Crew members on the USS Durham desperately bring Vietnamese refugees onboard. Photo from the U.S. National Archives and Records Administration
“Today, America can regain the sense of pride that existed before Vietnam. But it cannot be achieved by refighting a war that is finished as far as America is concerned.”
— President Gerald Ford (R), April 23, 1975, on the collapse of South Vietnam
In one of the most unsettling moments in American history, April 30, 1975, marked the day when the South Vietnamese capital of Saigon fell to the North Vietnamese Army, effectively ending the Vietnam War.
The fall
In 1973, President Richard Nixon (R) made peace with North Vietnam, withdrawing a once-massive military force and leaving behind about 5,000 staff, support and military security members to protect American expatriates still in the region.
It was a dangerous time to be an American. By 1975, the Communist regime in Hanoi understood the U.S. would not recommit forces to South Vietnam, an ill-fated government without American support.
The North Vietnamese and Viet Cong armies moved swiftly, penetrating South Vietnam’s cities and villages. Americans watched in disbelief as South Vietnamese cities fell, one after another.
While Nixon had warned that the U.S. would oppose any breach of the peace, Ford refused to redeploy soldiers and resources to South Vietnam. With over 58,000 Americans killed in Vietnam, he believed his nation had had enough.
From the end of World War II to 1975, America was tied to this Southeast Asian state both militarily and diplomatically. Now, all was lost.
Over 7,000 people were flown out of Saigon before it collapsed. Under enemy fire, helicopters quickly ferried out American personnel and refugees. The last helicopters containing the staff members of the U.S. Embassy watched as North Vietnamese convoys entered Saigon.
Heroes forgotten
It was a painful time for this country. Torn apart by years of strife, political unrest, economic instability and Watergate, the fall of Vietnam was the final stroke. Vietnam War veterans — to this day — endure the pain of heavy scrutiny for their efforts.
Ridiculed, mocked and belittled at the time for their participation in the war, they are determined to ensure that American service members who have fought since are treated with dignity and respect.
Joe Cognitore witnessed these final stages of fighting, recalling the fall of Saigon as a “dark” chapter. He served in Vietnam from 1970-71 as a platoon sergeant, leading other air cavalrymen through the jungles of Vietnam and Cambodia.
With the presence of the Viet Cong always near, he guided his soldiers through “search and destroy” missions against an enemy that lurked in underground tunnels, exercised frequent jungle ambushes and persisted through massive bombing raids.
Despite the traumas of war, in some ways it was even worse when the soldiers came home. The nation showed little appreciation for their sacrifices.
Paying tribute
For years, Cognitore hustled as a representative for Coca-Cola, then raised a family in Rocky Point. It was only during the First Gulf War of 1990-91 that he became involved in the Veterans of Foreign Wars, offering support to veterans returning from war.
Today, Cognitore serves as commander of Rocky Point VFW Post 6249, advocating for the over 200,000 Vietnam War vets across New York state. He represents a class of veterans continually working to aid those who have fought in past and present conflicts.
These individuals work untiringly, helping to honor the veterans who fought the Global War on Terror in Iraq and Afghanistan by organizing care packages, welcoming ceremonies and golf outings to support U.S. veterans and their families. Such devoted people do what they can to carry on the tradition of honoring veterans.
This past Memorial Day, Monday, community members were able to emulate this compassionate example.
Rich Acritelli is a history teacher at Rocky Point High School and adjunct professor at Suffolk County Community College.
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
Smithtown Historical Society Civil War Encampment 05/27/23
A HISTORY LESSON
The Smithtown Historical Society hosted a Civil War Encampment on Saturday, May 27. The well-attended event featured battle demonstrations, North and South camp life and infantry drills, music and dancing at the Frank Brush Barn, field hospital demonstrations and tours of the Epenetus Smith Tavern and Arthur Farmhouse
Hauppauge United Methodist Church Photo by Corey Geske;
By Corey Geske
The headstone of Alfred Griffin
Trustees of the Hauppauge Rural Cemetery connected to the Hauppauge United Methodist Church have sponsored marble markers for previously unmarked graves of Civil War veterans. The first inscribed is for Alfred Griffin, a Landsman, U.S. Navy, former enslaved and self-emancipated Black man whose first name and record were previously unknown. The U.S. Department of Veterans Affairs engraved and delivered the government headstone to be placed at his gravesite. Cemetery Trustees and the Society of the Grand Army of the Republic (GAR), a non-profit fraternal organization, plan a graveside rededication ceremony on Saturday, June 17 at 10 a.m. at the cemetery adjacent to the Church. That weekend precedes the federal holiday of Juneteenth, which marks the end of slavery in the U.S. in 1865.
