History

Reviewed by Jeffrey Sanzel

“One of the things that attracted me so greatly to Masonry, that I hailed the chance of becoming a mason, was that it really did act up to what we, as a government and as a people, are pledged to — of treating each man on his merits as a man.”

— Theodore Roosevelt to the Grand Lodge of Pennsylvania, Nov. 5, 1902

Author Ronald J. Seifried

Many of us have been intrigued by the society known as the Freemasons but most know little about its history. Huntington Station resident Ronald J. Seifried has written Long Island Freemasons to offer background and anecdotes of this organization while still respecting its privacy. Seifried, a Freemason for over seventeen years, succinctly defines the Order:

“Freemasonry is a worldwide fraternal organization that is a system of morality, veiled in allegory and illustrated by symbols.  Formally organized in London, England, in 1717, Freemasonry initiates men from various professional and social backgrounds, well recommended, with a shared belief of a supreme being without prejudice of religious affiliation. A society with secrets, but not a secretive society, Freemasons forbid the discussion of politics or religion in the lodge, creating an atmosphere of harmony and removing any conflictive or divisive nature. Charity has been an important aspect and virtue of Freemasonry since its foundation.”

The introduction provides a brief history before focusing on Long Island’s connection to the association, which traces its roots to George Washington. Seifried then gives a detailed timeline of Long Island’s various lodges, some of which still exist today. He cites the challenges faced by the earliest members, including the traveling of great distances and economic struggles. His presentation is well thought-out and his research is a wealth of detail.

Suffolk No. 60 Lodge in Port Jefferson

The book is rich with hundreds of photos. There are pictures of lodges and meeting halls, both interiors and exteriors. Seifried gives descriptions of the buildings’ histories and architecture as well as the costs of construction. Faith in the Freemasons’ goals has historically attracted generosity with many wealthy individuals and families donating money and land for lodges and their locations. There are explanations of lodge names, many of them obtained from Native American sources. Pictures of gathered lodge members give background on the individuals and their positions in the lodge. There is a mammoth amount of information in this slender volume.

The author acknowledges the enigmatic nature of the Freemasons:  “The secrecy of this group of men lent a certain level of mystery and respect when the members appeared in public. Schools were dismissed and locals turned out en masse to see the Masons parade.”  Often, this is the only time the community ever sees the members in their Masonic regalia. In addition, dedications were also public events and several images show these gatherings.

The book is divided into geographical sections: Central Suffolk; Western Suffolk; Oyster Bay; Town of Hempstead; North Hempstead; and Glen Cove.  Seifried finds what makes each area special to the group and offers a range of photos that pertain to the region. The final chapter touches on affiliated groups, including the Shriners, Eastern Star, and the Scottish Rite, among others.

There are intriguing accounts scattered throughout: “Part of a brother’s introduction into Freemasonry included a drama representing the building of King Solomon’s Temple, with chief architect Hiram Abiff as the central character, murdered for not revealing the secret word of a master mason; the lodges are often referred to as ‘temples,’ as an allegorical reference to King Solomon’s temples.”  

The Hawkins-Mount Homestead, in Stony Brook, was used several times in 1802 as a meeting place for the Suffolk Lodge; its owner, Major Jonas Hawkins, was a member of the Culper Spy Ring during the American Revolution. Chief Crazy Bull, grandson to the famous Sioux Chief Sitting Bull of the Hunkpapa Lakota Tripe, was a member of the Suffolk No. 60 Lodge, which is still located on Main Street in Port Jefferson. 

Governor Franklin D. Roosevelt was invited to speak at Huntington’s Jeptha No. 494 Lodge, in commemoration of the adoption of the U.S. Constitution. He was late due to inclement weather and traffic and quipped that the island should be named “Longer Island.”

The color plates in the book’s center are striking. They have contemporary shots of existing lodges, explaining the various rooms. There are paintings that depict the three degrees of Freemasonry, offering a insight to the overall core of spirituality. The Long Beach No. 1048 Lodge’s stained glass window dome is photographed beautifully and the symbols are clearly explained.  

Today, there are 28 active lodges across Suffolk and Nassau counties. Ronald J. Seifried’s Long Island Freemasons is an excellent look into the local history of the world of Freemasonry as well as a tribute to its survival and contribution.  

Long Island Freemasons by Ronald J. Seifried, part of the Images of America series by Arcadia Publishing, is currently available online at www.arcadiapublishing.com, www.amazon.com or www.barnesandnoble.com.

Beverly C. Tyler, historian for the Three Village Historical Society, at the grave of Culper Spy Abraham Woodhull during filming on April 6.

By Beverly C. Tyler

The Three Village Historical Society’s virtual local history programming is kicking off this week with a series of virtual SPIES! bicycle tours to locations that include spy videos, ciphers, codes and the stories of the five principal Setauket members of the Culper Spy Ring. 

This will be followed by a series of virtual Founders Day tours that will take you to seven locations in the Town of Brookhaven Original Settlement area. Students, teachers and family members of all ages will be able to enjoy these local history explorations initiated every Monday for the next twelve weeks on the Society’s web site. 

