The True Story of A Fabricated Life

Mark Chiusano
Photo by Charlotte Alter


Mark Chiusano, a journalist who has written for NPR, The Atlantic, and The Paris Review, will read from his new biography, “The Fabulist: The Lying, Hustling, Grifting, Stealing, and Very American Legend of George Santos,” at The Colonial Theatre in North Canaan, Conn., on Sunday, Dec. 10. He discussed his new book during a phone interview from his home in Brooklyn, N.Y.
Alexander Wilburn: I could not have dreamed of a more suitable day to dive into George Santos. To give readers context, it’s Thursday, Nov. 16, and just hours ago the House of Ethics Committee unveiled a 56 page report outlining a litany of alleged misconduct involving, of course, accusations of embezzling funds from his campaign, as well as, and I’m going to quote The Washington Post here, “deceiving donors about how contributions would be used, creating fictitious loans, and engaging in fraudulent business dealings.” Have you had a chance to look at the report, and did anything surprise you?
Mark Chiusano: Nothing surprised me, because this is kind of what my whole book is about: the kind of grifty, schemy behavior he’s been engaged in for a really long time. My book includes some of the mooching and scamming he did off his grandmother and his aunt. He’s been doing these low level things for a long time. What I think is so great about this report, though, is that they had subpoena power, and they were able to get bank records. So they nailed down some things that we only wondered about or assumed or questioned, right? So they were able to see where the money actually went as opposed to where Santos said it went or where it came from.
AW: Speaking of where the money went, The Financial Times discussed his use of campaign dollars for expenses like Botox, shopping at Sephora and Hermes, and then thousands of dollars used on OnlyFans. Obviously, I don’t have to explain what Botox is to Connecticut readers, but for those who don’t know, OnlyFans is an online social-media-slash-commerce platform where users pay a monthly subscription to view media content from freelance sex workers. Is George Santos’ payments to OnlyFans the making of a sex scandal or just another strange detail?
MC: Another strange detail. I would say that he’s been spending money on strange and sort of luxurious things that he that he enjoys for a long time, like he kind of has lived this… I think the report called it “a high roller lifestyle” for a long time. So this is like one more thing there that he decided to shell out for.
AW: Do you see any difference between his funding here and the spending of another disgraced gay Republican, Aaron Schock, who was notable for spending funds on his private jets and Downton Abbey inspired office?
MC: I think that what sort of sets Santos apart from a lot of these other people is that he… like the sort of brazenness and the kind of laziness and covering his own tracks, you know? There was a lot of stuff in here that raised questions well before he was elected and well before he was know famous for being a liar. I wrote stories about his FEC filings during his first campaign. So did other journalists, but unfortunately we didn’t pull it all together and didn’t understand the largeness of what he was doing.
AW: He took to X today, formerly Twitter, to say that “becoming a public figure was never [his] goal.” Is this his biggest lie?
MC: I mean, let’s put it this way: he’s definitely been interested in politics in a very serious way since the Trump era, since 2016 era. So that’s a pretty long time. I don’t know if it was a childhood dream of his, but he’s been into this for a while. As part of my book, I went through a lot of his social media, including a look at a lot of his deleted tweets from early in life. Back then he was very interested in celebrities, the kind of Paris Hilton figures, and was interested in being famous and being a celebrity. So I think that a little bit of that translated over into politics, especially after 2016, when politics was like, the hot thing that everyone was interested in. He quickly kind of made that jump from interest in celebrity to interest in celebrity politics.
AW: You wrote that he had this group text with his family where he stated that his main platform was going to be illegal immigration. Yet that never really transpired into his public platform. Does he have any set politics?
MC: There’s a really great line that was in the report that a bunch of his campaign staff did on him a while back where they uncovered this line where he said something to the effect of, “I’m no right winger.” And then he was running as a very intense right winger, like one of the more extreme candidates of that cycle. So he says many things in different settings. He’s flip-flopped on abortion, he’s flip-flopped on COVID precautions. I think his governing thesis is just say whatever makes sense in the room, “I’m in.” And so it makes it kind of hard to trace what does he actually believe politically.
AW: He represent of two groups put together. On one hand, as a gay Republican, as a Republican who is a child of immigrants, it’s really nothing new. We’ve seen right-leaning figures who campaign against the self-interest of the groups that they supposedly represent. We’ve also seen a lot of people who fabricate backgrounds to get ahead. But he combines these two. Do you think that’s essentially what makes him such an interesting figure or is it some third ephemeral thing?