Built in 1806, the Hauppauge church and its cemetery in the township of Smithtown were listed in 2020 on the State and National Registers of Historic Places. The Hauppauge Rural Cemetery includes veterans from as far back as the Revolutionary War through today. The cemetery’s Civil War markers tell of young Wessels Payne (1844-1864) killed at Fort Harrison, VA by a Rebel sharpshooter and Daniel O. Hubbs (1835-1862), who died on the USS Horace Beals near Fort Jackson, LA, blockading Confederate ports in Gulf waters where Alfred Griffin escaped enslavement and joined the U.S. Navy.
Fought to be free to fight
Since his death 125 years ago, generation to generation at the church remembered that Mr. Griffin [first name unknown] made his escape from enslavement and fought in the Civil War. Cemetery Trustees have long sought to identify Mr. Griffin’s full name. Their oral history provided enough clues for me to reconstruct his life story in my 2021 report “Enslaved, Escaped, Emancipated, Enlisted,” referenced by Veterans Affairs and on file with the State of New York Office of Historic Preservation.
Searching for Mr. Griffin’s identity
My search for Mr. Griffin’s first name and life dates across seventy years of census data extended to possible family in the Hauppauge area. In 1900, one possible relation, age 10, named ‘George Griffin,’ was boarding at a Hauppauge home next door to a brick mason west of the church. The 1900 and 1910 censuses, recording parental birthplaces, documented George’s father as born in Florida and Alabama, respectively, suggesting he may have been an enslaved brick mason working at U.S. forts built from millions of bricks near Pensacola, FL. It began to look like George’s father could be Mr. Griffin. In 1920, George was living in Bay Shore and veterans’ records brought to light his full name, ‘George Alfred Griffin’ (1890-1974), offering two potential first names for his father.
Relying on church history relating Mr. Griffin was a veteran, I located an ‘Alfred Griffin’ born in Pensacola, FL in the ship’s crew of the USS Circassian’s 1863 muster rolls posted by the National Parks Service. His veterans pension [November 23, 1895] was subsequently located, with his mark signed at Smithtown to his statement, “My correct name is Alfred Griffin . . . I do not write. . .” When census data, military records, and newspaper primary sources were put together, they provided answers once lost to enslavement.
The previously “unknown” Alfred Griffin was born circa 1828 and died December 11, 1897. Mr. Griffin’s just-identified Brooklyn Daily Eagle obituary [December 13, 1897], described him as a mechanic and brick mason, “highly respected . . . in the community,” but did not mention his Navy service. Now, Mr. Griffin’s ‘ship’ has been set right by the Hauppauge church’s collective memory, proved to correspond directly to his life.
Freed ‘off Mobile’
USS Huntsville, 1859. Watercolor (1945) by Erik Heyl for his book Early American Steamers. Courtesy Naval History and Heritage Command.
On July 6, 1861, twelve weeks after the Civil War began, two Black persons, ’Alfred’ and ‘George,’ were granted their independence off Mobile, AL. When brought aboard the 860-ton U.S. Steamer Huntsville, part of the Union’s Gulf Blockade Squadron patrolling the Confederacy’s coastline from Key West, FL to Mexico, Commander Cicero Price (1805-1888) effectively emancipated them.
Entered into the muster roll as “Supernumeraries” added to a crew already at its prescribed number of 64, Alfred and George were protected as part of the ship’s complement. Implementing the July 4, 1776 Declaration of Independence proclaiming “all men are created equal,” and eighteen months before President Abraham Lincoln’s Emancipation Proclamation freeing the enslaved, future Commodore Price wasted no time putting pen to paper. He had already fought for emancipation, having seen the horrors of enslavement before the Civil War, when serving on the U.S. Africa Squadron blockading enslavers’ ships on the Atlantic enslavement trade’s dreaded Middle Passage that transported kidnapped African people to enslaved labor.
Eyewitness to ‘Freedom’s Fortress’
‘Alfred’ added the surname ‘Griffin’ to his person when officially enlisting aboard the Huntsville on November 25, 1861. He soon saw action fighting the Confederacy. Off Mobile Bay, Christmas Eve, 1861, Huntsville engaged in an hour-long battle turning back the Florida, a steamer of superior force challenging the Union blockade, followed in January 1862, with Huntsville assisting in capturing a rebel schooner, again off Mobile.
Then, on December 9, 1863, in one of the most internationally famous Union Navy victories of the Civil War, Alfred’s next ship, the USS Circassian, captured the British blockade runner Minna near Wilmington, NC, severing an international lifeline supplying the South’s ironclad fleet. The Circassian towed its prize to the Virginia coast, where Alfred Griffin saw the Union’s Fort Monroe, the so-called ‘Freedom’s Fortress,’ granting sanctuary to thousands of escaping enslaved people, many joining the Union Army.
