Reni was born in Baghdad, Iraq in 1981. In hopes of a brighter future, his family decided to leave their home country when Reni was ten years old. This dream was made a reality as they entered the United States in 1993, and Reni was immediately enrolled in elementary school. At an early stage of his life, Reni discovered a profound love for drawing. His talent was undeniable and noticeable by his teachers.
During his high school years, art became Reni’s priority. Taking many classes in this field, his artistic interests swelled, and Reni began to realize that he could fuse his passion for art with the dedication he had for his ancestors’ culture he’d left behind. Reni pursued his college education in Creative Studies in 2005, where he furthered his reach and began painting and sculpting. Inspired by Western art, as well as legendary artists, Reni dedicated his life to his crafts. With each piece that Reni creates, he strives to remain true to his Assyrian and Babylonian heritage and ensure its survival through his portrayals. Not only does he seek to influence all generations of Assyrians, but he also hopes to inspire the people of the world.
In recent years, Reni has been commissioned to create several large artistic creations in places of worship, community organizations, and commercial establishments. His signature style speaks volumes about his creativity, and enforces his personal message that he echoes “I was born to re-create my ancestors’ art despite its destruction by ISIS.”
Raya Nassif lives in Babel governorate, specializing in ancient languages. She graduated from the University of Babylon. She is the creator of content related to antiquities and ancient Iraqi civilization. One of the topics that she talks about is the Epic of Gilgamesh that is presented in a video format amongst other ancient texts.
A pediatric surgeon, Susan Adelman has also been an editor, a president of many medical organizations, a painter, sculptor, jeweler, and now an author. After extensive travel – including many trips to the Middle East and India – she wrote the biography of a dear friend of hers and her law professor husband. This is Ram Jethmalani, a legendary lawyer, member of the Indian parliament, former law minister, writer, mediator of the Kashmir dispute and law teacher. Adelman’s husband called him the greatest lawyer in the English language in the world.
Her second book evolved out of her friendship with a Chaldean grandmother who she met while performing a series of operations on her nephew from Iraq. This became a book about Aramaic, those who still speak it today – Chaldeans, Assyrians and Kurdish Jews – and the impending doom of the Christians in the Middle East because of ISIS and related groups. At present, Adelman is working on a book about the deep connections between Jews, Israelis and India – linguistic, cultural, and historic – and their linkage through Zoroastrianism.
Watch the interview with Dr. Adelman and read the following Q&A:
Q: What is the book After Saturday, Comes Sunday about, and what inspired you to write it?
A: The book tells the story of the Aramaic language and the last living people to still speak it, the Chaldeans, the Assyrians, and the Kurdish Jews. It then turns to the challenges the Christians have had, and still have, in the Middle East and what we need to do to help them if they ever are going to maintain Aramaic as a living language.
Q: What did you discover throughout the process of writing this book, particularly in regards to the relationship between the Jews and Chaldeans?
A: I already knew a great deal about the closeness between the Jews and Chaldeans in the old country, because I learned much from the Karim and Norma Hakim family over the last forty years, but of course my research added much more to the picture.
Q: You wrote on page 45, “The greatest Jewish community of the ancient world was in Babylonia.” Tell us about that history, and how, little by little, it became extinct in Iraq.
A: The Jews first were brought to Assyria by the Assyrians in 722 BCE and next by the Babylonians in 586 BCE. In each of these two exiles, thousands of Jews were deported to Assyria (probably Nineveh Province), then Babylon. After the great temple was destroyed in Jerusalem in 70 CE, Jews escaped in all directions, many of them to join their countrymen in Iraq. For hundreds of years, 90% of all Jews in the world lived in the Middle East, especially in Iraq, under Muslim rule. This was a highly organized community, a center of learning, and the place where all the most important Jewish literature was compiled. Baghdad was one third Jewish up to the Second World War. That war, and the persecutions that took place in Iraq after the formation of the State of Israel, caused the Jews to flee to Israel.
Q: What are the differences between the Aramaic spoken by the Jewish people and that spoken by Chaldeans and Assyrians?
