President Obama’s entry into Libya’s civil war can be criticized on many levels: The mission as explained is incoherent; Congress was not asked for a declaration of war as the Constitution requires; events in Libya do not affect the security of the American people; bombing another oil-rich Muslim country aggravates the conditions that create anti-American terrorism; killing innocent civilians is nearly inevitable; the rebels’ motives are unclear; mission creep happens; war unleashes unforeseen, uncontrollable forces; the government is already deep in debt, and more. All these objections are valid — and any one of them should have been enough to scotch the plan. Defense Secretary Robert Gates was right when he expressed reluctance to intervene in Libya.Consider the operation’s incoherence. Obama originally said this strictly aerial engagement would last a matter of days and is aimed only at saving civilians from Col. Moammar Gadhafi’s air attacks, but is not intended to drive him from power, although the president says he “has to go.” But won’t Gadhafi simply resume his attacks when the Americans and their allies leave?The obvious illogic masks lies and a hidden agenda. The U.S.-led force has not only attacked the Libyan air force and air defenses; it has also struck ground forces and military facilities. Even Gadhafi’s compound was hit. We were told this would be a no-fly zone only, but it is so much more.Are we being lulled into another open-ended war?The humanitarian rationalization for intervention is tissue-thin anyway. Innocent civilians and resisters of oppression are under siege in many countries all around the world. Why single out Libya, whose head of state has been a U.S.-financed ally for the last several years? Obama’s defenders dismiss that question, saying that the U.S. government’s inability to intervene everywhere is no argument that it shouldn’t intervene anywhere. But that misses the point. Where the government chooses to intervene is revealing. Oil might have something to do with it.It should also be noted that the man who launched this “humanitarian” operation is the same man who for more than two years has been bombing civilians in Afghanistan, Pakistan, Yemen and Somalia, as well as claiming the authority to order the assassination of American citizens and to hold prisoners indefinitely without charge or trial. In this topsy-turvy world, Obama won the Nobel Peace Prize.The president and his advisors of course are not as scatterbrained as this operation suggests. They have more in mind than they are telling the American people, whom they fear are suffering war fatigue. That would explain the emphasis placed on the approval of the Arab League, the U.N. Security Council, and NATO, which is an American tool. NATO’s Supreme Commander, Europe, Adm. James Stavridis, is an American. Make no mistake: Despite participation by Britain and France, this is a U.S. operation. Nor should we be impressed that a group of Arab countries run by autocrats beholden to the U.S. government asked for intervention against an erratic head of state they have never liked. It should be noted that Saudi Arabia has troops in Bahrain defending the dictator-king against rebels there.A U.S. military intervention dressed up as a humanitarian action by the “community of nations” is nonetheless a U.S. intervention. Obama should not be able to get away with this exercise in militarism.And what’s behind it all? It’s the same old story of American global hegemony. As George H.W. Bush put it, “What we say goes.”What Americans should worry about is a U.S. government free to roam the world, carrying out the ruling elite’s agenda of political and economic aggrandizement. Americans pay homage to freedom, but they cannot be free under these circumstances. When Washington, Jefferson and John Quincy Adams warned against an imperial foreign policy, they understood that it would require a government of unlimited power beyond the scrutiny and control of the people. (That’s why WikiLeaks scares the hell out of the imperial overlords.) If Americans mean what they say about liberty, they will insist on a dismantling of the U.S. empire.Decent people of course do not want to see dictators killing people. However, expecting the U.S. government to right all wrongs will not only fail; it will also create a whole new set of wrongs at home and abroad. Sheldon Richman is senior fellow at The Future of Freedom Foundation (www.fff.org).
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Meg Sher, executive director of the David M. Hunt Library in Falls Village.
“I was a library kid. I walked to the library after school,” she said.
For Sher, the library is as much about the people as it about the books.
“Part of the job I love so much is that running the library is such a community,” she said.
She treasures the relationships she has built, whether recommending books, celebrating accomplishments or helping patrons through difficult times.
“I am thankful that our community is so supportive of the library, unlike what is happening in some other places where librarians are villainized,” Sher said.
Sher takes pride in the Hunt Library’s reputation for being “open and welcoming to everyone. People come in and see things and get pulled into things they weren’t expecting. Our library is seen as a positive force.”
Sher came to Falls Village after being awarded a fellowship at Adamah Farm, then a program of the Isabella Freedman Jewish Retreat Center. She worked at pickling, in the greenhouse and later in the development office. She also worked as a nanny.
At the same time, “I was in the library all the time,” she recalled. “I’m a voracious reader. The library is where I met a lot of my first friends in Falls Village.”
She became assistant librarian at Hunt and worked in that position for almost a decade before becoming the executive director four years ago.
Meg Sher, executive director of the David M. Hunt Library in Falls Village.L. Tomaino
Sher met her husband, Adam, while working at Adamah. They had their wedding there in 2012. He now emcees many events which she co-organizes with the Falls Village Recreation Commission.
Sher and her family live near the library.
“It’s an easy commute,” she said with a smile. “My kids run back and forth. I can go home to walk the dog if I need to.”