Brick mason builds in Smithtown
Mr. Griffin was honorably discharged in New York, the Huntsville’s port of launch, when that ship was decommissioned in 1862. He reenlisted in the Navy and served as a Landsman into 1864. After the war, he returned to New York and became a resident of Brooklyn, working as a ‘boss’ brick mason, described in the Brooklyn Daily Eagle as doing the work of two men, setting 4,000 bricks in a day.
Mr. Griffin and his family moved to Smithtown in the early 1880s apparently influenced by Rev. Henry Highland Garnet (1815-1882). At age fifteen, after having escaped enslavement, Garnet was given sanctuary in 1830, at the Smithtown home of Epenetus Smith II (1769-1832) before it was moved.
In a Brooklyn sermon of 1879, Garnet said of Epenetus’s son Samuel Arden Smith (1804-1884) then in attendance, “if I have ever been useful to you or to the world, it was greatly owing to him; and I desire those of my friends who feel so disposed to come up to this stand and be introduced to him.” Garnet, a renowned abolitionist, would be the first Black speaker to deliver a sermon before the U.S. House of Representatives, marking Congressional passage of the Thirteenth Amendment abolishing enslavement; the new law of the land proclaimed December 18, 1865.
In the early 1880s, Mr. Griffin appears to have built his home of brick in Smithtown Branch south of Main Street on Hauppauge Road (Route 111), neighboring Samuel Arden Smith. The Smith family inherited the fortune of merchant A.T. Stewart (1803-1876), including his Garden City Company brick business, which supplied bricks used in Smithtown, likely by Mr. Griffin.
Later moved east on Main Street to the Smithtown Historical Society grounds, the ‘Epenetus Smith Tavern’ where Garnet received sanctuary in 1830, was originally located north of Main, proximate to today’s Town Hall near where the Smithtown Branch Methodist Episcopal Church was then located, and where Mr. Griffin’s funeral was held.
Smithtown’s freed enslaved men and women would regularly meet about a block south and in 1910, their descendants would build Trinity African Methodist Episcopal Church on New York Avenue. Alfred Griffin was a prosperous mechanic, skilled brick mason known for his business ethic, and member of the fraternal organization of Free and Accepted Masons that worked to build the African American community after the war.
Alfred Griffin’s known descendants
Alfred Griffin married Mary Dixon (c. 1850-aft. 1897-before 1900), whose father born in the West Indies was possibly enslaved. Their children included Mary (c. 1873-unknown); Corie (c. 1876-c. 1899), and George Alfred. Corie Griffin Jackson had three children born in Hauppauge: Alonzo, Paul, and Cora.
Little is known of ‘George,’ rescued with ‘Alfred’ in July 1861, both assigned the singular job of “steward” aboard the Huntsville, suggesting, perhaps, that Alfred brought a young son on his journey to freedom. We do know Alfred Griffin’s son born in 1890 in Smithtown Branch, was named ‘George Alfred Griffin.’
A U.S. Army veteran Of World War I, George, a carpenter, married Minnie Mitchel (c. 1889-aft. 1938), a widow with two daughters, Daisy and Marguerite. The Griffins’ daughter, Jean, was born c. 1927. In 1918, Minnie was a founder of Bethany Baptist Church, built near the Griffins’ home, likely with George’s expertise, and dedicated in 1921, becoming First Baptist Church on Second Avenue in Bay Shore.
About the author:Independent historian Corey Geske of Smithtown has identified lost titles of Hudson River School paintings mistitled on museum and library walls, as well as internationally known, yet forgotten owners and architects of Smithtown’s historic structures. Since 2016, to generate incoming grant money for downtown Smithtown, she has proposed recognition of historic places, notably through a new National Register Historic District focused on the c. 1752 Arthur House, identifying it as the home of Mary Woodhull Arthur, daughter of Washington’s chief spy, Culper, Sr. She prepared the report resulting in determination of the Smithtown Bull as Eligible for the National Register (2018) and wrote the successful National Register nominations (2019) for the Byzantine Catholic Church of the Resurrection and its Rectory, and with SHPO, for the Hauppauge United Methodist Church and Rural Cemetery (2020).
Meryl Ain’s debut novel, The Takeaway Men (2020), focused on immigrants Aron and Edyta (Judy) Lubinksi and their twin daughters, Bronka and Johanna. Refugees from Hitler’s Europe, the family settles with Aron’s cousins in Bellerose, Queens.
Author Meryl Ain
The absorbing story traced their struggles with adjusting to the new world and the burdens and guilt related to survival. Dealing with both the aftermath of the Nazi genocide and the rising Red Scare during the Cold War, The Takeaway Men offered a vivid portrait of a family in transition and ends in 1962.
