This coming November 2016 will mark the second anniversary of the dedication of the historical marker for the Carnegie Branch Library in Savannah, Georgia. Moreover, as it now turns out, that dedication also represents one of the city’s more notable acknowledgements of the life, work, and legacy of James Alan McPherson (September 16, 1943 – July 27, 2016). The iron-lettered text for the historical marker concludes as follows:
“…One of only two Carnegie library projects for African Americans in Georgia, this was the home library to James Alan McPherson, Pulitzer Prize-winning short story writer and essayist and Clarence Thomas, Associate Justice of the Supreme Court of the United States.”
The story presented below was previously published in my former AXS Entertainment National African Cultural Arts Column. It is shared here in honor of what later this month would have been Mr. McPherson’s 73rd birthday; and, in recognition not only of the role that one particular library played in his life, but in recognition of the immense value libraries around the world continue to contribute to humanity as a whole.
Savannah community marks 100th anniversary of a legacy of knowledge
Community leaders, patrons of the arts, and enthusiastic readers gathered at the historic Carnegie Branch Library in Savannah, Georgia, on November 13, 2014, to commemorate with a new historical marker the legacy established by its African-American founders in 1914.
Among those assembled on the lawn beside the majestic front steps of the library, located at 537 East Henry Street, were: Senator Lester G. Jackson (D-Savannah and Chatham County), cultural arts advocate Dessie Baker, librarian Mark Darby, author and composer Ja A. Jahannes, historian Charles Lwanga Hoskins, Library Board of Trustees Chairman Dr. Daniel Brantley, Georgia Historical Society Executive Director Todd Groce, founder descendant Ursuline Dickey, Dixon Park Neighborhood representative Helen Washington, Library Foundation Director Lester B. Johnson III, Dixon Park Neighborhood representative Helen Washington, Library Foundation Director Lester B. Johnson III, the library’s current branch manager Adriene Tillman, and many others.
In his remarks on the historical significance of the library, Sen. Jackson noted that one of the reasons his father first moved their family many years ago from Statesboro to Savannah was to gain access to the library. They settled in a house only two blocks away: “He said son, this neighborhood will be an investment in your future. It has a library… Every Saturday morning before I could go out to play, I had to visit this structure…”
Sen. Jackson added the following:
“A hundred years ago, 11 men got together and invested in this community’s future by gathering books. And that’s what this marker here stands for today, an investment those men made in the future of not only young people but everyone. It gave them access to knowledge, it gave them access to history, but most importantly it gave them access to the world… where they could come read books, where they could come collect books, where they could come to understand what was [happening] in the world. And that knowledge is still needed today.”
The men to whom he was referring established themselves in 1906 as the Colored Library Association of Savannah. With a grant from American industrialist Andrew Carnegie, the group was able to build the unique facility at a cost of $104,041.78 but drew on its own resources and community support to provide operational funds and actual books. Construction of the facility, which stands as the only recognized example of Prairie Style architecture (generally associated with Frank Lloyd Wright) in Savannah, got underway in early 1914. Dedication observances were held for it in August of the same year and construction was completed in 1915.
Harlem Renaissance Connections
The date of the library’s construction and opening is particularly significant in light of the Harlem Renaissance that would get underway just as World War I drew to a close. Placed in that context, members of the Colored Library Association of Savannah may be rightly viewed as southern counterparts to such historians and bibliophiles as “the father of black history” Carter G. Woodson and scholar Arthur Schomburg. Like New York’s famed Schomburg Center for Black Culture, the Carnegie Branch Library is an exceptional repository of works related to African-American history and culture on local, state, and national levels.
In more recent times, structural damage forced the library to close in 1997. It reopened in August 2004 with a slate of programs that included a lecture and book signing based on Facts on File’s Encyclopedia of the Harlem Renaissance. In addition to modern technology resources, the renovated library also featured a new east wing dedicated to U.S. Supreme Court Justice Clarence Thomas. The text of the new historical marker notes the significance of its role in the intellectual development of both Justice Thomas and Pulitzer Prize-winning author James Alan McPherson.
To learn more about the Carnegie Branch Library’s history, it hours or operation, or current programs please call (912) 231-9921 or visit the Live Oaks Public Libraries website.
author of The River of Winged Dreams
and Journey through the Power of the Rainbow: Quotations from a Life Made Out of Poetry
Dance is a political strategy that says “yes” to life as opposed to the corporate and terroristic manipulations that so eagerly promote polarization and glorify violent entries into death. Simply put, that is one important reason David Bowie’s 1983 Let’s Dance video (directed by David Mallet) is one of my all-time favorites. Through its subtle acknowledgment of the plight of Aboriginals in Australia, the late great Bowie Jan 8, 1947 - Jan 10, 2016) made two very important statements:
The first statement is very similar to that made by Leonardo DiCaprio when accepting a 2016 Golden Globe Award for his performance in the movie Revenant. It is namely this: the lives of indigenous and “minority” people are something much more than hindrances to a given company’s or government’s preferred agenda. As such, colonizing them (something which can be done in many different ways: economically, politically, socially, etc) or marginalizing the same is not the “acceptable option” so many seem to believe it is.
Put on your red shoes and dance the blues
Dance to the song they're playing on the radio
While colour lights up your face
Sway through the crowd to an empty space…
The second statement made through the video is that as tragically depressing as social injustice and its accompanying agonies can be they do not have to frame or define every moment of one’s existence. The physical and creative energies of dance can relieve the paralyzing tensions caused by systemic drudgery and replace it with a healing sense of inspired positive motivation.
To “put on your red shoes and dance the blues,” as Bowie suggests so compellingly, is one way of transforming sorrow into a temporary state of something close to bliss, and of reshaping subjugation into an exercise in transcendent advocacy. It is a bit of folk wisdom that people of African descent applied to superlative effect during the days of legal slavery in America.
Dancing Away the Blues
At the beginning of Let’s Dance, a young Aboriginal woman (Joelene King) steps into a beautiful pair of red shoes as her friends look on approvingly. Toward the video’s end, the shoes come to symbolize forces of oppression which threaten her native way of life as well humanity in general. So she takes them off and with her companion stomps on them and rejects what they now represent. The young woman and man (Terry Roberts) are last seen dancing atop a green shrub-covered cliff as images fade into gray contrasts between them, the city of Sydney, and open land.
Almost Like Russian Social Realism
Bowie himself stated his intentions in regard to the Let’s Dance video more bluntly. Speaking of both it and the video for China Girl, he pointed out the following in an interview with Kurt Loder for Rolling Stone Magazine:
"They're almost like Russian social realism, very naive. And the message that they have is very simple - it's wrong to be racist! ...I see no reason to f*ck about with that message, you see? I thought, 'Let's try to use the video format as a platform for some kind of social observation, and not just waste it on trotting out and trying to enhance the public image of the singer involved. I mean, these are little movies, and some movies can have a point, so why not try to make some point.” (David Bowie: Straight Time)
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.