordon and Ward Hooper. The book celebrates the extraordinary joining of an aesthetic. It shows the work of these exceptional artists, but, like in all great art, it is impossible to fully define. The fusion of these talents is alchemical. Striking, beautiful, mesmerizing on their own … but together, something that is harmoniously “more than.”

In her preface to the book, Denise Bibro uses words like “combustible” and “urgency” contrasted with “companionship.”  How these disparate concepts came together is what the Gordon-Hooper connection is about.

Authors Ward Hooper and Holly Gordon

As Peter Pitzele sites in his foreword:  “Far from wishing to mark how different brush is from lens, I think Holly Gordon and Ward Hooper say something about how the two can relate to one another as dancers rather than adversaries.” The idea of unification rather than the conflict is what creates the synergy in their works. He takes this further:  “If one thinks of color metaphorically as having, say, a musical quality, then part of what you ‘hear’ in their work is their harmonies, the color duets, their riffs …”

As a rule, the visual arts — as opposed to the performing arts — are a solo venture. It is an isolating endeavor, even after creation. Here, the creative impulse has found a complementary existence for two exceptional and exceptionally bold artists, and Parallel Perspectives gives insight into its root and growth.

On a personal level, art — and this collaboration — was a lifesaver. Their work brought them together when they were both dealing with challenging life-events. A brief sketch is offered on their individual histories before focusing on their joint ventures.

Hooper, who lives in Northport, was a package designer and design director in New York City. Sketches made on the LIRR grew to bold watercolors, influenced by the “West Coast School” (Brandt, Wood, Kingman, etc.). He painted for many years, winning awards and having his work published. When his wife became ill, he stopped painting to care for her. “My wounds were still open from my wife’s death when Holly walked into my life.”

Gordon was first given a camera at 5 years old, and the photographic passion has stayed with her ever since. The Bay Shore resident studied and created art throughout her entire life. But it was her husband’s sudden death that brought her back more intensely to photography.  “Traveling at every opportunity, I photographed my way throughout the world with no preconceived notions it would lead anywhere except to keep me afloat during this turbulent time.”  In 2001, she began working with a digital camera and this expanded her range of styles.

Gordon and Hooper were brought together by a journalist who had written about them independently but was unaware of their personal struggles. Gordon first saw Hooper’s work — his painting Long Island City — on Facebook and immediately thought of her own Night Lights. She reached out to him to see if he saw a correlation. Thus began dialogue that led to a meeting. “Here were two strangers,” says Hooper “serendipitously brought together who found that within our own individuality and mediums of expression, we had been living, working, and creating in parallel lives.”

Throughout the book, they share artistic as well as personal anecdotes. These include frustrations born of health issues. The mutual support in this unique and intimate relationship is honestly disclosed.

Parallel Perspectives cover

The book offers not just the finished works but the preliminary sketches and photos that would metamorphize into fully realized pieces. This glimpse behind the curtain further enhances the richness of the book’s offerings. Noted is the similarity with the collaborative work of artists Arthur Dove and Helen Torr. Much of this is neatly clarified by Bree Shirvell, who also provides excellent perspective on the mediums and their historical significance. Gordon’s photo-liminalism (creating layers by adding and removing shapes and adjusting opacities) is also explained, along with much of her process.

The pleasure of the book is also in the ability to flip back and forward, tracing certain visual themes. And while seeing art in the context of a show is always satisfying, the tome allows for a more extended perusal that grows with each viewing. As much of the work is of Long Island, there is the additional pleasure of recognizing many of the subjects and seeing the breath-taking transformations. (On a personal note, over the days of reading the book, I found myself returning to about a half a dozen studies that I found particularly moving and inspirational. To know that I can revisit these pictures at will is a further reminder of the power of a book of art.)

One can only hope that their work becomes the subject of a documentary. The added layer of seeing the works as well as the artists in process would be an additional record of this unusual and fascinating story.

Through his or her work, an artist gives a glimpse into thought and soul. There is power in a single image that often hundreds of words cannot match. Here, we are treated to nearly two hundred of them, exquisite in their vivid colors and intriguing invention. Their work is a mutual reflection of life, heart, and mind and Parallel Perspectives celebrates that art.

Distributed by Simon & Schuster, Parallel Perspectives is available at Book Revue in Huntington, Amazon.com and BarnesandNoble.com.