For the next five weeks we will be exploring local sites of Setauket’s Revolutionary War Culper Spy Ring. At each site you will learn about a spy who played a key role in the ring and you will be able to decode a spy message and send your  decoded messages to the Three Village Historical Society. On Friday of each week the decoded message will be posted on the Society’s web site.

Following the Virtual Spies Tours we will take you to seven Founders Day locations in the original settlement area of Setauket, including the Village Green; Setauket Presbyterian Church and graveyard; Frank Melville Park Sanctuary at Conscience Bay; Caroline Church of Brookhaven graveyard and Emma S. Clark Library; Frank Melville Memorial Park, mill and historic miller’s home; Setauket Neighborhood House, general store and post office; and Patriot’s Rock. 

At these locations you will discover stories about Setalcott Native Americans, agents for the English settlers, artist William Sidney Mount, Setauket’s war heroes, Three Village immigrants, philanthropists, millers, farmers, ship captains and more.

We don’t know when we’ll open our doors to in-person programs again, but please know that we are doing everything we can to prioritize the services and programs that you love and enjoy during this time of social distancing. 

For more information check out our web site at: https://www.tvhs.org/.

To go directly to our virtual spy tours, visit https://www.tvhs.org/virtual-programming.

A scene from 'Harriet'

By Jeffrey Sanzel

Harriet Tubman was born into slavery but escaped to the North where she became the most famous “conductor” on the Underground Railroad. With unfathomable bravery, Tubman repeatedly risked her life to bring her family and other plantation slaves to safety. An extraordinary individual, she became a leading abolitionist prior to the Civil War; during the war, she worked directly with Union Army as a spy among other roles. Beyond the war, she worked with freed slaves as well as campaigning for women’s suffrage. 

Directed by Kasi Lemmons, who collaborated with Gregory Allen Howard on the screenplay, Harriet is a powerful and important biopic that focuses on the strength and perseverance of this exceptional person.

A scene from ‘Harriet’

The film opens in 1849 and shows the twenty-something Harriet (born Araminta Harriet Ross, nicknamed “Minty” by her parents) newly married to John Tubman. While she is still a slave to the Brodess family, John is a freedman. Harriet lives on a farm in Dorchester, Maryland, with her mother and sister, her other sisters having been sold South.  

It is revealed that the Brodess’s have denied the family’s freedom that was promised in the great-grandfather’s will. When confronted with a letter from a lawyer, the plantation owner rips it up and dismisses the claim. In private, Harriet prays for God to take him — this witnessed by the adult son, Gideon. When the father dies suddenly, Gideon decides to sell Harriet as punishment.  Realizing this, she flees and begins the nearly impossible journey one hundred miles to the Pennsylvania border.

Harriet had been struck in the head as a child and, because of this, has seizures in which she receives visions that she believes are the guidance of God.  Throughout, these flashes help her make difficult decisions and they become pivotal in her choices.

Once acclimated in Philadelphia, Harriet plans to return south for her husband. John, believing she was dead, has remarried and his wife is pregnant. While distraught from this discovery, she decides to bring her family to freedom. This she does along with bringing several other slaves to the North. 

Thus begins Harriet’s life’s work, returning time after time to bring more slaves to freedom. Legend grows around this mysterious figure dubbed “Moses” and incites the wrath of the plantation owners. Harriet remains undaunted and continues her work, even after the Fugitive Slave Act is passed, allowing escaped slaves in free states to be returned to their bondage.

The film builds to a confrontation between Harriet and Gideon. After this, there is a small epilogue that suggests her work with the Union Army, in particular leading black soldiers who free hundreds of slaves.

It is a compelling film that tells the story with great clarity and doesn’t shy from the brutality of its topic. Lemmons finds the flow of the story and rich detail. There is an occasional lack of tension because Harriet sometime seems a bit too invincible. This undermines the danger and risk that were clearly apparent in her every action and choice. It is a minor cavil but surprising given the life-and-death stakes.  

Cynthia Erivo delivers a gripping performance as Harriet Tubman.

Both the center and the heart of the film is Cynthia Erivo’s Harriet.  Erivo shows the struggle, pain, and triumph. Her transition from “Minty” Ross to Harriet Tubman is done with poignancy and a raw honesty that inspires every moment of the story. Joe Alwyn does his best to avoid the clichés as the spoiled and vicious Gideon. His scenes with Erivo are some of the strongest in the film.  

Leslie Odom Jr. charms as William Still, the Philadelphia abolitionist who connects Harriet with the Underground Railroad.  Janelle Monáe’s Marie Buchanon offers the right strength as the free-born owner of a boarding house in Philadelphia where Harriet stays; there is a sensitivity in   the growing friendship and mutual respect between them.

Clarke Peters and Vanessa Bell Calloway, as Harriet’s parents, both find dimension in their limited screen time. Omar Dorsey is terrifying as Bigger Long, a brutal slave-catcher. Henry Hunter Hall is a bit whimsical as Walter, a black slave tracker who switches to Harriet’s side. Jennifer Nettles is appropriately brittle as Eliza Brodess, Gideon’s mother.