MC: I think it’s a little bit of those two things. And I think it’s just his absolute gratuitousness. His story is a real version of the somewhat fictional story that the “Catch Me If You Can” guy told about himself, you know. Frank Abagnale pretended to be a pilot and did all these other cons. Santos is living this wild, wild, chameleon-like life, where he pretended to be many, many things over the years. I think, to me, it’s a little bit of a sad story that he felt the need to kind of go to these lengths in order to get ahead. I think it says a lot about where we are in this country, that someone who was ambitious, who wanted to be famous and wealthy, felt that this was the only route available to them. Finally, he’s been very threatening to victims of his and has certainly done a lot of nasty things in his life that I report on in the book. But he, as far as we know anyway, he hasn’t been violent, he’s not a warlord or something. So I think that’s another reason that people can feel okay being fascinated in this guy, because he’s a liar, but in some ways he’s mostly hurting himself.
AW: On the other hand, he has attempted very sloppily to capitalize on these extreme tragedies by citing that his mother died in 9/11, that his grandparents survived the Holocaust.
MC: He isn’t an immediately sympathetic figure. I write in the book about how there was this veteran, a dog owner, who Santos scammed. People probably heard this story before. I spent a lot of time with that gentleman, Rich. The night after Santos was sort of uncovered, Rich the dog owner called Santos and just kind of like ripped into him. And Santos picks up the call and they have this very bizarre conversation. That just struck me as very sad. Here’s Santos alone, picking up the phone, getting sort of yelled at by one of his victims. It’s almost like The Ghost of Christmas Past.
AW: I wanted to read a quote from the book, on page 111, where you write, “Politics has always provided a cover for alienated people, for those who feel a little like they don’t fully belong. That microphone can be a shield before it is a weapon. And there’s an intoxication that comes from the sound of your voice that commands a total and respectful silence.”
MC: I do think that sometimes we kind of assume that people running for office — well, we either ignore them entirely or we think that they’re so much better than us, so special that we can’t criticize them. I think none of those things are true. They are us. It’s representative democracy and we should be like thinking very critically about these people and think of them as peers. That’s their point as representatives.
AW; Are we as the public culpable of not being more scrutinizing of George Santos before he got as far as he did?
MC: I would not say this is the voters’ fault. I think that there’s a large nexus of reasons for why Santos was able to slip through. There were lots of people who made small mistakes including reporters like myself who like didn’t bring the whole picture to bear. The voters didn’t have the chance to sort of see how sleazy he was at the time. That’s a factor of just the lack of strength of local media now. There’s not as many outlets and reporters as there used to be in a lot of places. There has been a change in the way candidates campaign. It used to be that there would be tons of these debates, there would be lots of in-person interviews where it’s often actually very easy to tell if someone’s lying. And so it’s a shame. I think that the voters didn’t really… they didn’t have all the information in front of them.
AW: He announced today that he’s not going to be running in 2024, so not in the political arena, but in the larger culture, is there a path to redemption, even a sort of like ironic “Dancing with the Stars” redemption for George Santos?
MC: I think for sure, that’s what this country is, you know. There’s always kind of a second act. “Dancing with the Stars” is definitely one I’ve thought of too. I could totally see him doing that. Because again, I mean, barring us finding out new information, he hasn’t been sort of violent in his crimes. I mean, tons of people who have done arguably worse things than he has, have come back into public light. So I think that’s on his mind as well, like “what is my second act?”
To register for this free event go to www.canaancolonial.com
D.H. Callahan
Bernie Williams and his Band of Friends at Millbrook Winery in 2025.
Throughout the history of Major League Baseball, precious few greats have been considered five-tool players. New York Yankee Bernie Williams was one of them.
To be considered a five tool player, one must show exceptional proficiency in five categories: hitting for average, hitting for power, running bases, fielding and arm strength. But there’s another tool Williams possesses that didn’t make it to the back of his baseball card: his mastery of jazz guitar.
On Aug. 1 at Millbrook Winery, that elusive sixth tool will take center stage as Williams and his Band of Friends return to the Vineyard for a night of jazz, wine and possibly a baseball reference or two.
Williams is best known for his legendary career with the Yankees. During his 15 years with the Bronx Bombers, he won four World Series championships, four Gold Glove awards and one Silver Slugger award in 1998, the same year he won the American League batting title, making him the first player in history to win a Gold Glove, a batting title and a World Series in the same year. Oh yeah, he was also an MLB All-Star every year between 1997 through 2001.