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By Leah S. Dunaief

Leah Dunaief

For some reason, this book tickles me, maybe because of the ending. And maybe because I am always interested in how women manage to balance being a wife, mother, housekeeper and cook with a demanding job outside the home. I haven’t read the book yet, only the review, but that was enough to hook me.

The book is Agent Sonya by Ben Macintyre, and yes, it is a spy story. The reviewer, Kati Marton, writing in the Book Review section of the Sunday New York Times, calls the author “John le Carre’s nonfiction counterpart.” The main character in the book, Sonya, is based on a real person, Ursula Kuczynski. Born in a prosperous, bourgeois German family, she suffered a blow from a policeman’s rubber truncheon when she was 16 and participating in a street demonstration in the 1920s as Nazis and Communists brawled. It was enough to cause her to sign up with the Communists, who were the only ones apparently willing to shed blood in fighting the Nazis. She was further seduced by their promise of a workers’ utopia.

Her story, a “panoramic account of espionage from Weimar Germany through the Cold War is, above all, a woman’s story.” It is based on Sonya’s own journals, in which she captures “the stressful balancing act of spymaster, mother and lover of several men during the most dangerous decades of the 20th century. Like many supremely successful women, Sonya benefited from men underestimating her.” And by the way, the name, Sonya, means dormouse in Russian.

Are you hooked yet?

The scene shifts from Chiang Kai-shek’s Nationalists and Mao Zedong’s Communists to Japanese-occupied Manchuria, to the bucolic Cotswolds of England, where she lived during much of WWII as a housewife and mother. In addition to caring for a husband (who was himself a lower level spy with no idea of his wife’s top level position) and two children, she managed spy drops and transmitted coded messages as an expert radio operator and in Morse code, all the while eluding the German, British and American secret services hunting for her. Without ever wearing a military uniform, she held the rank of colonel in the Soviet army. “Domesticity was the perfect cover,” according to reviewer Marton.

Sonya was right up there at the top of intelligence gathering. She was the spymaster to pass along secrets about the atom bomb from brilliant German theoretical physicist Klaus Fuchs. Fuchs worked in Britain and Canada and ultimately at Los Alamos, and she was his handler, sending critical information to Stalin and the Soviet Union. Throughout the war, Fuchs played a seminal role in helping to develop the powerful new weapon. He ultimately confessed to the British to having spied for the Soviets and served a nine-year sentence there, then promptly emigrated to East Germany.

The reviewer delights in descriptions of the flat-footedness and sexism of the British secret services as revealed in the book. Only one member of British M15 “smelled a rat” regarding the Cotswolds “housewife,” another woman, Millicent Bagot. “But her less shrewd (male) colleagues prevented [Bagot] from bagging her prey.” Sonya was interrogated twice inconclusively in 1947 by British intelligence agents. Years later, she was dubbed by the media as “Stalin’s
best spy.”

Sonya too spent the Cold War years in East Germany, leaving England the day before Fuch’s trial began. He did eventually unmask her. And this is the part that tickles me the most. She became an author, assumed the pseudonym of Ruth Werner, and wrote knowingly about spy adventures. Her books became best sellers. She died in Berlin in 2000 at age 93.

Almost all the spies she worked with were caught at some point, but she survived two intense decades, the 1940s and 50s. She led a fascinating life and was clearly exceptionally intelligent. The only pity is that she worked on the wrong side of history, believing in an ideology that was made up of lies.

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Johnny Cuomo

Reviewed by Melissa Arnold

Johnny Cuomo has worn a lot of hats over the years. He’s a musician, storyteller, nature lover, teacher, husband, father, and each role has had a profound impact on his life. The 46-year-old Mount Sinai resident is full of stories and lessons he’s learned while working with all kinds of children.

Most recently, he’s been focused on how important it is to treat others with compassion in his new book, Katy Didn’t. When a new bug arrives at school, the other bugs won’t accept him — that is, except for Katy the katydid, whose kindness makes all the difference. The book shares a powerful message within an easy-to-grasp and vividly illustrated story. It’s also a great read for young bug lovers, who will be thrilled with the variety of insect characters.

I recently had the opportunity to interview Cuomo about his latest venture.

Did you grow up on Long Island? What was your childhood like?

Yes, I grew up in Stony Brook. Interestingly, when I was a kid I was more interested in sports, like skateboarding, wrestling, and martial arts. I was also very interested in making music, which is a major part of my life today. My artistic interests were focused mainly on singing and playing instruments.

Did you always dream of being a writer?