A: Aramaic is an ancient language, perhaps dating back to 1000 BCE, and over time it has undergone many changes, evolved, spread to many countries and communities, developed new dialects and in some places undergone changes that created a new language. Several different scripts even evolved. Different communities – Jewish, Christian and Muslim, Samarians, Mandaeans – developed their own variations, some of which are mutually intelligible and some not. In some towns the Christians and Jews could understand each other and converse. In other towns, even towns that were not large, the differences were so great between, say Syriac and Jewish Aramaic, that they could not understand each other. The grammar stays the same in all of them, and they share this grammar with Hebrew and, to some extent, with Arabic. I speak Hebrew and some Arabic, and this enables me to understand some Chaldean, but I suspect I am largely relying on the Arabic that is mixed into it.
Q: After Saturday, Comes Sunday was your second book, and it’s very well researched. So is your first book Rebel: A Biography of Ram Jethmalani. What challenges did you face writing your books, given that your career was previously dedicated to the medical field?
A: The first book drew heavily on the many trips we have made to India and the over 40- year close friendship we have had with Ram Jethmalani. I had heard many of his stories in real time, and what I had to do was research the details, the background and the legal cases. The next book drew on the over 40-year friendship I have had with Norma Hakim and her family, and it also drew on my many trips to Israel plus my previous knowledge of Jewish history. What I had to do, again, was to research all our respective histories, the differences between the different communities, the important people, and the major events.
Q: What message do you want your readers to take from your book?
A: In the last chapter I go through the needs of the Chaldean community if they want to settle again in their historic villages in Iraq, speak their language and keep their culture alive. To do that, they need help from a superpower, and that power must be us. They have done a great deal of work in putting together their issues and needs; now we need to follow their lead.
Q: Based on your research and observation, your intimate relationship with the Chaldean community, and your interest in world affairs, what future do you see for the Christians in the Middle East?
A: While I know that some of my Chaldean friends say that all that needs to be done is to turn out the lights, I am more hopeful. I even am hopeful as I watch what has happened to the poor Maronites in Lebanon. I even maintain hope when I see how the Kurds have been betrayed, and how they see themselves as competing with the Chaldeans for the same land. I think it will take a massive effort to reestablish a Chaldean community back in Iraq, and I think the diaspora will have to step up in an effective way. Remember though, the Jews did it. In the end it may be hard to attract a lot of people to villages, but if there are places to go to, some may retire there, young people may visit, even stay, educational centers may be built, and tourism may develop.
Q: What future do you see for the Aramaic language?
A: The language lives on in the Jewish Babylonian Talmud, many Jewish prayers and in the Jewish religious schools all over the world. I am pleased to see that the Chaldean churches are getting interested in teaching Chaldean and that there are websites and courses in Aramaic available now. If Chaldeans and Assyrians continue to push this education, they plus the Jews can keep their respective versions of Aramaic alive. Remember, Hebrew almost died as a spoken language until the State of Israel was recreated. Then the language was revived, words added from Arabic, English, French, German and Russian, and the grammar modernized. If the Chaldeans could keep their community intact, they can do the same thing.
Q: Are you currently writing a book, and if so, what is it about?
A: Yes, drawing from my experience writing about India and about the Middle East, I am writing about what draws so many Israelis, and Jews in general, to India. What are the deep and historic connections between us? Do they go through Iran? Yes. How are our Jewish, Hindi and Buddhist religions connected through the historic religion of Iran, Zoroastrianism?
Paul Batou was born in 1959 in a tiny village on the border between Iraq and Turkey. When he was two years old, the Kurds destroyed his village in an act they called “ethnic cleansing.” This forced his family to migrate to Mosul and eventually to Baghdad, where he lived among Arabs. His family rented a room with six other families. Almost forty people shared one small kitchen, bath, and toilet. He described his home as “more like a prison.” Even though his family spoke a different language, Aramaic, they managed to survive. Batou’s mother was forced to work like a slave in a hotel while his father traveled back and forth from Baghdad to the north in order to restore their land. He could not imagine working in a city while others stole his land.
None of Batou’s siblings completed their education, but thanks to his aunt’s generosity, he was enrolled in a Catholic school. He performed very well, especially in art and science. At first, he drew simple Disney characters, and then graduated to Western wild west-style pictures. At the age of twelve, he wrote his first short story, which was a love story based in the city of Kremat, where he grew up. His journey as an artist continued throughout high school.
In 1989, Batou traveled to Italy to study art, but his father refused to finance his studies. He returned to Baghdad and was accepted in a pharmacy school, so he followed that direction. Luckily, the school had a studio for the arts. One of the protocols in Iraq was that each college must have a music and art department to be used for students’ hobbies.