But while his work on the field is well known to New Yorkers and the broader baseball world, he almost took the musical route through life.
Williams first picked up a guitar when he was just 8 years old and was immediately taken by the magic of music. He was so passionate about it that he attended a performing arts high school in his hometown of San Juan, Puerto Rico. By the time he made it to the big leagues, he was known as the guy with the guitar in the locker room.
That reputation soon reached the Yankees’ fan base, with commentators telling stories of Williams and his outfield teammate Paul O’Neill’s jam sessions. O’Neill set up a drum kit in a paint room at the old Yankee Stadium, and the two would play together through rain delays, sometimes getting visits from New York City’s musical greats while they waited to play ball. MSG Network, which aired Yankees games at the time, even ran a promotional ad featuring the two World Series champions jamming together on a blues riff in their batting practice uniforms.
But unlike O’Neill, whose drumming is a hobby at best, Williams is a serious musician. During an appearance with Paul Simon at a charity event, Simon surprised Williams and his band by playing “Mrs. Robinson,” a song they didn’t know and hadn’t practiced. But just a few lines in, Williams was taking solos and riffing on Simon’s choruses with expert musicianship.
While Williams’ music is the main draw for the event on Saturday, the relationship between the All-Star and the winery goes beyond the performance. The collaboration started in 2021, when Williams visited the vineyards and instantly connected with then-general manager Ian Bearup, bonding over baseball, music and wine. They quickly decided to team up and create a custom variety they call Bernie’s Blend. This year’s bottle, featuring art from Williams’ daughter, Beatriz, is a blend of Cabernet Sauvignon, Merlot and Cabernet Franc and will be released at the performance on Saturday night.
While the VIP ticket levels are all sold out, as of press time, bring-your-own-lawn chair spots are still available. The wine will be available at the vineyard and online throughout the year at millbrookwine.com.

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Elena Spellman
If horses could speak, Hearn believes they would offer just one piece of advice: “They’d tell us to slow down.”
From feeding retired racehorses before sunrise to guiding veterans, grieving parents and troubled teenagers through equine-assisted therapy sessions, Deanna Hearn rarely has a quiet day. As founder of Lucky Orphans Horse Rescue in Dover Plains, she oversees the care of more than 40 sanctuary horses while leading a nonprofit whose mission extends far beyond animal rescue.
What began as a childhood love of horses has evolved into a place where healing runs in both directions — for horses and for people. By the time you leave Lucky Orphans, it becomes clear that this place isn’t really about horses. The horses are simply how it begins. For Hearn, every rescued horse represents something much larger: hope, resilience, healing and second chances. The organization’s mission, she says, is simple: “People helping horses heal people.”
Growing up in the Bronx, Hearn was captivated whenever she saw horses. Her grandfather, a Korean War veteran, had cared for military horses during the war. After returning home, he struggled with addiction, and the invisible wounds of military service. Through every difficult chapter of his life, however, one thing consistently brought him peace.
“Horses bring peace,” he told his granddaughter.
When Hearn was 11, after years apart, Hearn and her grandfather began spending weekends riding together. Less than a year later, he was diagnosed with pancreatic cancer. Before he died, he asked family members to help buy Hearn’s first horse — a stubborn paint horse that bit, kicked and frequently threw her off. She wanted to sell him. Her father refused.
“Every life has value,” he told her.
Looking back, Hearn says that lesson became the foundation of everything she would later build.
What began as a boarding stable in 2003 took a different direction after the Dutchess County SPCA asked Hearn to care for horses seized in cruelty cases. She soon realized that although Dutchess County had one of New York’s largest horse populations, there was no dedicated nonprofit equipped to care for neglected and abused horses. Lucky Orphans officially became a nonprofit in 2008.

Today, Hearn is quick to point out that Lucky Orphans is not simply a rescue.
“We’re a sanctuary,” she said.
Many of the more than 40 horses living there arrive with broken bones, chronic illnesses, heart conditions, missing eyes or other injuries that make them unsuitable for riding or adoption. Rather than rehabilitating and rehoming them, Lucky Orphans makes a lifetime commitment to every horse.