Not quite. I’ve been able to do a lot of traveling throughout my life, and one of my favorite things is to learn about the folk tales of different places and cultures. I also got to work closely with Native American children on a reservation in California for two summers when I was in my early twenties, and that was very formative for me. Working with those children was what led me to go back to school.

What did you choose to study?

I got my undergraduate degree in education from Dowling College, and then I went on to do a Master’s in history at Stony Brook University.

So how did you start writing?

As a songwriter, I tend to write a tune and then think about lyrics that could go with it. That process forces me to write mini stories. Many years ago, I actually wrote a short story called Moonglow, something I’m still proud of. It gave me a foray into the publishing world. I also put together a CD sharing some original folk tales that I had written, based on the stories and cultures of the people I’d lived with.

Where did the idea for ‘Katy Didn’t’ come from?

Even after I began teaching, I was still really grounded in nature. I’m an avid birdwatcher and the natural world is a daily part of my life. If you’ve ever seen or heard a katydid during the summers here on Long Island, you know they have a very rhythmic chirping. Some people even say it sounds like a repetition of, “katy-did, katy-didn’t, katy-did, katy-didn’t.” I always thought that was clever, and one day I started to wonder if I could work that into a story for kids — that Katy didn’t do something hurtful, even when everyone else was doing it. I ended up having a dream about some of the characters and storyline. I created about 95% of the framework for the story within a week of that dream.

Tell me a bit about the illustrator. How did you find one another?

A good friend of mine has a brother named Benjamin Lowery who is an artist. We became friendly about 10 years ago. I got lucky — it turned out that Ben was working on his portfolio and was looking for stories to illustrate. He heard that I was putting this new story together and asked if he could be a part of it. It was really exciting that we both found something we needed in each other and the timing was perfect. I gave him general themes, and then he sent me sketches. He had an amazing sense of knowing what we needed. When I saw the first full-color picture he created, I said, “This is fantastic — just go for it!” We’ve really enjoyed this process and looking out for each other.

How did you publish the book? Did you pursue self-publishing or find an agent?

It was a touch-and-go process. We had an agent for a while, but it didn’t work out, and we sent it to some publishers, but that didn’t work out either. They gave great feedback, but it wasn’t quite what they were looking for. Finally, we connected with Peter Pauper Press, and they said they were going to share the book at their board meeting because they had a great feeling about it. A few days later, they sent us an email that said, “Katy did it!” It was great. They’ve been a really wonderful, straightforward company to work with. The deadline was just before all the pandemic shutdowns began, so we were very fortunate to get it published when we did.

What message do you want kids to take away from reading your book?

I want kids to know that whenever they go somewhere new, there will always be a person out there ready to welcome them. You may face struggles and tough times, but there will always be at least one person willing to help you through it and support you with a positive outlook, even if everyone else is ignoring or teasing you. It’s also an encouragement to be that person for others, whether you’re visiting the park, at someone’s house or meeting someone from a different town.

Is there a recommended age group?

Kids from age 3 to age 8 will get different things from the book, whether that’s their interest in bugs, early reading, or the message about how to treat people. It’s worth noting that the bugs in the book are drawn in a cute, but scientifically correct way, so there are so many things you can teach and do with it.

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Katy Didn’t is available at many online retailers, including Amazon, Barnes and Noble, and Target. For more about the book, visit www.facebook.com/katydidntbook or www.johnnycuomo.com. Teachers and librarians are welcome to contact Cuomo for information about online or in-person educational events by emailing [email protected].

Book Revue in Huntington will welcome Johnny Cuomo and Benjamin Lowery at 7 p.m. on Oct. 15 for a free, online event featuring readings, music, conversation and more. Registration is required by visiting www.bookrevue.com or by calling 631-271-1442.

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Reviewed by Jeffrey Sanzel

At the outset, I must confess that I am allergic to self-discovery. I break out in hives of disinterest. Mostly when I read these accounts, they make me want to be a less successful, unhappier person. Call it the Self-Enlightenment Repellent Effect.  And yet …

Author Stephanie Hayman

Who would think that a book entitled Surviving My First Decade in Corporate America, written by a thirty-year-old marketing strategist, would be one of the most engaging and enlightening books of the last year?

Stephanie Hayman’s slender tome is a clever, informative, and beautifully written account of her twenties in the workplace. Her prose is crisp, laugh-out-loud funny, and smart. The book is flawlessly constructed and her advice is logical and practical; her point-of-view is personal, which makes it all the more valuable. She never speaks in generalities and backs up her ideas with personal experiences and well-placed anecdotes. Her style is breezy and conversational but never feels flippant or dismissive.