The following is an excerpt from the book Iraqi Americans: The Lives of the Artists
WN: Why didn’t you study art in Baghdad?
BATOU: The College of Fine Arts was exclusive to the Baath Party. I didn’t even bother to apply because I had no desire to become one of their members. I was fortunate that the director of the studio in the pharmacy school was one of the most famous Iraqi artists, named Abdul Ellah Yassin. That’s how I practiced and learned art in a more professional fashion. It was as if I’d missed something and then found it. I was hungry to absorb all the knowledge I could in art.
WN: While living in Iraq, did you have any serious encounters with the Baath Party?
BATOU: My problems with the Baath Party began after I received my bachelor’s degree. I was accepted to continue my master’s degree in toxicology. However, because of my friendship with Abdul Salman, a Shia Muslim student who was disliked by the Baath Party, my art teacher told me that, like my friend, I would not have a chance. My friend and I took our case to the minister of education and eventually to the minister of health, who refused to help us. When we asked him why his daughter was going to England for the master’s degree when her scores were lower than ours, he replied, “She is my daughter and I want the best for her.” The minister’s final advice was for us to join the army.
One of my classmates from elementary school had become a powerful person in the Iraqi intelligence agency, the Mukhabart. I had helped him in his academic study in pharmacy school and we used to play together during childhood. He offered me the opportunity to study nuclear pharmacy in Sweden. In return, I would receive an excellent pay and my family would be provided with a nice home and a comfortable life. It was either the army or studying abroad and joining the Mukhabarat. It was like having to choose between heaven and hell. I chose hell.
I served in the army five years during the Iraq-Iran war. The first few months, I was on the front line, and every night I asked myself if I had made the right or the wrong decision. I played by my principles, and my principle was not to give up my freedom. I later wrote a poetry book, My Last Thoughts About Iraq, which is based on the notes and soldiers’ quotes I jotted down during the time I served in the war, from 1983 to 1988.
Matters changed when I was placed in the medical unit and began focusing on helping as many people as I could. We were in a city that bordered Iran, where there was shelling and wounded men every day. That’s when I forgot my doubts and questions. God gave me peace in my heart, and I ended up staying in order to help the people who needed me. I stopped feeling like I made a bad decision and I felt happy to be a pharmacist. I’m helping more people now.
WN: What was the driving force behind leaving Iraq and coming to America?
BATOU: Freedom. The turning point in my search for freedom was when I started reading and painting the Epic of Gilgamesh. That story had a major impact on my thinking as a human and as an artist. Gilgamesh and his long journey and search for life, love, and freedom opened my mind and caused me to look back at my roots as a Mesopotamian. I became more determined to love my land and my people and to fully understand that this is my Iraq, not owned by Shiites, Sunnis, or Kurds. The Christians of Iraq are the natives of Iraq. They carry the heritage of Iraq.
Seeing my friends, mostly artists, writers, and poets whose thinking was in opposition to that of Saddam’s ideas, taken by Baath Intelligence or put in prison or disappearing from the university affected my thinking. I realized I am not free. If you search for freedom while under the dictator rule, either you think to exit Iraq, or if you can’t do that, your alternative is connecting to whatever makes you feel free. To me, the gypsy culture, writing poems, painting, and playing classical guitar provided me with the ideals that I live by and the freedom to express myself among the people who fear God and pray all day.
In 1989 I moved with my family, a wife and a son, to Athens and eventually to the United States. Although it was difficult in the beginning, the image of America being the land of freedom and opportunity lived up to its name. I found American people very helpful. They assisted me as best as they could. One person who played a big role in my success was a friend and pharmacist by the name of Ira Freeman. He offered me a job in his pharmacy even though I had no experience with computers and I didn’t know the name of the drugs since they were different than what I had learned in Iraq. He even provided me with financial assistance to get me through.
One thing you learn in America is that you have full freedom. Humans with freedom will have more powerful production than humans under oppression. I’m happy in America, but I miss the friends I left behind in Iraq. I’ve written many times that I can’t feel joyful and happy when my friends in Iraq are sad and worried.
One day my father told me Iraq is my homeland. It was called Mesopotamia before, the land of two rivers. My mom said any land that gives you freedom is your land. I ask myself one question. Could I have done all this in Iraq? Would I get the same support to express myself freely, with no restrictions? The answer is no. Only true freedom will make you a professional pharmacist, artist, writer, and musician. How many people living in Iraq now missed that opportunity? Freedom is what makes a country and its people great. Finally, this is my land. I lost my home in Iraq. I don’t want to lose my home here. The way to keep my home is to restore the world to peace.