The rest of the cast does the best it can but many of the parts including most of Harriet’s family are not full developed. The exception is Deborah Olayinka Ayorinde, as Rachel Ross, Harriet’s sister; in one brief scene she shows monumental struggle and fear.

In 2016, it was announced that Harriet Tubman would replace Andrew Jackson on the $20 bill; this was to coincide with the hundredth anniversary of the 19th Amendment, which granted women the right to vote. Last year, this well-deserved honor was postponed until 2028 (or beyond).  While Harriet Tubman might not grace American currency anytime soon, Harriet is a sensitive and honest reminder of this unique and remarkable human being.

Rated PG-13, Harriet is now streaming on demand.

Photos courtesy of Focus Features

Joseph Lloyd Manor. Photo courtesy of Preservation Long Island

Preservation Long Island, a regional preservation advocacy nonprofit based out of Cold Spring Harbor, recently announced the launch of The Jupiter Hammon Project, an initiative that aims to expand interpretive and educational programming at the Joseph Lloyd Manor, an 18th-century Long Island manor house owned and operated by Preservation Long Island.

The goal is to engage the site more fully to reflect the multiple events, perspectives, and people that shaped the house’s history including Jupiter Hammon (1711– ca.1806), the first published African American author who was enslaved by the Lloyd family and whose work was published during his lifetime.

Jupiter Hammon’s life and writings offer an exceptionally nuanced view of slavery and freedom on Long Island before and after the American Revolution. His works are especially significant because most literature and historical documents from the eighteenth century were not written from an enslaved person’s point of view. Consequently, Hammon’s writings provide powerful insights into the experience of the enslaved, as well as the social and moral conflicts slavery raised in the newly formed United States.

The Project will include a series of collaborative roundtables discussing the legacy of enslavement on Long Island and the life of Jupiter Hammon. Three public roundtable events have been tentatively scheduled during the summer of this year. Moderated by Cordell Reaves, Historic Preservation and Interpretation Analyst, New York State Department of Parks, Recreation and Historic Preservation, the discussions will be held at the Weeksville Heritage Center in Brooklyn on June 20; the Suffolk County Historical Society in Riverhead on July 11; and the Joseph Lloyd Manor in Huntington on August 8 in an effort to bring together scholars and professionals with local residents, descendent communities, and other diverse stakeholders across Long Island. 

These discussions will help develop a new interpretive direction for the historic Joseph Lloyd Manor that encourages responsible, rigorous, and relevant encounters with Long Island’s history of enslavement and its impact on society today.

This innovative project will also provide educational content for the development of revised school curricula and serve as a model approach to program development for other sites of enslavement in the region. It will foster collaborative relationships with local descendants and community stakeholders so that their voices continue to shape PLI’s mission of stewardship, advocacy, and education.

Kicking off the Jupiter Hammon Project is the Literary Landmark Ceremony tentatively scheduled for Saturday, May 30. United for Libraries and the Empire State Center for the Book will recognize the house where Jupiter Hammon lived and wrote (the Joseph Lloyd Manor) as a Literary Landmark. The unveiling of the bronze plaque recognizing Jupiter Hammon and the significance of the Joseph Lloyd Manor will take place as well as poetry readings and tours of the house.

For more information or to register for this free event, call 631-692-4664 or visit www.preservationlongisland.org.

Mia Goth, left, as Harriet Smith with Anya Taylor-Joy as Emma Woodhouse in a scene from the film. Photo courtesy of Focus Features

By Jeffrey Sanzel

Jane Austen’s 1815 novel Emma is a sardonic comedy of manners that swirls around issues of love, marriage and social status. While perhaps not as popular as Pride and Prejudice, it has seen multiple stage, screen and television adaptations, most notably with the Emmas of Gwyneth Paltrow, Kate Beckinsale and Alicia Silverstone (renamed Cher) in Clueless, which moved the action to 1990s California. While its mischievous wit is unmatchable, there is a real commentary about human nature that underlies its humor. 

Directed by Autumn de Wilde, from a screenplay by Eleanor Catton, Emma. has arrived, complete with a full-stop at the end of its title. (This is to indicate it is a “period” piece.) It is lush and rich and comical, with just a hint of a modern sensibility to separate it from its predecessors.  

Austen opens the novel with a description of her complicated heroine:

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

This tongue-in-cheek portrait sets up one of the most meddling characters in all of English literature. Following closely to the book, the film opens with Emma having just succeeded at matchmaking her governess. With a taste for this endeavor, she now sets her sites on marrying off her friend Harriet Smith, a simple girl who is easily swayed by Emma’s every suggestion. What follows is a series of courtships and broken engagements, mismatches and misunderstandings, almost all due to Emma’s destructive and misplaced interferences. Like most comedic novels of this nature, it ends happily with multiple pairings, marriage being the ultimate goal.