Ain’s sequel, Shadows We Carry (SparkPress) picks up a year later for a brief prologue on the day of President Kennedy’s assignation. As the teenage Bronka states: “This is the end of the world … Nothing will ever be the same again.”
In Shadows We Carry, Ain focuses on Bronka, the more serious of the twins. The narrative follows the young woman’s journey from the late 1960s to the early 1980s. Ain once again displays her deft gift for presenting the intersection of historical events and cultural awareness.
The sisters are a portrait in contrast. Bronka studies history and political science, aspiring to a career in journalism. Johanna (called “JoJo”) studies music education but has no desire to teach. However, her musical theatre dreams are derailed by a pregnancy, leading to an alternately fulfilling and frustrating married life.
Bronka’s odyssey takes her through a range of personal and professional obstacles. A well-drawn character, complicated yet likable, she is a good but flawed individual, often getting in her own way—a case of wrong for the right reasons. Even with her strong Jewish identity, she tends to seek romance with unavailable men. The first is Ned, the Queen’s College newspaper editor-in-chief and a graduating senior. Later, she falls for a priest, the charismatic Father Stan. Even more importantly, Bronka represents the pull between career and homemaking: her passion for making a life in the news world versus her desire for a traditional family constantly battles.
Shadows We Carry also emphasizes the age of rebellion, reflecting an era of burgeoning self-discovery. Bronka’s neighbor and lifelong friend, Mindy, a middle-class version of anti-establishment, confronts Bronka with a hard truth: “Look, my mother and Tina Rosen and her sisters will all end up in boxes. It’s up to you whether you do or not. I think both of you could go either way. But I sure as hell will not. I’m going to find a different path. But first, I have to find out who I really am.”
In search of self, Bronka is unsure of her niche. Too intellectually curious to accept a narrow conservative marriage, she is conversely uncomfortable with the free-love, drug-taking hippie element. She constantly faces less than thinly veiled chauvinism and misogyny.
Ain’s gift is the ability to veer from domestic drama to social and political issues. Whether addressing the mother’s Catholic heritage but embracement of Judaism (or the priest’s mirrored journey), she delves into the psychological turmoil of her characters.
Mother Judy clings to an outdated vision of what women can be, subsuming her dreams to the needs of her often taciturn and haunted husband, Aron. Residuals of the Communist Witch Hunt and the search for Nazi War criminals play out against the age of the Viet Nam War.
Canvassing for Eugene McCarthy, along with the assassinations of Martin Luther King and Robert Kennedy, are affecting milestones. The beginning of the AIDS crisis is touched upon in a subtle but powerful stroke.
An interesting event occurs in 1973 when Bronka covers the renaming of the Nazi streets in Yaphank’s Fatherland Gardens. She is accompanied by a photographer unaware of his father’s direct connection to Auschwitz.
If The Takeaway Men focuses on the immigrant experience in the post-1945 world, then Shadows We Carry highlights the assimilating America of the 1960s and early 1970s. Its quick, taut chapters reflect the peripatetic and energetic pacing of the latter part of the 20th century. A book of identity, it asks the twin questions “Can you ever escape history?” and “Can you ever escape your history?”
A smart and welcome coming-of-age novel, Shadows We Carry is available on Amazon.com.
Patrick Comiskey, TVHS Director Mari Irizarry, and the TVHS board try out the new picnic tables on April 12. Photo by Rob Pellegrino
Three Village Historical Society welcomes the community to take a load off and stay a while, thanks to Eagle Scout candidate Patrick Comiskey of Troop 70, a Setauket resident and senior at Ward Melville High School.
Just one month shy of his 18th birthday, Comiskey organized a team that built three cedar picnic tables adding to the original two tables at the property that hosts frequent events for the community including the weekly Three Village Farmers Market.
Comiskey, a regular visitor to the historical society, recalled TVHS’ Director Mari Irizarry mentioning to him the need to create a more inviting area for the community at the nearly 3 acre property.
“I saw the conditions of the tables at historical society and thought that building new ones was something that I could accomplish,” he said.
Few Boy Scouts attain Scouting’s highest honor before they turn 18, but Comiskey was determined to get the job done. After raising more than $2,800 through donations, Comiskey completed the construction of the project over the course of two days with more time being spent in research and planning.
With support from family, Troop 70 and adult leaders, Comiskey assembled and installed the finished tables at TVHS on March 19.
The public is always invited to visit the Three Village Historical Society, located at 93 N. Country Road in Setauket, and next time you pass by, have a seat on the new picnic tables and tip your cap to Patrick Comiskey, another Three Village Eagle Scout in the making. For more information, call 631-751-3730 or visit www.tvhs.org.
The Three Village Historical Society in Setauket has announced the appointment of Scott Ferrara as Collections and Exhibits Coordinator.
