My name is Wayne Joseph. I am, by birth order, the ninth of thirty-three grandchildren of Doumit Youssef Antoun El-Safi and Victoria Daniel Elias El-Hitti, both from the tiny mountain village of Qnaiouer, Lebanon. Following their marriage in 1911, a twenty-two year old farmer (Doumit aka Jiddu) and his fifteen year old, peasant bride (Victoria aka Situ) came to America to escape the abject poverty of their homeland. Their immigrant hopes and prayers rested in the American dream.
My paternal grandmother Victoria chose, among all of her children, to live with us once Doumit passed away in August, 1952. The blessings of having a daily dose of Situ simply made me a better person, a better man, a better descendant.
She bore 9 children, 8 sons and 1 daughter between 1912 and 1931. One son, the original Joe, died six months after childbirth in 1918. My father, his brothers and sister grew a familial bond that remains unbreakable in us, their children, their progeny, their flame.
tocarrytheirflame.com is their story.
One I have committed myself to telling over the last 40 years.
All of the films, all of the writings began with this:
It was an April day in the early 1980’s when I stopped by to visit my parents and Situ. I had brought them candles from the Easter Vigil. Discussing the ritual of bringing “the light” to the cemeteries to visit the graves of the deceased, my grandmother asked me “Will you take me to the cemetery?” Ten minutes later, Situ, my mother and I were heading for Mt Olivet Cemetery in Detroit. I pulled to a stop outside Section 21. A simple step outside the car and you’re at her husband Doumit’s grave. Unexpectedly, Situ knelt and began to strike the earth with both hands. She uttered, “This is where I will be” her aged hands pounding her plot adjacent to Jiddu’s. “You can visit me here” her hands stopped suddenly and folded into prayer. I recognized the opening line of the Lord’s Prayer in Arabic. Her voice now quieted as she thumbed her ever-present rosary. Helping her to her feet, we stepped over several rows of granite lives until we halted at the burial sites of her mother and a brother. Unexpectedly, she turned to me and said in her soft broken English “You’re a good man.” The earth could have opened at that moment and swallowed me, I replied “Why, because I visit the graves?” Her eyes and her words responded “Who will do this when I’m gone? What will happen to the family? Our name?” The words spilled out of me as if I had been waiting my entire life to say them “I will, don’t worry.”
Just a few years later, many of her family had gathered following the vigil at her final bedside. When the discussion turned to arrangements, I approached my father Eddie, my Uncle Don and my Aunt Vivian to request doing Situ’s eulogy. Without hesitation, Uncle Don retorted “You would do that?”
“If you would allow it, I would be honored” I said, Situ’s graveyard questions still echoing in my head. Uncle Don nodded, “Well then, please do. That would be a big help.”
Just like that, I felt the torch pass. The flame as bright as its weight. A lifetime assignment. A cemetery promise to fulfill.
After several films, more than a few writings and too many eulogies, we have arrived here at tocarrytheirflame.com. This is where their stories will continue. Where their precious photos will be perpetually on display. Where you can find their lives remembered replete with flaws and foibles and forevermores.
"Situ...I will, don't worry."
my eyes - 1992
I wrote and produced this 15 minute film as a dedication to my paternal grandparents, Doumit and Victoria Joseph. It is a video genealogy of the Joseph Family thru December, 1992. It documents parts of six generations. Photographed and edited by Bob Berg. Directed by Clark Attebury and narrated by the renowned poet Samuel Hazo.
to carry their flame - 1995
I wrote and produced this 45 minute film intending it to be a time capsule of sorts. It focuses on the Greatest Generation - our parents, our aunts and our uncles through a series of interviews and music videos featuring various family members. They share their thoughts, their advice and their hearts. This is a treasure trove of memories. Again photographed, edited and directed by the Emmy Award winning team of Bob Berg and Clark Attebury (70 to date!)
my eyes - 2007
This quasi-sequel to the original my eyes - the 2007 vintage - was a collaboration between Dan Joseph and myself. Dan did the editing. I did the writing and producing while we shared the directing duties. Every minute of every day, the spirit of our cherished ancestors courses thru us. Descendants of Doumit and Victoria are now approaching 200. We share the challenge of stewardship. We are all called to keep the fire.
I wanted to share with you why I choose to use black and white photos almost exclusively on this website. As may be the case in other questions, I choose to answer it in poetic prose. A special Thank You to my lovely wife, Carolyn, for her role as editor on this piece. It is entitled:
A FLIGHT WITHIN
Edges torn, curled from decades pasted in an undusted album.
In the boxes of layered history, I find some with the triangle mounted corners still affixed to the snapshots. Others have dates perpendicular in the margin.
A vertical epitaph only as accurate, as the month it was developed.
Revelations surface with an occasional clue scribbled on its paper back.
An ancestor’s handwriting as precious as the headshot. Images as rare as an immigrant’s smile.
Treasures unearthed, not unlike Tutankhamen and just as sacred.
In translating the right to left Arabic, I hope for names to match the almost frowning faces.
Rather, the scrawl wishes the reader a blissful life in the new world while they hold us in their hearts forever.
Even then, who are they? Do I share their blood?
Always, it’s the black and white photos that take me on a flight within.
Black, all colors combined. White, the absence of color.
Color adds noise. Black and white set in silence.
The hue of my grandfather’s mandatory necktie travels time in my mind’s eye.
Black and white leaves wonder in the game. It allows guessing a seat at the table.
I hold a negative against a light. I read an x-ray from the past.
I recover faces in a scene like carbon-dating a fossil or counting the rings of a felled redwood.
Black and white photos took time. They were staged. Every wedding party. Tuxedo black. Bride white.
A soldier in uniform. Or each young man modeling against a now classic auto.
The process captured era.
While scanning these relics with my eyes, not my computer, I hear the muted trumpets of a Dorsey orchestra. I mimic their steps frozen in foxtrot.
I am frustrated by the unrevealed face as I see my father standing for eternity with a forever nameless friend.
I discover a pristine picture of my great grandparents in Lebanon.
It is 100 years old.
They were posed against a stone wall that is centuries old.
The boulders in the wall unearthed from their Anti mountains are made of star stuff
formed in the cosmic dust of mankind’s pre-history.
The photo is black and white.
Thomas Sophy Joseph - Virginia "Bea" Lesha - June 2, 1935