WN: Why do you think that America is not very familiar with Iraq’s art?
BATOU: Everyone agrees there was a big arts movement in Iraq long before Saddam came into power. Many artists had traveled to Europe and accomplished such extraordinary work there that they were very well-known there. While American professional observers who deal with art know about the high standards of art and music in Iraq, the general public does not know. The United States and Iraq did not have good enough relations to create programs where Americans can come to Iraq and witness, for themselves, Iraq’s culture or people, or for Iraqis to come to the United States and do art exhibits.
Since there was no cultural interference or exchange with Iraq, Americans didn’t know anything about Iraq’s history, culture, and heritage. That’s the one reason that the US failed with Operation Iraqi Freedom.
Yet our cultures are similar in a way. It’s about new invaders who came in with a different culture and changed Iraq to what we see now. This is a repeat of what happened to the Native Americans, when Europeans invaded the Natives’ land and changed their beliefs, religions, and way of life.
WN: Have you visited Iraq since you left?
BATOU: I once felt that even if I visited Iraq for one or two weeks, that would mean I would have to give up my freedom for one or two weeks, which I didn’t want to do. Then, in 2014, I finally visited the northern part of Iraq for two weeks. It was the first time I was there since I left in 1989. Things were stable and people were generally happy when I visited. I told them, “It can’t be sustained. Things will not end happily.”
WN: What made you say that?
BATOU: The government offices were unorganized and corrupt. You can’t maintain a society with poor politicians and poor thinkers.
Everyone focuses on the Islamic State, but the war in Iraq has been ongoing since 2003. I believe Saddam was only one person and we, the Iraqis, gave him his power. We became his hands and eyes, his army and secret police. We the Iraqis created the dictator. Iraq for the Christians was not a paradise before his rule. We lived among a lack of knowledge and education. Iraq was always a land of fear and discrimination. Maybe the Islamic State did something good. It brought the world’s attention to us. Before then, no one knew or cared about the minorities in Iraq.
The Islamic State has a positive presence in the Middle East. They cause people to examine their thoughts and beliefs about killing others, which were happening even before they entered the picture. Saddam also tried to destroy our identity and culture, but not in this way.
WN: Can you tell us about Minor Dreams and Confessions, two of your paintings?
I painted Minor Dream in the 1990s during the sanctions against Iraq. I used to have family there and you could feel the pain and suffering of the people during that time. I thought about the kids, especially after what Madeline Albright said in regards to half a million Iraqi children dying due to the sanctions that made it difficult to access milk and prohibited other basic foods and medicine items. When asked by the TV anchor if the price is worth it, Albright said, “We think the price is worth it.”
I also painted Confessions in the 1990s, and this relates more so to the Christians of Iraq, when the Arabs conquered Mesopotamia. You know how you confess your sins to the priest and the sins will go away? I confessed so that I can wash away all the sins of Iraq. I shouted and cried, but I am tied up. I cannot reverse the history of Iraq. It’s God’s Will that it falls. After reading the Bible many times, I found that God insulted Babylon repeatedly for having enslaved the Jewish people. The wars, the sanctions, the invasion— they are punishments from God. They are consequences of the past.
WN: How do you plan to restore the world to peace?
BATOU: The way to make a change is through what I do with art and what you do by writing books. We become a voice for the people who cannot express what is in their minds and hearts. Our job is to explore the world through beautiful art. Our job is not to condemn Islam, Christianity, or any other religion, but to provide people with a vision.
For me, art has a universal message. Part of art’s universal message is to deliver beautiful pieces with nice colors, logic, and philosophy for all humans. My colors reflect the tone of the Earth, the language of the universe, the cry and pain of the oppressed people.
As an artist, I go back to that civilization, that beauty, and ask myself, why do I need to restore that Iraq? It’s because it represents the great civilization, the beauty, the knowledge about all humans. My love for the US plays an important role in my art. Since 9/11 there has been less freedom in the US, affecting the way people live and think. One of my goals is to restore that freedom.
Usually artists, whether they are American, Iraqi, or from any other country, don’t like war. Our concern is mostly for the innocent people who will suffer, whether those people are the citizens of Iraq or our troops and their families in America.
The Path of Consciousness 