The film’s peripatetic beginning has an almost farcical feel. The scenes are short, clipped and over-the-top. There are a good many laughs but it takes at least 20 minutes to land for more than a few moments. Ultimately, this is an intentional device. As the film progresses, this whimsical conceit shifts to an earnestness that matches Emma’s maturity. From childishly frenetic to wisely focused, the film and its protagonist grow. The true turning point comes when an off-hand barb wounds deeply. Confronted for her behavior, she realizes that it is time to look beyond herself. It is amazing that as the film begins to breathe in its journey, it picks up momentum: It slows to go quickly.

The performances are uniformly excellent. Emma’s father, who is equally afraid of drafts as he is of being alone, is played with perfect understatement by the redoubtable Bill Nighy; with the simple raise of an eyebrow, he manages to steal every scene in which he appears. Callum Turner avoids the clichés as he finds dimension in the seemingly narcistic Frank Churchill. Chloe Pirrie as Emma’s sister and Oliver Chris as her brother-in-law are one of cinema’s most hilariously unhappy couples. Myra McFayden’s chatterbox of a Mrs. Bates reveals painful dimension in her humility. Rupert Graves as the jolly if slightly flustered Mr. Weston is matched by Gemma Whelan as his self-assured wife. Mia Goth hits the right notes of naivete as Harriet Smith, the unfortunate object of Emma’s machinations. Josh O’Connor and Tanya Reynolds are amusingly vulgar as the minister and his new bride. Amber Anderson does the best she can with the underwritten Jane Fairfax. Connor Swindells’ innocent gentleman farmer infuses his few moments with genuine sweetness.  

At the center of the film is Anya Taylor-Joy, luminous and wholly engaging as Emma. Taylor-Joy manages to be both insufferable and charming at the outset and then finds a natural and touching shift to self-awareness, ultimately embracing her adulthood. Even in stillness, there is a sense of Emma’s ever whirring brain. Johnny Flynn’s George Knightley is appropriately wry and astute, the pain in his growing love for Emma becoming the film’s center.

Christopher Blauvelt’s sumptuous cinematography has made every frame a celebration of Regency England. The film is lavish and credit must be given to the design team: Kave Quinn (production design), Alice Sutton (art direction), Stella Fox (set decoration) and, especially, Alexandra Byrne (for flawless and Oscar-bait costume design).

This Emma. is wonderfully conceived and thoroughly entertaining. It is a reminder of why Jane Austen is a cinematic favorite and why her works — and insights — are still fresh 200 years later. Rated PG.

Holocaust Survivor Werner Reich's passport with a large red “J” for Jew. File photo by Victoria Espinoza.

By Rich Acritelli

This past January marked the 75th anniversary of the Soviet liberation of Auschwitz Extermination Camp in Poland. Like that of the horrific surprise of the American and British military forces that freed the western and central European camps in the spring of 1945, the average Soviet soldier who entered this camp never knew what its main purpose was before they walked into Auschwitz. They unknowingly freed the largest extermination camp that the Germans built some five months before the war ended.  

‘Here heaven and earth are on fire

I speak to you as a man, who 50 years and nine days ago had no name, no hope, no future and was known only by his number, A7713

I speak as a Jew who has seen what humanity has done to itself by trying to exterminate an entire people and inflict suffering and humiliation and death on so many others.’

—Auschwitz Survivor and Writer Elie Wiesel 

As Auschwitz was not known by most of the Allied combat soldiers, it was understood to be the final stop for many Jews, gypsies, political opposition, homosexuals, Jehovah Witnesses, etc. In 1941, Hitler began to authorize the deportation of the Jews to Poland. While Germany had its own concentration camp system, the later killings of Jews and other “enemies of the state,” took place mostly in the east. As the German military continued to show its dominance against every nation that it fought against, more Jews came under their control. Although the Nazis always needed additional workers, they did not provide any decency to those groups that were deemed to be “inferior” populations against the German Reich.

The SS, under the direction of Heinrich Himmler, was determined to capture and kill every Jew in Europe. Most of these plans were to be carried out at Auschwitz, which was located 50 miles southwest of Krakow. This western area of Poland was originally known as Oswiecim, a sparsely populated town that had 12,000 citizens and included some 5,000 Jews. At first, this camp was created to handle the flow of Polish prisoners of war and partisans who opposed this German occupation. During the Jan. 20, 1942, Wannsee Conference that was chaired by SS leader Reinhard Heydrich and representatives of 15 departments of the German government, they met to decide the final fate of the “Jewish Question,” which resided within their conquered territories.

Heydrich, who was later killed by Czechoslovakian-British commandos, was the driving force to carry out the orders of Hitler and Himmler to transport and kill the estimated 11 million Jews in Europe. He worked with the bureaucracy of his government to ensure that there would be enough resources and logistics to follow Hitler’s directives to destroy these self-proclaimed enemies of the regime. 

Auschwitz was established for this exact purpose. Even through the massive fighting that Germans had to wage on every front, Hitler demanded that his orders of the “Final Solution” were to be followed through the creation of other smaller centers at Belzec, Sobibor and Treblinka. The first victims at Auschwitz were 850 Soviet military political prisoners of war that were killed by Zyklon B gas. This chemical was primarily used to deter rodents and it later was utilized by the SS to kill almost one million people at Auschwitz.  