In 2013, Hearn became certified in equine-assisted psychotherapy, combining her lifelong relationship with horses and the lessons she learned from her grandfather to create programs for veterans, trauma survivors, children and families facing emotional challenges. The transformations she witnesses continue to surprise her. She recalls one woman who arrived convinced she would not fit in with a group of strangers. During the session, a horse quietly chose to follow her without a rope or commands. For the first time in years, the woman said she felt truly seen.
Another memory has stayed with Hearn ever since. A teenager in a juvenile probation program, wearing an ankle monitor and struggling with anger, entered a round pen with a horse. As his frustration grew, the horse moved farther away. When he finally calmed himself, the horse walked directly toward him and rested its head against his chest.
“I told him, ‘If you can control your energy, you can control the world around you,’” Hearn said.
Stories like these sustain her through the difficult realities of running a nonprofit. Operating the sanctuary costs roughly $52,000 each month, and Hearn lives on the property, where the work never truly ends. Veterinary bills, staffing, fundraising and the daily care of dozens of horses are constant concerns. Then someone returns years later and tells her that the horses changed their child’s life.
“That’s why I keep going,” she said.
Looking ahead, Hearn hopes more people discover what makes Lucky Orphans unique. The organization is expanding its community programming with educational visits, yoga sessions, horse encounters, volunteer opportunities and family events designed to reconnect people with horses and with one another.
Her vision is simple: to create a place where people slow down, reconnect and remember something modern life often makes us forget. If horses could speak, Hearn believes they would offer just one piece of advice.
“They’d tell us to slow down,” she said.
After spending an afternoon at Lucky Orphans, it’s hard to disagree.
For more information or to plan a visit, go to luckyorphans.org
Jennifer Almquist
A brass quintet at the Yale Music Shed at Weekend in Norfolk 2025.
Norfolk bursts with activity in midsummer with Weekend in Norfolk (WIN). An all-volunteer committee transforms the town with free public events for all ages. WIN 2026 begins Thursday, July 30, and runs through Sunday, Aug. 2.
Norfolk sculptor Jon Riedeman, the new head of Norfolk Artists and Friends (NAF), organized the group’s 19th annual art exhibition, featuring paintings, sculpture, photography and jewelry by area artists in the Art Barn on the grounds of the Norfolk Chamber Music Festival. Riedeman expanded the show this year by inviting artists from New Marlborough, Massachusetts, to participate. The exhibit opens with a reception Thursday, July 30, from 5 to 7 p.m.
Music fills the air throughout the weekend. On Thursday night, take in the Emerging Artists Series concert from 7:30 to 8:30 p.m. at the Music Shed, featuring the next generation of professional chamber musicians presented by the Norfolk Chamber Music Festival. Then enjoy Friday Night on the Green, a welcoming party with live performances and free food.
The Bistro at Infinity Music Hall is extending its hours from noon to 9 p.m. throughout Weekend, with live music during the day. Don’t miss the Yale Brass Quintet performing in front of the historic 1833 Opera House. In addition, Norbrook Brewery will host a tap takeover featuring its celebrated local brews.
The Sidewalk Sunday Street Fair fills Station Place and Robertson Plaza with local artists, authors and craftspeople selling directly to visitors. Open Studios invites the public into working galleries and private studios for live demonstrations and artist meet-and-greets. Food trucks will also be available at the street fair.
Guided and self-guided tours showcase Norfolk’s historic estates and Victorian homes, while Tiffany stained-glass tours let visitors view Louis Comfort Tiffany windows in local chapels. The Village Green hosts public weddings and vow renewals as part of the festival.
Choose from five garden tours offered Sunday, Aug. 2, from 11 a.m. to 4 p.m.
Outdoors, guided nature walks explore Barbour Woods, with birding treks for wildlife lovers. Great Mountain Forest opens its 90-year-old weather station to the public, and workshops cover fly-fishing and pollinator gardening.
Food traditions include a Blueberry Betty social and an old-fashioned ice cream social. On Friday, Saturday and Sunday, the IceBox Cafe is offering 50 cents off its signature freshly brewed iced chai. On Saturday, the cafe will serve buttermilk pancakes all day, complete with Great Mountain Forest syrup.
Kids’ programming features movie screenings, yoga on the grass and art workshops.
Visitors can begin their adventure at The Hub, 2 Station Place, where volunteer “WINbassadors” will hand out maps and schedules. Full event details and ticket information are available at weekendinnorfolk.org.
Jack Sheedy
Jen Gleason stood on the stage of The Gary-The Olivia Theater and gestured toward the upstage wall—which wasn’t there. Like the so-called fourth wall separating audience from actors, all walls in this theater are invisible.