This is a tremendous book.

Her target audience is young people entering the professional world for the first time. Upon graduation, the book should be required reading, perhaps handed out with diplomas if necessary. While she deals predominantly with corporate, office, and business workplaces, there is a universality to her perspective that applies to most jobs and careers.

The book is composed of about two dozen quick chapters, with some shrewd interludes. She actually opens the book with “An Ode to Change,” composed of eight comical haikus, reflecting her shift from college to the world beyond. A personal favorite: “Met for two hours today/This could have been an e-mail/What a waste of time.”

Her prologue sets the tone for what is to come: When I was a bright-eyed and bushy-tailed 22-year-old college senior, I wish I had some insight into what to expect as I entered the business world. I imagined that I’d pop out of bed with a smile on my face, shut the alarm on the first ding, and brush my teeth with such gusto, feverishly anticipating the exciting work day ahead. LOL, clearly my young self had quite the active imagination and didn’t quite grasp the concepts of commuting, 9 a.m. meetings, and overall exhaustion.

And so it began and so it begins.

The first chapter is titled “Social Paparazzi vs. Background Checks.” Right out of the starting gate, she tackles the dangers and pitfalls of social media and how it effects how one is perceived in the greater world. She strikes home with the reality that those bar pictures might have been fun at the time, but they will do you no good (and possible ill). 

In “Trading College for a Cubicle,” she gives an overview of some of the unexpected challenges in her first job. An amusing story about a difficult bad weather commute is followed by an honest, self-revelatory conclusion: “As much as everyone tells you their stories, and you feel like you know what to expect, you will never truly understand or grasp the transition to professional life until you experience it yourself.” 

“Friends, Foes and Corporate Beaus” deals with romance in the workplace. It can be done as long as you are open and honest. It worked for her but she cautions “the personal and professional not only intersect, but become emotionally entangled with one another.” This segues into “Spoiler Alert: Work/Life Balance Doesn’t Exist.” After years of hearing how important it is to separate work and life, she makes the point that it is more myth than method. “Working doesn’t stop and life doesn’t stop” — and that’s not necessarily a bad thing.  It is about sensible integration.

One of the most pointed chapters — “Sorry Doesn’t Cut It!” — addresses the mis- and over-use of “I’m sorry.” (This was an ah-hah moment for me and will resonate with any reader.) In an age of responsibility deflection, this is a reminder to choose the words that address what is actually happening, rather than resort to meaningless clichés and social dodges. Her advice on networking is succinct and pragmatic; anyone wondering how to begin developing the necessary skills are given a sensible and accessible approach.

Hayman pulls no punches. “Asking for a raise without proper justification just straight up makes you look dumb. As a millennial asking for a raise without anything to back up your claim, just makes you look like … well, a millennial.”

She takes on challenging topics with the same clear-headed, no-nonsense tactic: organizational culture, the importance of personal days, interaction in a multigenerational workforce, gender disparity, graduate degrees, and, ultimately, the pandemic. No matter how difficult the situation, she is neither self-aggrandizing or self-pitying.

One of the interludes compares reactions of her age twenty-two self to her age twenty-nine self. She covers cold calls, meetings, traveling, high heels, getting ready, bosses, emails, and availability, all with wicked accuracy and a sense of how we grow. It is also a reflection of how priorities mature with experience.

Throughout, there is a refrain of learning to trust your gut and speaking up and speaking out: “In the workplace if you don’t speak up, you’re forgotten. You become the friend that shows up to every family gathering without bringing an app, dessert or bottle of wine. Quickly everyone begins to wonder: why are you here and what do you actually contribute?”

At the end of each chapter, she has “What I knew then, but know now.” It is composed of three points summing up the material addressed in the previous pages. They are as witty and well-crafted as the body of the chapter and offer an excellent way for the book to be used as an ongoing source. After the reader has gone through the entire book, he or she can use those points as a constant refresher. Once again, the book is highly entertaining and completely practical. 

“This is not high school and you are not defined by a ‘label.’ Every day you have a new chance to reinvent or grow your existing persona. Who you are at 22 will not be who you are at 30. Don’t lump yourself in a box, and celebrate all of the differentiated parts of you.”  Wise words and good advice.