This massive area constructed by Germany was broken into two separate places for the prisoners. Birkenau held most of the gas chambers and crematoriums for those people that were selected right away for death. The other portions of Auschwitz were built for massive slave labor where their prisoners worked within factories established inside and outside of this camp. As some were chosen to live, the Germans calculated the minimum number of calories that were needed to survive. These people were expected to eventually die from the spring of 1942 to the fall of 1944. People from all over the German-occupied land, ranging from France on the Atlantic Ocean to the Greek islands in the Aegean Sea, were deported to Auschwitz.  

By the end of the war, when Hitler was all but assured that the Allies would defeat his armies, the killing continued at a faster rate against the Hungarian Jews. This was one of the few Jewish populations that were still protected by their own government. But after a regime change that supported the Nazis, many Jews were deported right away to Auschwitz. Adolph Eichmann, who was later captured by Israeli agents in Argentina in 1961, was driven to capture as many Hungarian Jews and deport them to their death. Swedish diplomat Raul Wallenberg was sent to Hungary through the indirect support of the United States. When it became apparent that the Germans would not stop, this was a last-ditch attempt to save these Eastern European Jews who were not yet targeted by the Nazis.

Wallenberg bribed Hungarian officials and issued Swedish passes that made these Jews citizens of his nation. Even as he was engaged within this vital humanitarian mission, Wallenberg met with the Soviet military after they liberated Hungary. The diplomat, who regularly risked his own life, was believed to be an American spy by the Soviet KGB. Wallenberg was taken by the Soviets and never seen again.

A main question that people have pondered since 1945 is why the Allies did not do more to limit the extent of the Holocaust. Around the clock, American and British bombers targeted every military and industrial location in Germany. Auschwitz was located near the eastern part of Germany and it was within the range of Allied aircraft that operated from English, Italian and later French military bases. Early in the war, when evidence was sent to Franklin D. Roosevelt and Winston Churchill, they initially refused to believe that the Germans were committing wide-scale mass murder. But as the war continued, increased stories emerged from the people who escaped from the death camps looked to identify to the world the true intentions of Hitler.  

Werner Hess shows students the passport Germans required he carry around as a young boy. Photo by Victoria Espinoza.

When it was completely proven to Roosevelt and Churchill that the Germans would never halt this policy, the Western Allied leaders did little to stop this genocidal policy. Since 1945, many of the inmates of Auschwitz openly stated that they would rather have died from aerial bombs seeking to destroy this factory of death than by being personally led to the gas chambers. Information was smuggled out of Auschwitz that described the location of the railroad lines, gas chambers and crematoriums that were later analyzed by Allied leaders. Both Roosevelt and Churchill believed that the only way to end the Holocaust was not to divert any major resources from quickly winning the war. The issue with this policy was that there was not even a limited effort to thwart the carrying out of the Holocaust.

Captain Witold Pilecki was a Catholic Polish cavalry officer who gathered intelligence for his government. The Polish were in hiding after their country was taken over by the Germans. When rumors continued to circulate about the true intentions of Auschwitz, he volunteered to purposely get arrested and be sent to the camp. He spent almost two years at Auschwitz, where he smuggled out reports that were read by western leaders. Pilecki organized the under-ground resistance efforts to possibly take over the camp. He believed that if this facility was attacked from the outside by either the Polish resistance or the Allies, that his men were able to control the interior from the Germans. When he realized that help was not coming, Pilecki escaped from Auschwitz. He later fought against the Nazis and was again taken as a prisoner, but he survived the war. After Poland was liberated, he returned home to oppose the communists, and he was later killed by his own government as being an accused spy that supported the democratic government that was in exile in England.

At the end of the war, as American forces were destroying the German army on the Western Front, additional camps were discovered by the U.S. military. General Dwight D. Eisenhower, along with generals Omar N. Bradley and George S. Patton, were sickened at the sight of Hitler’s “Final Solution” in Western Europe. Under the orders of Eisenhower, he directed large parts of his army to personally observe camps like Berga, Dachau, Mauthausen and Ohrdruf. It was his belief that current and future people would deny the existence and purpose of this organized terror. Today, as many Holocaust survivors are well into their 90s, they fear that resentment is at heightened levels toward many different religious and ethnic groups. And like the concerns that Eisenhower presented some 75 years ago, many of these survivors believe that the lessons of the Holocaust are being forgotten, and that there are more Holocaust deniers around the world who seek to suppress the knowledge of these crimes against humanity.

Rich Acritelli is a social studies teacher at Rocky Point High School and an adjunct professor of American history at Suffolk County Community College. 

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Village Chabad Center for Jewish Life & Learning in East Setauket hosted a historic evening with Holocaust survivor Irving Roth  Feb. 23. The 91-year-old Roth, who survived Auschwitz and Buchenwald concentration camps, shared his story to a sold-out crowd.