Ferrara is a Registered Professional Archaeologist with a master’s degree in public archaeology from Binghamton University (SUNY). Currently, he is pursuing his doctoral degree in Anthropological Archaeology at The Graduate Center, City University of New York (CUNY) and currently also teaches archaeology at Queens College as a Graduate Teaching Fellow. He has excavated sites in Central America, Israel, New York, and New Jersey.
He is the author of Accused of Witchcraft in New York, a public history book that compiles the biographies of New Yorkers accused of Witchcraft in the seventeenth and eighteenth centuries including Setauket’s own Mary and Ralph Hall in 1664. He is also a U.S. Marine infantry veteran having served two combat deployments to Afghanistan during Operation Enduring Freedom.
Ferrara is enthusiastic about managing the archival collections of the Three Village Historical Society, providing more accessibility to information, and fostering new and creative relationships with the Three Village community as well as partners in the New York cultural heritage resource network.
“Scott Ferrara has had meaningful impact on archival research, exhibitions and community engagement since joining the TVHS team earlier this year,” said TVHS Director Mari Irizarry. “His experience, creativity and enthusiasm equip him well to manage the TVHS collections as we continue to grow and thrive as one of the premier historical societies in the region.”
Lou Gehrig with his teammates June 21 1939. Photographer unknown
By Daniel Dunaief
‘The greatest of all, the game which seems to breathe the restless spirit of American life, that calls for quick action and quicker thinking, that seems characteristic of a great nation itself, is baseball.’
— Photographer Charles M. Conlon, 1913
Jackie Robinson, Lou Gehrig, Yogi Berra, Babe Ruth, Roberto Clemente and pictures of numerous other legends of the baseball diamond are coming to the Long Island Museum in Stony Brook.
Starting May 18 and going through October 15, the History Museum at the LIM is featuring two baseball exhibits.
In one, called Picturing America’s Pastime, the museum is showcasing a collection of images from the National Baseball Hall of Fame and Museum’s Archive. In the other, called Home Fields, the museum has brought together objects and photos from the Ducks field in Central Islip, the new and old Yankee Stadium, Shea Stadium, Citi Field, Ebbets Field and the Polo Grounds. The objects come from regional private collections, including some from the Shea family for whom the home of the original Mets was named.
The museum, which charges $10 admission, is hosting a members only opening reception on June 15. Membership costs $40 for an individual and $60 for a family. At the reception, the museum will serve baseball-inspired food, including Cracker Jacks and popcorn.
Picturing America’s Pastime
In one of the pictures, photographer Charles Conlon captured a determined Ty Cobb successfully stealing third base on July 23, 1910, with the throw going by New York Highlanders third baseman Jimmy Austin. Unlike the instant gratification of modern-day digital photographs, Conlon didn’t know he caught and immortalized the moment until later, when he developed the picture.
The exhibit mixes intimate photos of heroes and legends, with a picture from an unidentified photographer of Yankee legend Lou Gehrig holding court in the dugout with his teammates on June 21, 1939 at Yankee Stadium after returning from the Mayo Clinic in Minnesota. Diagnosed with amyotropic lateral sclerosis, or ALS, which is now widely known as “Lou Gehrig disease,” Gehrig gave his speech in which he declares himself “the luckiest man on the face of the Earth” 13 days after the photographer snapped the dugout picture.
“He’s having this semi-private moment with his second family,” described Joshua Ruff, the Co-Executive Director of Collections and Programming at the Long Island Museum. “It’s just amazing that somebody had the wherewithal to capture that photographically and to save that memory for us.”
The pictures also feature an image of Jackie Robinson, clad in a Montreal Royals uniform, entering the Dodgers clubhouse on April 10th, 1947, five days before Robinson became the first black player in Major League Baseball and seven years before the Supreme Court struck down segregation in public schools in Brown vs. the Board of Education. In the photo, taken by William C. Greene, Robinson is holding up a baseball glove in the air and entering a door with the words “Dodgers Club House” above and “Keep Out” below.
The pictures featured in the exhibit are “much more than about the history that’s being achieved on the field,” Ruff added.
The Picturing America’s Pastime exhibit also includes a photo of the 1920 St. Louis Giants from the Negro League, as well as the Muskegon Lassies with the team bus in 1947.
In a snapshot from Chicago’s Comiskey Park in May 1916 by an unidentified photographer, “Shoeless” Joe Jackson sits on the ground with four bats across his right knee. The photo was taken four years before Baseball Commissioner Kennesaw Mountain Landis banned Jackson and seven of his teammates for life from the sport for the Black Sox scandal of 1919.
The pictures also include more recent heroes, such as Japanese sensation Ichiro Suzuki, photographed by Brad Mangin in 2006 at Oakland’s McAfee Coliseum. In his trademark move before he hit, Suzuki is tugging at the right shoulder of his uniform with his left hand while holding the bat vertically in his right.