“My kids have grown up here.” Her oldest son, Eli, “loves volunteering. He helps with Augustfest and often helps set up chairs for ArtWall gatherings.” Her younger son, Noah, is often at events and was eager to taste cookies at last year’s holiday cookie swap.
When she is not at the library, Sher likes to hike with her family. Bella, their Portuguese water dog, often accompanies them.
Sher enjoys seeking out people to offer events at the library.
“I do a lot of different community programming. It is one of my favorite parts of the job.”
Augustfest, featuring food, music and an auction, is the library’s biggest fundraiser.
“This summer we had a record 152 attendees, which was pretty incredible.”
Yonah Sadeh, a filmmaker from Falls Village, inaugurated the VideoWall this year, Sher explained.
“I’ve known Yonah since he was two. It’s wonderful to work with him as an adult.”
The VideoWall complements the library’s ArtWall, which showcases a new artist each month. Sher praised the ArtWall committee for its work and highlighted December’s popular “12x12 Show,” featuring works by local artists, each measuring 12 by 12 inches and priced at $150.
Sher added that some of the artists who exhibit at the ArtWall offer workshops to students at Kellogg School, next door to the library. In September, artist Danielle Mailer worked with the children. Vincent Inconiglios taught a class last November.
Being next to the school, said Sher, is a great advantage.
“Kids are coming after school, to see friends, work on projects, find a great book. Kids that love the library end up using the library as grownups.”
This past year, in partnership with Adamah, the library and school created a garden, with excess produce made available at The Center on Main.
This year is Sher’s second year participating in the Troutbeck Symposium in Amenia with James King, director of the library at Salisbury School. The Troutbeck Symposium is “a gathering of a year of student historical inquiry across the region” in which students “uncover stories that have been overlooked, forgotten, or never recorded.”
Last year, Sher and King began a project with a group of students researching Irish immigrants in Falls Village, exploring ancestry and creating small magazines about their findings.
They continued this year, visiting St. Patrick’s Catholic Cemetery on Dublin Road, cleaning seven gravestones and even righting one with the help of stonemason and gravestone restoration expert Karl Munson. Paul Kozeazny, a representative of the Catholic archdiocese, helped secure access to the site.
A film documenting their activities will be shown at the symposium in spring 2027.
A full schedule of programs and events, ranging from tech help to ceramic mug-making, can be found on the library’s website.
Despite spending her days surrounded by books, and a busy schedule of programming, Sher still loves to settle in with a book at home.
For more information on library programs and events, visit huntlibrary.org
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Touré was born in northern Mali in 1981. His father, the renowned guitarist Ali Farka Touré, came from a family of soldiers and wanted his son to join the army. The younger Touré studied drums and the calabash and practiced guitar in secret. He earned his father’s blessing to pursue music shortly before Ali died in 2006, and they played two tracks together on Vieux’s debut album.
Touré is known for his deft, polyrhythmic playing, and his songs grow out of riffs that repeat and layer to hypnotic effect. He draws on rock, blues, Latin music and various African traditions. This distinctive blend builds on his father’s work adapting the sonic traditions of Mali’s arid north to the guitar.
Vieux’s album “Mon Pays” (“My Country,” 2013) honored Mali’s culture after Tuareg separatists and extremist groups seized the north in 2012. “Samba” (2017) was recorded before about 50 listeners in Woodstock, New York. In 2022 came “Les Racines” (“The Roots”), a return to his father’s desert blues, and “Ali,” on which he and the trio Khruangbin reworked eight of the elder Touré’s songs.
Touré leads the Ali Farka Touré Foundation, which focuses on cultural and educational work in Mali. Around the anniversary of Ali’s death, it holds a festival in Bamako, Mali’s capital. Bamako has been under blockade for much of the past year, besieged by JNIM, an al-Qaeda affiliate. Against this backdrop, Touré continues to carry the music of Mali to audiences abroad.
At the Nov. 5 concert, Touré’s desert blues will share the bill with Gnawa, the music LanGus plays, which developed in Morocco among West Africans who were brought north across the desert as enslaved people. Gnawa is religious music traditionally performed at all-night healing ceremonies called lila, intended to carry participants into trance.
Samir LanGusProvided
LanGus was born and raised outside Agadir, Morocco, and began learning Gnawa from its masters at age 8. He plays the sintir, a three-stringed bass lute made of wood and camel skin. The player strikes a low string with the thumb to create a deep, resonant pulse. Iron castanets clatter over the sintir’s bass line, and vocalists trade call-and-response refrains.
LanGus infuses the tradition with jazz and improvisation. In New York, he founded the ensemble Innov Gnawa. His first solo album, “Gnawa Love,” came out in February.
Touré and LanGus’s Nov. 5 concert is one of the last public events at Race Brook Lodge, which is for sale and ended full-service operations at the end of 2025. The lodge’s final scheduled event, on Nov. 6, is an evening of Rumi’s poetry with translator and vocalist Haleh Liza Gafori, cellist Isabel Castellvi and ceremonial bard James Bird.
For tickets, visit rblodge.com.
James FitzGerald is a student at Yale Law School, where he focuses on ecological restoration and international environmental cooperation. He splits his time between Lakeville and New Haven.
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