It would be easy to quote the entire book in this review. Instead, go out and get a stack of copies for the young people in your life who are graduating college (or even high school). Along with the card and the check, give them Stephanie Hayman’s Surviving My First Decade in Corporate America. And while you’re buying a copy for them, pick up a copy for yourself. You won’t be sorry.

Author Stephanie Hayman is a marketing strategist with 8+ years industry experience at Fortune 500 companies and boutique businesses. A graduate of Stony Brook University, the Hauppauge resident frequently publishes her thoughts on her blog, www.bystephaniehayman.com and will host a virtual and in-person event at SBU for current students and alumni this coming fall.

Surviving My First Decade in Corporate America is available online at Amazon, iBooks, Google Books and Barnes & Noble.

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'Eight Paths of Purpose'

Reviewed by Jeffrey Sanzel

“We are internally wired to make the world a better place for ourselves and our children.  Every time we take a step along this path, we feel an inner sense of accomplishment.  Even if we have but a very small part in this process, we feel connected to the larger goal.”

Author Rabbi Tuvia Teldon

Rabbi Tuvia Teldon explores the nature and power of purpose in his inspirational Eight Paths of Purpose [Outskirts Press]. 

His journey began in 1977 with the birth of his son, Boruch: “What happens when you thought you boarded the plane for Paris, but you land in Timbuktu?” Within five hours of the birth, the boy was diagnosed with a form of cystic fibrosis (CF) and required immediate life-saving surgery. Instantly, he and his wife faced a reversal of expectation. Dark questions crowded his mind — “How could this happen to us?” and “What did we do to deserve this?”  They were presented with a difficult challenge to the family’s projected road.

Teldon worked to accept and embrace this seismic shift. Over the years, Teldon’s family grew, gaining four more children. Boruch’s health was relatively stable until he was nine, where things became worse. In June 1991, at age twelve, Boruch received a double lung transplant, giving the family greater hope.  Sadly, the boy’s body rejected the transplant, and he died.

The devastation was unfathomable. “My burning question was what purpose could this Higher Power possibly have for bringing such suffering into the world, and specifically to my family?” In his quest for understanding, he began writing this book during the seven-day mourning period. He proceeded to work on it over the ensuing twenty-eight years.

For a piece of work that was born in such deep pain, it is an uplifting treatise on finding our way into the light of purpose. At the outset, Teldon delves into this concept, defining and clarifying purpose before exploring it in detail throughout the next hundred pages.

The book’s central concept is that human beings inherently desire to make a difference and that this driving force, whether active or passive, is at our core. It is about embracing this idea and mining the possibilities it presents. Teldon also readily acknowledges that people are unique and have different things to offer.

It is this notion — what we have to offer — that is paramount. Tikan olam — fixing the world — should become our primary focus. (In the Japanese culture, it is known as Ikigai.) How we do this is an individual journey. Teldon lays out ways to delve within ourselves. He recognizes that people face different challenges — financial, emotional, etc. — and that often through accepting adversity, life experiences can guide us. Reframing negatives as positives and “turning tragedy into something good, even if only in some small way” are possible in our personal odyssey. Also, it can be the small things that have as much value as the large. Only we restrict our choices:

It is not limited to accomplishing some great feat or reaching a lofty goal. Purpose in life should be felt on Main Street and in our kitchen, just as much as in a place of worship, in the halls of Washington, or during an inspiring personal experience […] At one moment, purpose may be expressed through our attendance at a PTA meeting; at another moment, how we handle a difficult situation or fix a broken appliance at home; at yet another it could be our decision to donate to an environmental cause in South America.

He reminds that goals are not the endgame but that they will help us to fulfill our larger purposes. “A life of purpose inspires us to see all imperfections as opportunities for us to go beyond our limits and, one hopes, create meaningful personal growth while making the world a better place.”

Teldon breaks down his eight paths and also introduces a vocabulary to flesh them out. He discusses elements of life, personality, relationships, ethics, and happiness. Fate, faith, and God are all strong components. It is a book to be read carefully and — appropriately — with purpose. These are big concepts and demand to be taken in, thought through, reviewed, reflected upon, and returned to.

(On a personal note, even after a single reading, I found an immediate application; I found myself sharing the thrust of the book in a discussion with colleagues on a current project. The clarity of his terms and vision are invaluable.)