Home Fields
The Home Fields exhibit, meanwhile, features a collection of paraphernalia from local ballparks, such as a bleacher from the old Yankee Stadium, and seats from the Polo Grounds (where the Yankees and, for two years, the Mets played), Shea (home of the Mets) and Ebbets Field, where the Brooklyn Dodgers played before leaving in 1958.
The museum, which has a Derek Jeter bat from 2007, will display a World Series ring from 1969, when the Miracle Mets defeated the heavily favored, 109-win Baltimore Orioles that included stars Brooks Robinson and Jim Palmer.
A replay of seven minutes of the fifth and final game from the 1969 NBC radio broadcast will play in the background, providing ambient baseball sounds for guests. The museum is coordinating a revolving slide show of images from that game in the Home Fields exhibition.
The museum also has a piece of the outfield fence from Shea and pieces of the scoreboard from Yankee and Shea stadiums.
A private collector loaned the museum the on deck circle from 2000 subway series between the Mets and the Yankees. In that series, which was the third consecutive World Series victory for the Yankees, Yankee pitcher Roger Clemens threw a piece of Met Mike Piazza’s broken bat towards the Mets catcher as he made his way towards first on a foul ball, bringing both teams out of their dugouts.
Ruff suggested that the exhibits could spur a range of memories from fans of all ages. Born in Baltimore, he calls himself a “lifetime baseball fan” whose favorite players are Cal Ripken Jr. and Eddie Murray. He has loved attending Mets and Yankees games.
Ruff likens these two exhibitions to “playing in the sand box. Hopefully, that will be the same for people that walk through. Whether you’re a fan of the Mets, the Yankees, the Reds or whoever your team is, there’s a lot to appreciate and enjoy when you come see these shows.”
The Long Island Museum is located at 1200 Route 25A in Stony Brook. For more information, call 631-751-0066 or visit www.longislandmuseum.org.
Ashley Brooke and Bel Powley in a scene from 'A Small Light'. Photo from NatGeo
Reviewed by Jeffrey Sanzel
‘But even an ordinary secretary or a housewife or a teenager can, within their own small ways, turn on a small light in a dark room.’ — Miep Gies
No figure is more iconic than Anne Frank. Whether seen as an ordinary girl in extraordinary times, or a remarkable individual robbed of her potential, her short life and terrible death epitomize the darkest era of the twentieth century. And while her memory transcends decades, she should be remembered as a person with hopes and aspirations, feelings, and foibles. Anne Frank was not a symbol; she was a human being.
The Diary of a Young Girl—often called The Diary of Anne Frank—appeared in its original Dutch in 1947. The first English translation, Anne Frank: The Diary of a Young Girl, was published in 1952.
Bel Powley shines in her role as Miep Gies in A Small Light. Photo courtesy of Nat Geo
The diary was given to Anne as a thirteenth birthday present on June 12, 1942. She chronicled her life in this book and two school exercise books. On March 29, 1944, she listened to a London radio broadcast by the exiled Dutch Minister for Education calling for the preservation of “ordinary documents … simple everyday material” as a testimony to the plight of Dutch civilians under the Nazi regime. She began revising the entries with this in mind. Her final entry was on August 1, 1944, three days before her arrest and deportation. Miep Gies and Bep Voskuijl, two of the brave people who helped hide the Frank family, saved the loose pages of the manuscript. After the war, they gave the papers to the only surviving occupant of the attic, Anne’s father, Otto.
A stage adaptation premiered on Broadway on October 5, 1955. Adapted by Frances Goodrich and Albert Hackett (supposedly handpicked by playwright Lillian Hellman), the well-received production emphasized the hopeful aspects, highlighting (but perhaps ignoring true context) the signature quote: “Despite everything, I believe that people are really good at heart.”
In 1959, this version was brought to the screen in the equally lauded version. It was not until 1997, when Wendy Kesselman revised and re-envisioned the play, there was an Anne Frank properly representing the true darkness and struggle, divesting itself from the earlier incarnation’s occasional saccharine. The BBC produced a television film in 2019 with an entirely new script.
Of the cinematic incarnations, the most powerful is Anne Frank: The Whole Story (2001). Due to a conflict between the producers and the Anne Frank Foundation, the creators were denied access to quote Anne Frank’s writings. Instead, according to producer David Kappes (in a private interview), the ninety-year-old Miep Gies was used as a primary source to tell Frank’s history. (Gies passed away in January 2010 at 100.) This account takes Anne beyond the annex, following her through deportation to the Westerbork transit camp, transport to Auschwitz, and finally, her death in Bergen-Belsen.