“Over 300 people packed our ballroom at Village Chabad to hear Mr. Irving Roth. You could hear a pin drop in the room for over an hour as he shared his fascinating personal story of survival and courage. He left everyone inspired by his unshakable faith in God, his uncompromising hope in humanity, and most importantly, his calling to each of us to do our part to increase goodness and kindness in our world every day,” said Rabbi Motti Grossbaum.

The event also included a performance by violinist Wendy Fogel of the Sound Symphony Orchestra and was followed by a book signing of Roth and his son Edward’s novel, “Bondi’s Brother: A Story of Love, Loss, Betrayal and Liberation.”

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Bethel AME Church and Higher Ground prepare to restore historic house

The Rev. David and Mary Baker-Eato House, circa 1984. File photo from Preservation Long Island

During the past 15 years, initiatives by Higher Ground Intercultural and Heritage Association  to increase protection of the district include: obtaining a Town of Brookhaven Landmark citation for Bethel African Methodist Episcopal Church in Setauket; obtaining a districtwide Endangered Site nomination by Preservation League of New York; hosting A Long Time Coming Archaeological Project; starting a benchmark Cultural Resource Survey; and registering the district on state and national registers of historic sites in November 2017. In the same year, the Old Bethel Cemetery, which belongs to Bethel AME Church, was nominated to state and national registers of historic places through the remarkable efforts of Vivian Nicholson Mueller and Simira Tobias.

The home of one of Bethel AME Church’s first pastors Photo from Preservation Long Island

In a joint collaboration to preserve historic inventory, and to expand the historical significance of the district, Bethel AME and Higher Ground are working together to restore the historic Rev. David and Mary Baker-Eato House, which is located within the historic district.

Research has indicated the house was probably built between 1900 and 1917. Recently, several grants opened a new window of opportunity to Higher Ground that boosted the restoration project. The organization recently received a $1,220 grant award from the Unitarian Universalist Fellowship at Stony Brook; a $3,000 award from New York Landmarks Conservancy which was directed to Bethel AME Church; and a $25,000 grant award from the Gerry Charitable Trust in October 2019.

With this fresh infusion of funds, the joint Eato House restoration project plans to start preliminary activities to build organizational capacity in the spring of this year, followed by planning the first stages of restoration at a later date. With sincere appreciation, Higher Ground acknowledges that the first funding to create and protect the BCALH District, between 2009 to 2015, was made possible by grants awards from The National Center for Suburban Studies at Hofstra University and The Preservation League of New York State.

While there is only little information about the origin and date the Eato House structure was built, the historically significant occupants, the Rev. David Eato and his wife Mary L. Baker-Eato, offer us an alternate view of a portion of American history. Eato was born in August 1854 in Roslyn, where many members of the Eato family remained. He was the fourth of nine children of Peter Eato and Charlotte Corse.

In the early 1840s, before Eato’s birth, his father worked as a sailor on the sloop Andrew Jackson, a merchant vessel that served shore communities in New York and New Jersey. On March 12, 1840, Capt. Jacob M. Kirby listed 21 employees, including “Peter Eato or Etoo.” Captain Kirby paid his employees with some cash but also by bartering such items as watch repair, powder and shot, watermelons, boots and trousers. In later census records, Peter Eato was listed as a laborer or farm laborer. He died of cancer Nov. 19, 1899, age 87.

David Eato was heavily handicapped during his ministry with dropsy (vascular edema). In spite of his disability, he spent his life as pastor of several small AME congregations on Long Island. Beginning in Roslyn, he spent much of his service at Mt. Olive AME Church in Elmhurst, where he dedicated a new church worth $9,000 Thanksgiving Day, 1907. In 1906, he also served the Union AME Church (later St. Mark) in Jackson Heights. In 1908, he moved to the Mount Olive AME Church in Mount (Port) Washington. He may have served both the Port Washington Church and the Setauket Church simultaneously, since there is a note about his work in Setauket in 1911 and another reference to his work as a pastor at Port Washington in 1913.

Around 1915-16, he moved to Setauket with his second wife Mary Lucinda Baker-Eato. In Port Washington June 29, 1913, Eato married Mary, who played piano and organ at the Mount Olive AME Church.

Baker-Eato was born in 1868 in South Carolina, the daughter of Oliver Baker and Catharine Buite-Baker. Catharine Baker (called Grandma Kitty by her family) was born on the Baker plantation in Troy, South Carolina. It is presumed Mary Lucinda Baker, Catherine’s only known child, was born on the Baker plantation.

Baker-Eato graduated from Allen University in Colombia, South Carolina. Allen University was established by the African Methodist Episcopal Church in Cokesbury, South Carolina, in 1870, and later moved to Columbia. She may have majored in music, since she later taught piano and organ. While she was still living in Troy, she married Robert Wydeman. Together, they had five daughters, Jessie, Katie, Josephine, Mary Louise and Frances. In 1901, Baker-Eato, her five daughters and Grandma Kitty all moved north to Port Washington. Eato-Baker worked as a cook (perhaps in a restaurant), gave music lessons, and played piano and organ in the Port Washington AME Church.