Rabbi Teldons family

Many of the chapters end with a series of pointed questions followed by exercises to implement the precepts. Cumulatively, this gives Eight Paths a strong mix of the practical and the philosophical, alternating between explanation and narrative examples. Interspersed throughout the book are anecdotal and statistical insertions that liven Teldon’s discussion. Many of these enhance his central concepts with views on the history and evolutionary progress of the world. He quotes an interesting range of people from Thomas Carlyle and Helen Keller to Maria Shriver and Marla Gibbs.

Tuvia Teldon’s Eight Paths of Purpose is small only its length; it is huge in its scope. It is formidable in its insight and inciting the bridging meaningful acts into a purposeful existence. It is a both a primer and an advanced text on living a life of greater value and satisfaction. Ultimately, it can be summed-up in his choice of quotes from Ralph Waldo Emerson: “The purpose of life is … to be useful, to be honorable, to be compassionate, to have it make some difference that you have lived and lived well.”

A resident of Commack, author Rabbi Tuvia Teldon is the Senior Rabbi on Long Island and  oversees a staff of over 50 rabbis in 38 centers. Eight Paths of Purpose is available at Book Revue in Huntington, www.outskirtspress.com, www.barnesandnoble.com and www.amazon.com.

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An article in a 1920 issue of Science and Invention showed the 'Topsy-Turvy" wheel sporting a lighted star motif and its original name, Dip the Dip. Photo courtesy of the Coney Island History Project
This aerial shot shows Coney Island in the 1930s. West 16th Street and Bushman's Baths are in the foreground. Above that is Stillwell Avenue with Stauch's bathhouse and the narrow Tornado roller coaster. The serpentine tracks of the Virginia Reel are just to the left of the Wonder Wheel, which appears ghostly white. The Bowery is at left, leading up to the heavily wooded Feltman Bavarian Village on West 10th Street. Two roller coasters side by side at top are the 1927 Cyclone and the 1921 Wildcat. The long, narrow structures throughout the photograph are wooden bathhouse lockers and rooms. The open rooftop deck on top of the Stauch's building just below the Tornado was used for nude sunbathing. Photo courtesy of Charles Denson
Crowds flocked to Deno's Kiddie Park on Memorial Day in 2016. Photo by Charles Denson
An aerial view shows the variety of rides and attractions along the beach and boardwalk at Coney Island around 1963. Photo courtesy of Coney Island History Project
An aerial view shows Coney Island and the Wonder Wheel under construction. The spokes of the partially constructed wheel can be seen to the left of the large chimney of the Feltman powerhouse. Luna Park is at top and the Giant Racer roller coaster is at right. The coaster to the left of the Wheel is Jackman's Thriller. Feltman's outdoor movie theater is at bottom center. Photo courtesy of Charles Denson
Among the many West 12th St. amusements was the Looper, a circular steel cage that rolled on a track and was controlled by riders using foot pedals to adjust the speed of the spin. A Looper ride still exists today at Knoebels Amusement Resort in Pennsylvania. Photo courtesy of Sheila Amato

By Jeffrey Sanzel

Arcadia Publishing Co.’s Images of America Series’ latest offering is Charles Denson’s illuminating and handsomely constructed Coney Island’s Wonder Wheel Park. The book doesn’t just explore the area’s oldest and most famous attraction, the Wonder Wheel, but honors Brooklyn’s Coney Island as a vibrant neighborhood of variety and independence. It also celebrates the importance of our country as a melting pot:

The story of the Wonder Wheel is the story of immigration in America.  The century-old landmark comes with a narrative:  this incredibly complex machine was designed, built, owned, operated, and ultimately saved by immigrants with little formal education who came to the United States penniless and wound up realizing the American Dream.

In 1907, 17-year-old Romanian-born Charles Hermann immigrated to the United States. While working in San Francisco, he saw the Aeroscope at the Panama-Pacific International Exposition. It was this device that most likely inspired him to design his “perpetual motion machine.” (His early concept bore a resemblance to one of Leonardo da Vinci’s sketches for a similar invention. The book smartly shows the drawings together.)

Above, the Wonder Wheel viewed from the Bowery and West 12th St. in Brooklyn during the 1940s.
Image courtesy of the Coney Island History Project

In New York, Hermann teamed with the more business savvy Herman Garms (born Rosenfeld) to form the Eccentric Ferris Wheel Company. (Coincidentally, Garms and Hermann both arrived in the U.S. in the same year; the latter from Germany). It was realist Garms who suggested that it become a wheel and be used for an amusement ride. The pair were joined by businessman William J. Ward who was instrumental in the development of Coney Island. It was Ward who enabled the erection of the Wheel on the site of the torn-down Roosevelt’s Rough Riders roller coaster.