Gies told her story in the memoir Anne Frank Remembered: The Story of the Woman Who Helped to Hide the Frank Family (1987). Subsequently, she was featured in the Academy Award-winning documentary Anne Frank Remembered (1995).
[The following is based on a viewing of the first two episodes of A Small Light.]
Now, National Geographic has produced A Small Light, an eight part miniseries streaming on Disney+ and Hulu. This begs whether there is a need for another screen version of the story. If it is A Small Light, the answer is a resounding “yes.”
Masterfully directed by Susanna Fogel (from a screenplay by Tony Phelan, Joan Rater, William Harper, and Ben Esler), A Small Light takes Miep Gies from the sidelines. It presents her center in a wholly realized and beautifully dimensional account. The series is an inversion of previous Anne Frank stories. Rather than the claustrophobic fear of being surrounded by the horrors of the outside, this is the terror of living day-to-day in a world with danger at every corner and every turn.
Episode one opens in 1942. Miep Gies (Bel Powley) bicycles with a frightened Margot Frank (Ashley Brooke) through the streets of an idyllic Amsterdam festooned with Nazi banners interspersed with “Resist” graffiti. Miep is attempting to get Margot through a Nazi checkpoint. The scene is taut, tense, and done in quick, sharp cuts.
Before they reach the front of the line, the action shifts back to 1933. After a night of drinking, Miep joins her large, adopted family for lunch, having slept until 2 p.m. Her frustrated parents suggest that if she cannot find a job, she marry her adopted brother (who, unbeknownst to his parents, is gay). Miep lives a leisurely, almost bucolic life.
After an awkward interview, Otto Frank (Liev Shreiber) engages the unskilled Miep as a secretary. Brash and temperamental, she still learns the business and begins to find her place in the organization. Life goes along with Miep meeting her eventual husband, the shy Jan (Joe Cole), in a bar.
On May 10, 1940, the Nazis invaded the Netherlands. Within five days, they had taken over the country. Laws change, and the harsh Nazi abuse transforms into greater crimes. (It is not until the middle of episode two that we see the brutality of the round-ups.) The infamous yellow star appears on clothing.
Eventually, Otto shares the plan of taking his family, along with his employee Hermann Van Pels’ family, into hiding and asks for Miep’s help, to which she immediately agrees. However, Otto changes the moving date when his older daughter Margot receives deportation papers. The first episode returns to the opening scene as Miep gets Margot through the checkpoint and into the annex, the first glimpse of the hiding place.
The second episode shows the earliest days of the new life. On the inside, attitudes are already fraying as the Franks attempt to adapt. Miep must deal with the already frustrated and often frustrating individuals living like prisoners. She also faces the challenges of keeping the secret as well as finding food, ration books, etc. Husband Jan aids Miep but also begins his own journey to help the persecuted. This episode ends with the dentist, Fritz Pfeffer (Noah Taylor), completing the members of the attic.
The cast is uniformly exceptional. Liev Schreiber makes for a slightly mercurial but effective and compassionate Otto. Amira Casar’s Edith Frank is a stronger, more demanding Edith. Billie Boullet is an exceptional Anne, shining and passionate but grounded in reality. Ashley Brooke hits the right gentle notes as the reserved Margot. Joe Cole grows Jan throughout, going from reticence to strength with a charm that comes through.
But the center is Bel Powley’s exceptional Miep. She grows from the lackadaisical party girl and reluctant employee to a ferocious, committed portrait of real courage. Whether flirting with a butcher to get a better chicken or resigned to revealing the true situation outside the attic walls, her reality and depth are flawless.
From an educational standpoint, the series is invaluable. The current curriculum rightfully deals with turning bystanders into upstanders and changing the bullying narrative. Miep Gies reminds us never to stand by; as individuals, we must choose to make a difference. We must do more and must do better. For that alone, her story is beyond important. The fact that A Small Light is art presented with raw integrity elevates the message to a higher level.
Honor the past. Embrace the present.Look to the future.
Beverly C. Tyler is the author of multiple works focusing on local history. These include Founders Day, Down the Ways—The Wooden Ship Era, and Setauket and Brookhaven History (all reviewed in this paper). Tyler now turns his eye to a detailed history of Setauket’s Caroline Episcopal Church, which is celebrating its 300th anniversary this year.
Front cover of book
The book is an excellent blend of the historical and the personal. In one- and two-page sections, Tyler covers everything from the church’s construction to its pastoral care ministry. Sunday school, past and present, and the church’s choir are presented. Tyler traverses the many milestones centered around religious, societal life: baptisms, confirmations, marriages, and funerals. The many facets of the church—Bible study, eucharist, caregiver and grief support groups—are all mentioned. Caroline Church is a rich resource for those connected to the church and may also serve as a model for those looking to preserve a civic organization. Detailed lists and a plethora of dates are neatly organized throughout the entire volume.
