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
“Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.” --Aberjhani from Splendid Literarium: A Treasury of Stories, Aphorisms, Poems, and Essays. ©Postered Poetics based on original poetry Spencerian calligraphy art by G.A. Gaskell. #NPM16 #PocketPoem
The launch of National Poetry Month, sponsored by the Academy of American Poets, in April 1996, came just three years after the debut issue of the Savannah Literary Journal in 1993. In addition to 49 poems by 35 brilliant writers with regional and national reputations, the 1996 edition of the journal featured six works of fiction and three pieces of creative nonfiction.
My contribution to the journal that year was a personal essay but the title of it, Angels and Shakespeare (later published in I Made My Boy Out of Poetry), revealed the central place verse has always held in my life. So did this epigraph borrowed from the Chilean poet Pablo Neruda:
“For this reason Monday burns like
Both National Poetry Month and the publication of the journal (up until 2001) could be considered as invitations to readers, writers, and publishers to explore a more deeply intimate relationship with language. These invitations coaxed them as well to experience the different levels of power words can wield when endowing our lives with either newly-claimed or wholly-unexpected meaning.
The responses, now 20 years down the timeline, have mushroomed into a worldwide cultural mainstay where National Poetry Month (NPM) is concerned. In regard to the Savannah Literary Journal, published by the former Savannah Writers Workshop, it has confirmed the value of one of the city’s most prized artistic legacies.
Of Bloggers and Nobel Laureates
But what should we say of poetry as a whole during the last two decades when life as so many once knew it shape-shifted into a spinning mass of digital signals, globalized communities unbounded by geographic borders, and astounding varieties of terror clashing head-on with determined demands for liberty?
That now populous demographic of humanity known as bloggers did not exist in 1996 and programmer Peter Merholz would not condense the term “weblog” to invent the word “blog” until 1999. Nevertheless, poetically-inclined bloggers during the first and second decades of this 21st century have done a great deal to ensure poetry occupies a prominent position within the global imagination and humanity’s collective ethical consciousness.
Moreover, the ever-mindful Nobel Prize Committee actually saw fit in 1996 to award the Nobel Prize in Literature to Polish poet Wislawa Szymborska (1923-2012) "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality." And in 2011 it bestowed that same honor upon Sweden’s Tomas Tranströmer , "because, through his condensed, translucent images, he gives us fresh access to reality."
A Movement Designed to Inspire
Obviously the Academy of American Poets’ commitment to recognizing, honoring, and documenting literary excellence within the work of American Poets did not begin with the establishment of NPM. That happened back in 1934 when founder Marie Bullock surveyed America’s literary landscape and came to a certain conclusion.
Despite the quietly-evolving cultural canonization at the time of such poets as Langston Hughes (1902-1967), Jean Toomer (1894-1967), Carl Sandburg (1878–1967), William Carlos Williams (1883-1963), E.E. Cummings (1894-1962), T.S. Eliot (1888-1965), and other American quill-masters of the period, it became apparent that more needed to be done to place poetry on some level of esteem comparable to what it stirred in the literary capitals—such as Paris, London, and Dublin––of Europe.
National Poetry Month more than half a century later represented a game-changing upgrade from previous efforts. Since its start, affiliated programs each successive year have helped observations to grow in scope and influence. Initiatives such as Poem in Your Pocket Day (observed this year on April 21), the Dear Poet Project, and Poem-A-Day (via email) contribute immensely to sustaining the sweet joyful howl of poetry in these new millennial times. The key words and hashtags that dominate social media every April––like #npm16, #pocketpoem, #jazzpoetry, #celebratingpoetry, and the tagged names of favorite poets––denote only one small measure of how successful the campaign has become.
It also did not hurt when citizens of the United States elected a lover and writer of poetry, Barack H. Obama, as their first African-American president in 2008. The following is from a 2009 essay written to commemorate both NPM and Jazz Appreciation Month:
…The birth of the Academy meant the birth of a movement designed to inspire, cultivate, and preserve the voice of American poets. And although it likely was not his intention to do so, President Barack Obama extended that movement not only by bearing the “stigma” of being an accomplished wordsmith but by inviting Elizabeth Alexander––an author of several books but of whom many had never heard until Obama spoke her name––to serve as his Inauguration Day poet.