“That’s just God’s creation,” Gleason said, pointing to woods and rocks and grass and sky where you might expect a brick wall. “You cannot copy that. That’s the best backdrop you could possibly have.”
Gleason is directing “Babette’s Feast,” the first play to be performed publicly in the covered, open-air theater on the grounds of the Abbey of Regina Laudis in Bethlehem, Connecticut since “Godspell” in 2019. While the curtains closed during the Covid-19 pandemic, theater staff took advantage of the closure to make necessary repairs funded by donations.
Paul Murray, who co-produced “Babette’s Feast” with Sarah Robards, said, “We put up wings on either side, which are more or less permanent, and they allow the openness. From the audience, you see the woods side to side.”
The theater was built not long after famed Hollywood actress Dolores Hart joined the cloistered community of Benedictine nuns in 1963. According to the abbey’s website, “veteran actors James and Dawn Douglas formed a company of actors called the Act Association, which began to offer productions at the Abbey’s summer fair, and continued to do so for decades.”
Patricia Neal and James Douglas drew large crowds in 1999 when they performed A.R. Gurney’s “Love Letters.” Popular musicals have also been produced there, including “Guys and Dolls,” “Fiddler on the Roof” and “West Side Story.”
The idea to mount “Babette’s Feast” came from cast member Maurita Gregor, a lay intern at the abbey who previously performed the title role in her home state of Michigan. The play is based on a story by Isak Dinesen and is set in a Norwegian fishing village in the mid-19th century. Martine (portrayed by Cathy Annulli) and Philippa (Gregor) are sisters who lead a small Christian community. One night, a mysterious woman, fleeing political turmoil in France, knocks on their door and asks for asylum. Her letter of introduction states, “Babette can cook.” Babette will be portrayed by Olivia Wadsworth.
The play was conceived and developed by Abigail Killeen and written by Rose Courtney. It was first produced in Portland, Maine, in 2018. The highlight is a lavish feast Babette serves to the community to celebrate the memory of the sect’s original minister. but this production differs in structure from the 1987 Danish film in that no actual food is seen during the feast, Gleason said. Like the theater’s missing walls, the feast itself is invisible.
“There’s no cups. There’s no plates,” Gleason said. “We really don’t have props.”
The minimalist set aligns with the intentions of the play’s creators, who wanted to show the austerity of the religious sect to which Martine and Philippa belong.
Besides the three principals, “there are six players that are playing up to three different roles. So they’re having to shift their characters too, along with telling the story,” Gleason said.
Murray began working at the abbey in the 1970s and then moved to Idaho and taught theater for several years. Since returning in 2008, he has worked on sets for summer musicals at The Gary-The Olivia Theater. In 2025, he wrote and co-produced an original play, “The Princess and the Goblin,” based on a novel by George MacDonald. It was performed in front of a private audience, with Gleason in the lead. It was the first play to be shown at the abbey in six years.
“The point of having a theater at the abbey is to show a slice of life as it is, with an eye toward showing how it relates to the reality beyond the immediate place and time and characters within God’s creation,” Murray said.
“It’s to have a part of creation that refers to the broader creation,” he said.
Gleason spent several years in New York City with La MaMa Experimental Theatre Club, The American Theatre Wing and ASCAP. She also worked in Los Angeles, evaluating and developing scripts for a film production company, according to a press release.
Gregor said she applied for an internship at the abbey after reading Mother Dolores Hart’s 2013 memoir, “The Ear of the Heart: An Actress’ Journey from Hollywood to Holy Vows.” She said she always loved acting and was attracted as well to the “balanced lifestyle” the cloistered community offers. One of her duties at the abbey is making cheese, a hands-on process that requires patience and a gentle touch.
“I never knew you could learn so much from cheese,” she said.
“Babette’s Feast” will be shown Friday evenings, July 31 and Aug. 7; Saturday evenings, Aug. 1 and 8; and Sunday afternoons, Aug. 2 and 9. Evening performances begin at 7:30 p.m., and matinees begin at 2 p.m. There is no admission charge, but donations are welcome, and reservations are required. The Gary-The Olivia Theater at the Abbey of Regina Laudis is at 249 Flanders Rd., Bethlehem. To reserve seats, call 959-988-6068 or email garyoliviatheater@gmail.com. It is an open-air theater, so dress for the weather.

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