The book succinctly traces the building and opening of the Wonder Wheel in 1920 and notes that once built, Hermann walked away from it to pursue other projects. Typical of Hermann, he was more interested in creation and innovation than he was in financial gain. His life was a series of sometimes brilliant inventions for which he received little financial renumeration. In contrast, Garms stayed with the Wheel and his descendants would operate it for the next sixty years.

Throughout the 1920’s Coney Island flourished. Between 1917 and 1923, the City bought back the beachfront property from private holders to create a wide beach and public boardwalk. Rollercoasters — the Thunderbolt, Tornado, and Cyclone — were joined by two luxurious theaters: the RKO Tilyou and the Loew’s Coney Island. The Half Moon Hotel, fourteen stories high, opened in 1927.  Ward was the driving force behind much of the renaissance.

The book continues by briskly tracing the events of the ensuing decades, highlighting the ups and downs with interesting and informative anecdotes. It shows the shifts in the attractions (changes in the businesses, various fires, etc.) and leads up to the purchase of the Wonder Wheel by Greek immigrant Denos Vourderis, in 1983.

Vourderis (born Constantinos Dionysios Vourderis in 1920) joined Greece’s merchant marine at the age of fourteen and then fought for the Americans in World War II. He began with a hotdog pushcart before growing his business to restaurants and food concessions. Fulfilling a life-long dream, he bought the Wonder Wheel and its environs, creating Deno’s Wonder Wheel Park, a family business that endures today. Vourderis is another wonderful example of the fulfillment of the American Dream.

One of the great joys of the Images of America series is, of course, the pictures. There are literally hundreds of photos spanning a century, each telling its own story. There are fascinating sketches and blueprints that show Hermann’s process and progress. There are maps and admission tickets, promotional stills, and candids. There is artwork from the popular Spook-A-Rama and behind the scenes photos revealing many of the innerworkings. There are also publicity pictures from films that have used the area as a location juxtaposed with the myriad visitors and employees. And, of course, dozens of pictures of the families that have been integral to its upkeep, survival, and improvement.

One particularly fun photo is an advertisement that includes the Wheel’s statistics (Height:  150 feet; Weight:  150 tons; Cars: 24—8 “dip” cars; Capacity: 132 riders) with “THRILLS” emblazoned across the Wheel along with  “CONEY’S COLOSSUS!” and “STUPENDOUS!  AWESOME! THRILLING!” in the text. The Wonder Wheel did not come with an operating manual; there is a photo of the only existent instructions, jotted down on the inside of a cigarette carton. At the end of the two columns is “Good Luck.”

The Wheel is more than an amusement ride. It’s a work of art and the ultimate survivor in an ephemeral world — a link to Coney’s remarkable past.

Coney Island’s Wonder Wheel Park is an the ideal tribute to a ride, a place, and a way of life.

The executive director of the nonprofit Coney Island History Project, author Charles Denson grew up in Coney Island and began documenting his neighborhood as a boy, a passion that continues to this day. Pick up a copy of Coney Island’s Wonder Wheel Park at Book Revue in Huntington, www.amazon.com or www.barnesandnoble.com.

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Photo from Christine Pendergast

Reviewed by Jeffrey Sanzel

The name of the book is Blink Spoken Here. It is written by Dr. Christopher Pendergast and Christine Pendergast of Miller Place.

That’s really all you need to know.

That, and please buy the book.

Blink Spoke Here. Dr. Christopher Pendergast and Christine Pendergast.  Buy the book.

You don’t need to finish reading this review.

You just need to buy the book.

Blink Spoke Here. Dr. Christopher Pendergast and Christine Pendergast.  Please buy the book. Now.

For those who want to know more …

It is easy to say that this is an important book — because it is. It is about exceptional bravery in the face of unfathomable adversity.  It is about a man who has defied the odds and lived with one of the single most difficult and devastating diseases:  ALS (amyotrophic lateral sclerosis), also known as Lou Gehrig’s disease. Emphasis on lived with. It is told in his words, with the assistance of his wife.