After the Eatos married in 1913, they were still living in Elmhurst in 1915 (according to the New York State census), taking care of one of her daughters from her first marriage, Katie Weidman, and granddaughter Helen Coleman. By 1917, they were living in Setauket, where the Hyde map listed David Eato’s name beside the Eato house. In 1920, the census noted that the Eato family rented a house on Locust Avenue, where they lived with Baker-Eato’s grandchildren Helen Coleman, 11, and Adolph Blake, 3.

In 1925, the census recorded David Eato, age 70, living with his wife Mary Eato, age 57; Arthur T. Blake, age 15; and Adolph J. Blake, age 8. Mary Eato bought the Eato house from R.W. Hawkins and Carrie Hawkins in 1928 and became one of several African American women who owned homes in this area.

In 1930, David Eato was not listed in the census. Mostly likely he died between 1925 and 1928, when Mary Eato purchased this house. Although sources of information about the reverend and his wife reveal the life of two individuals who left a vision and hope for their descendants, their lives are representative of the many thousands of African Americans who survived slavery in America and made their way to Long Island.

Those other lives, not recorded, represent stories lost and gone forever because of the erection and maintenance of an ages old framework of historical narrative largely unchanged in America, since the end of the 19th century. It is as though revelations of Native American and Afro-American history, their history in the Americas and throughout the world, have been intentionally buried.

Today, we are learning that a significant portion of the history of Afro-Americans in America is being revealed through scientific research and recent archaeological and anthropological discoveries. In recent years public activism, local and national preservation organizations and state and federal legislation have acted to conduct new research; to render a revised and more complete history of Afro-Americans, and fully integrate it into a more inclusive history of America. At the present time, a new coalition of 21st-century researchers have been on the forefront to revise this forgotten history, as opposed to educators and scientists that pandered to biased academia from the 17th century, lasting through most of the 20th century.

There is ample evidence that there are hundreds of Afro-American cultural sites with similar stories, such as the Eatos and their home on Christian Avenue, that give the viewer an opportunity to see history differently. When descriptions of the structure, site and occupants of historic cultural origin are joined together, they become a comprehensive story in stark revelation. They become a doorway — an entryway to the truth of a cultural legacy connected to an ancient time, 3,000 years ago. However, the complex paradigm of intractable narratives of American history that remain as a pedagogy, since post-Civil War Reconstruction is a gate still standing; gradually being broken down by people who want to know the truth.

We can begin at the gate by saying: “Christopher Columbus (Cristoforo Colombo) did not discover the Americas.” From that observation, we are thus able to see misconceptions in the cultural and racial dynamics of history; to posit arguments against the old theories; engage in conversations that realize there is an imperative to rewrite a significant portion of American history. The huge number of obscured Afro-American communities, such as the Bethel Christian Avenue, Laurel Hill Historic District, their historic inventory and structures such as the Eato House have enormous importance, not only to America’s history, but that they are integral toward a revision that transmits truth into our education systems.

Robert Lewis is the president of Higher Ground Intercultural and Heritage Association.

'Black Opal,' acrylic on canvas, by Bill Durham

By Melissa Arnold

Running a museum is far from simple. Consider this: The Long Island Museum in Stony Brook is home to more than 2,500 pieces of artwork done on paper, 500 paintings and 100 pieces of three-dimensional art. Each piece must be catalogued, maintained, protected and stored. It’s a delicate and meticulous process that takes a lot of work.

Recently, the LIM received a grant from the New York State Council on the Arts to expand and upgrade its storage facilities. They’ll need to clear out some of their existing storage space to prepare for renovation, and fortunately its visitors will reap the rewards of the process.

From Feb. 22 to June 26, the museum will present Off the Rack: Building and Preserving LIM’s Art Treasures, an exhibit of approximately 90 works of art from its permanent collection, in the main gallery of its Art Museum. Many pieces in the exhibit are only put on view rarely, if at all.

‘Dance of the Haymakers,’ 1845, oil on canvas mounted on wood, by William Sidney Mount

“We could have taken the artwork to off-site storage, but we thought, ‘Why not put it on display?’ In order to make more space, we thought this would be a great time to assess the state of the collection and share its history and highlights with our visitors,” said LIM Deputy Director and Curator Joshua Ruff. “This is an opportunity for people to see things they may not have seen before.”

Ruff said that choosing pieces for Off the Rack was a team effort by the museum staff, who sought to put together a cohesive story of how the museum’s collection has grown and evolved over the years.

Visitors will be able to explore a time line of the LIM’s conservation efforts. In addition, each work in the exhibit will include its accession number, which will help teach visitors how the museum keeps track of each piece.

Off the Rack is divided into loose sections celebrating particular themes and standout artists. Not to be missed is a section dedicated to one of the museum’s “anchor” artists, William Sidney Mount. Among Mount’s included works are an 1841 painting of Crane Neck Marsh, which Ruff says is “an example of his extremely detailed craftsmanship while creating a natural setting,” and “Dance of the Haymakers,” a painting of a fiddler playing music for dancing farmhands, which made Mount a household name in 1845. 