The book shares letters from clergy alongside personal reflections. In his message, Reverend Canon Richard Visconti expresses his gratitude for his connection to Caroline Church: “Your faithfulness in worship, your extension of Christ’s healing touch to a broken world within the community, year after, is a testimony to the goodness and blessing of God … May Caroline Church continue to grow in its mission to help all live transformed lives for Christ.” The Rev. Nickolas Clay Griffith suggests to have “one foot planted in the Anglican tradition and the other foot working to … reach for the opportunities where we can be people of Christ in the world today.”
Parishioners tell of what drew them to the church (or, in some cases, back to it). The theme of family is often celebrated. Given two full pages is “Caroline During COVID.” This chronicle shows how the church adapted and persevered in a challenging and difficult time where streaming and social distancing became the necessary norm.
Back cover of book
Rev. Sharon Sheridan Hausman strikes a gardening metaphor in her piece, referencing growth in “vines,” “seeds,” and “root.” Colleen Cash-Madeira opens with the Swedish saying, “Even the devil gets religion in old age.” The twenty-nine-year-old then discusses church attendance as “exposure to a set of tools: faith, hope, compassion, community.”
Tyler gives an in-depth but concise history of the inception of Caroline Church. In “How It All Began,” he starts at the end of the seventeenth century and continues through 1730.
Cleverly, the author has inserted a timeline ribbon across the top of each page. He begins on April 14, 1655, with the English settlement of the town of Setauket. The entries culminate in 2021, with the installation of Rev. Griffith; Camp DeWolfe’s celebration of its seventy-fifth anniversary (2022); and the church’s marking of its third century (2023).
And like with all of Tyler’s previous works, the book is replete with hundreds of photos as well as historical paintings and sketches. The images alone carry much of the church’s story. The last page is particularly fascinating: a re-imagined eighteenth-century prayer service, shown in six photos, including video projections.
Perhaps the best summation is in Henry Hull’s final couplets of An Ode to Caroline Church:
So here’s to the Clergy and Vestries, too
They have led all the flocks of communicants who
Have passed through the portalof dear Caroline
And have lived, loved and learnedin a way most divine.
Copies of the book are available for sale at the Caroline Episcopal Church office, 1 Dyke Road, Setauket. For more information, please call 631-941-4245.
The mechanical eagle above the Stony Brook Village post office. File photo/TBR News Media
Atop Stony Brook Village’s post office is the only mechanical eagle in the world that flaps its wings, every hour on the hour from 8 a.m. to 8 p.m. Although the eagles wings are still flapping after 82 years of service, the hand-carve wooden fixture is in need of restoration. Funds are being raised by the501(c)3 not-for-profit corporationWard Melville Heritage Organization (WMHO) to help the eagle soar once more.
Stony Brook Village was constructed in 1941 by businessman and philanthropist, Ward Melville. At his own expense, he relocated, demolished, or modified some thirty-five buildings in the downtown area. The enormous undertaking also included the rerouting of roads, the relocation of large trees, and moving one million cubic yards of dirt. Although the construction of the village was impressive, Ward Melville’s centerpiece gem was the 20’ mechanical Stony Brook Eagle.
For generations, visitors of Stony Brook Village have been awed by the eagle’s mechanical movements. Watching the wings of the eagle flap is a childhood memory thousands cherish. Since the inception of fundraising, donations to restore the eagle have come from all over the United States, from coast to coast.
Fundraising efforts by the WMHO include: The Summer Soirée, a fundraising gala with a cocktail hour, dinner and live auction at the historic Three Village Inn on Thursday, June 22, and an online auction beginning May 22, with exciting items such as a real military tank driving experience for 30 people in “The Scorpion” British armored reconnaissance vehicle, a suite for up to 22 people at the Total Mortgage Arena, and an all-inclusive stay for seven nights in a three room, five-star Panamanian boutique inn.
While the primary purpose of the fundraising is to support the restoration of the beloved eagle, any additional funds raised may also support two new engines for the WMHO’s Discovery Pontoon Boat, digitizing Ward Melville’s archives, repairs to the roof at the Brewster House (c. 1665), a new exhibit at the Thompson House (c. 1709) in Setauket, as well as education programs.
Donations are being accepted now. To help support the WMHO in its fundraising efforts, visit wmho.org or call 631-751-2244. Checks can be made payable to the Ward Melville Heritage Organization, and can be sent to P.O. Box 572, Stony Brook, NY 11790. Your donation is tax-deductible to the full extent allowed by the law.
In search of self, Bronka is unsure of her niche. Too intellectually curious to accept a narrow conservative marriage, she is conversely uncomfortable with the free-love, drug-taking hippie element. She constantly faces less than thinly veiled chauvinism and misogyny.
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