Authors Dr. Christopher Pendergast and Christine Pendergast

The title refers to how he wrote the book, with an eye-controlled device, as he does not have the use of his hands or his voice. His journey began with the diagnosis in 1993 and continues to this very day — to the very moment that you are reading this sentence. The average lifespan with ALS is two to five years; Dr. Pendergast has survived for twenty-seven. There is no medical answer as to why. But perhaps the Universe has chosen him for bigger reasons. Two of them? First: his bringing awareness to this monstrous affliction through his inspirational Ride For Life. Second: He has written this book.

In 1993, Dr. Pendergast had been a teacher for twenty-three years, married to his childhood sweetheart, Christine.  At the time of his diagnosis, he was in the Northport school district, and he continued to teach in the classroom for as long as possible. When that was no longer an option, he continued as a teacher for the world. Blink Spoken Here is a portrait of a teacher in the best sense of the word.  His passion to impart knowledge has infused his entire life.

Beginning with a description of the disease’s arc, he brings us into his world:

“It was not a dramatic event like a building collapse but a more steady deterioration similar to a bridge failure. I was imploding. In 1993, my physical presence began shrinking before my very eyes. My contact with the world was severing, one function at a time.  Angry, scared and saddened I was like a stubborn mule fighting with tenacity for each inch I surrendered. First it was dressing, followed by grooming, driving, toileting, walking, feeding, and breathing. Now I cling to my last vestiges of talking. It forced me retreat towards within. The exterior husband, father, and friend was left behind.”

Dr. Pendergast is unflinching in his brutal honesty about the pains and the challenges. He shares some of the darkest moments in his life. But, just as often, he speaks of hope and appreciation and deep faith. Many of the simplest things that we take for granted have been taken from Dr. Pendergast.  And yet, in all of this, he manages to find not just the good in life but the lessons that are offered every day. 

If these are not good enough reasons to read this book (and they should be), it is also a beautiful piece of writing. Dr. Pendergast writes with extraordinary eloquence and sincerity, with humor and insight. His prose is exquisite. He shares anecdotes and parables, free verse and personal accounts. The craft is equal to the art and both are worthy of the humanity that created it.

The memoir is split into two sections.  The first focuses on his coming to terms with the disease and its myriad challenges. (The first half even concludes with a wicked send-up of Dr. Seuss.)

The second half of the book focuses on the Ride for Life, which began in 1998 as the Ride to Congress. It follows his goals of bringing national awareness to ALS as well as an increase in services, knowledge, and fundraising. Taking his cue from the activism of the late 1960’s and early 1970’s, he finds his inspiration:

“For me, the remarkable results of these movements underscored the power of choosing to make a difference. The activists of those movements did more than complain about these wrongs; rather they opted to fight for change.  This activism formed a model in my subconscious. I followed this model 40 years later.” 

The initial support of his home school in Northport proves that it takes a village — or at least a district. Over the years, the Ride has evolved and has focused its activities in New York and Long Island.

From the “weight of secrecy” to his global advocacy, this is an odyssey that is both far-reaching and personal. His love for his wife and family and for his community comes through at every turn. This is a man who does not curse the darkness but moves towards the light. 

“Life is too short to spend wishing things were not so. Things are what they are. Some occurrences are not our choice. However, we do choose how to respond. We decide how to live the life we get.”      

There are too many incredible moments to enumerate. Even the description of the challenge of opening an envelope is a revelation. There is a particularly telling incident with his son and church. It is a lesson in forgiveness and perspective, and its reverberations reflect his own continuing journey.

The final chapter, entitled “The First Amendment,” is a crushing account of his loss of the ability to speak: “To the educator, the voice is a powerful tool. It commands respect, informs and on occasion, inspires. The voice becomes our signature for the world. Losing it is catastrophic.” 

Dr. Pendergast describes the gradual decline in his vocal power and the various methods of communication. His frustration is honest and palpable just as his deep belief that his and all voices should be heard in one form or another.  He advocates for those who are desperately ill with ALS and that this basic human right should not terminate at the hospital door.

“Speech is freedom. Communication is the connection to the outside world. We all have a right to be heard … I want to be able to speak, even if it is only one blink at a time.” 

This chapter brilliantly closes the book. Because while he may have lost the physical voice, his spiritual voice continues. It is powerful. It commands respect. It informs. And, truly and always, it inspires.

Once again.

Blink Spoken Here. Dr. Christopher Pendergast and Christine Pendergast.

Don’t wait. Please buy this book. Now.

Blink Spoken Here: Tales From a Journey Within (Apprentice House Press) is available at Book Revue in Huntington, Amazon.com and BarnesandNoble.com.

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