Other high-profile artists with dedicated spaces in the exhibit include Arnold Hoffman, Samuel Rothport, Winslow Homer, Joe Reboli and Helen Torr, among others.

There are also sections of artwork focused on coastal and marine environments, abstract work and contemporary artists, including some local Long Islanders like Janet Culbertson, Bruce Lieberman and Dan Pollera.

Ty Stroudsburg of Southold also has artwork at the LIM — her 2000 oil painting on linen “Pumpkin Field at Sunset” is one of many views that have caught her eye on the North Fork.

“I love color. I used to drive around with a sketch pad in my car, and it was always color that would lead me to pull over and either do quick sketches with pastels or take a photograph to use for later,” said Stroudsburg, whose work has hung in exhibits and museums throughout New York and New Jersey for more than 60 years. 

“I didn’t strive for notoriety, I just painted because I love to paint and it keeps me going. I feel extremely fortunate that curators believe my art is worth being a part of their museums,” she added.

For LIM Executive Director Neil Watson, Off the Rack provides the chance to see their continuously evolving collection in a new light.

“As we began to do the work required for the renovations and take pieces out of storage, there were things in the collection I hadn’t seen in several years, and even some pieces I didn’t even know we had,” he recalled. 

“That’s the beauty of this exhibit -— we get to share parts of our collection that people may have never even seen before. Of course, there will be plenty of ‘old friends,’ like the work from William Sidney Mount, but there is so much more to see. Ours is a living collection — it’s not sealed or stagnant, and it continues to grow.”

The Long Island Museum, 1200 Route 25A, Stony Brook presents Off the Rack: Building and Preserving LIM’s Art Treasures, from Feb. 22 through June 26. The museum is open Thursdays through Saturdays from 10 a.m. to 5 p.m. and Sundays from noon to 5 p.m. Admission for adults is $10; discounts are available for children, college students, seniors and the disabled. For more information, visit www.longislandmuseum.org or call 631-751-0066.

George Mackay as Lance Cpl. Schofield in a scene from the film Photo courtesy of Universal Pictures

By Daniel Dunaief

The film “1917” is a good news, bad news movie experience.

In a race against time, World War I soldiers Lance Cpl. Blake (played by Dean-Charles Chapman) and Lance Cpl. Schofield (George MacKay) maneuver through dangerous, German-controlled territory to stop an attack by the British that is destined to fail.

The good news for the Universal Pictures movie, which was written by Krysty Wilson-Cairns and Sam Mendes, is that it is a tour de force in direction and cinematography. Audiences track the movements of Schofield and Blake, who has a vested interest in completing a mission that will also likely save his brother, so closely that they feel as if they are on the battlefield. The soldiers trudge through mud, hunch low to avoid incoming bullets, and wade through icy cold water during their difficult mission.

The relatively unknown actors do an incredible job as everymen, portraying the soldiers asked to do the impossible with resources often limited to their survival instincts and their reliance on each other.

Photo courtesy of Universal Pictures

Directed by Mendes, the movie includes a few heart-stopping moments, as audience members in a packed theater hold their breaths along with the actors to avoid giving away their position to the unseen but omnipresent enemy.

Even the scenes that don’t involve bullets and combat have a gritty feel. The camera moves through cramped trenches, where the spaces narrow in some areas to places where barely two people can fit shoulder to shoulder.

The film succeeds in portraying so many elements of the horrors of the battlefield. The enormous responsibility of saving 1,600 men weighs heavily on the two soldiers. The film immerses the audience completely in the time period, the action and the goal.

The bad news is that the script is noticeably thin. We don’t know much about either character and, apart from the set up lines uttered by Colin Firth as Gen. Erinmore and Benedict Cumberbatch as Col. Mackenzie, the script isn’t nearly as memorable as the visuals.

Indeed, apart from compelling music, which includes an original score from Thomas Newman that was nominated for an Oscar, the movie could easily have been a silent film with a few subtitles sprinkled between the visuals.

As a movie watching experience, “1917” is immersive and compelling, but its visuals show a better story than its thin script.

Moving from one horrifying and dangerous scene to another, we feel as if we’re running alongside strangers we would like to succeed, if only to reach their important destination and save other troops for whom we have almost as much information as the two lance corporals.

Photo courtesy of Universal Pictures

At times, the R-rated movie has overtones with other war films, like “Gallipoli,” a Mel Gibson film with a far superior script, and even with “Saving Private Ryan,” the Steven Spielberg directed epic with Tom Hanks.

In many scenes in “1917,” the effort, amid raining bullets and bombs that fall everywhere, make it seem impossible to survive. Some of the bullet and bomb dodging strains credibility.

The film also includes a quietly touching scene between Schofield and a random French woman, who is caring for an infant. The dialog, however, doesn’t make much sense, though, as she speaks only French and he speaks English, and yet they seem to understand each other.

Looking past the shortcomings of “1917,” the film offers an engaging visual experience, even if we don’t become invested in the characters whose singular mission forms the action and scenery-driven plot.

Winner of 3 Academy Awards (Best Cinematography, Best Sound Mixing and Best Visiual Effects), “1917” is now playing in local theaters.