If there is one thing populations of the world have needed, and received, from poetry for the past two decades, it has been inspiration. But not only inspiration in that classic form which reaffirms the value of faith.
Poetry in our post 9/11 era provides the kind of inspiration that defiantly raises poets’ voices against the brutalities of war, the insanities of terrorism, and the indignities of oppression in all its toxic forms. It empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.
Although the last edition (to date) of the Savannah Literary Journal was published in 2001, its legacy continues to stand as a richly inspiring one. Many of the poets, essayists, fiction writers, and creative nonfiction writers featured in its pages have since gone on to win national and international acclaim in various fields. These are but a few listed in no particular order: Janice Daugharty, Linda Rocheleau, Darryl Lorenzo Wellington, David C. Hightower, Susan Johnson, Lily Keber, Ja A. Jahannes (1942 -2015), Errol Miller, Kathleen Thompson, Toussaint St. Negritude, Dufflyn Lammers, Anis Mojgani, and Vaughnette Goode-Walker. Again, these represent only a few.
Most would probably tell you their greatest contributions to the literary arts thus far have not been particular poems or stories or books. They have instead been the relationships cultivated with the hearts and souls who heard what they had to say and then drew from that hearing enough motivation to speak their own truths to power and pain and joy.
Despite the Cacophony
Whether through contributors to literary journals, the sustained dedicated efforts of members of the Academy of American Poets, or bloggers content just to have a platform where they could post lines at will, poetry has maintained a dynamic living breathing presence in the world.
Despite the cacophony of bombs and bullets which so often drown out the music of laughter (or possibly because of them) poetry at this point in history may very well be more commanding than any other previous time. There are many reasons to believe its potency, and its beauty, shall grow even stronger in the future.
© National Poetry Month 2016
Bright Skylark Literary Productions
When the doors of the Jepson Center for the Arts opened to the public in Savannah, Georgia’s, downtown Historic District on March 10, 2006, it served as one more important reminder that the city is much more than a time-capsule filled with unique Civil War memorabilia. It is also home to many creative progressive thinkers eager to see a more sensible social and political balance than those presently evident.
This week marks the 10th anniversary of the most avant garde facility within the complex of the Telfair Arts Academy museums. The Center’s cultural and educational value to Savannah since its opening has been demonstrated many times over. It proved especially momentous to this author personally when the publication launch for ELEMENTAL, the Power of Illuminated Love (co-created with artist Luther E. Vann) sponsored by the Friends of African-American Arts, was held there May 29, 2008.
Sonic Revelations Painted Abstract Divine
The following year I returned to the center on March 22 with the intention of reporting on an exciting multi-media event taking place there. It featured a group of visual artists referred to as the Creative Force Artist Collective creating abstract paintings and sculpture while jazz saxophonist Jody Espina performed with a live band and audience members danced to the free-flowing vibes. The energy was so intense that I stopped jotting the notes I had been taking to write my story. Instead, my pen joined in with the flying paintbrushes, wailing music, and dancing souls by spontaneously writing the poem titled “Sounds Scribbled Mixed-Media Platinum at the Jepson Center 3/22/09.” The following is an excerpt:
A man sitting monkey-like
The complete poem was later published in The River of Winged Dreams. For me, the event that inspired it and the poem itself came to symbolize one of the ways that the Jepson Center for the Arts had come to exert a powerful regenerative influence on the city’s evolving cultural identity.
Claude Monet and Esteemed Company
Flashing forward to January 2016: I took a trip to the Telfair Museum of Art and Jepson Center for the Arts to conduct some field research for my current book-in-progress. The first surprise as I walked through Telfair Square toward the Telfair was discovering that it undergoing heavy-duty maintenance and repairs. The building was surrounded by scaffolding and the museum’s iconic trademark statues were sheathed in plastic. It would seem administrators wanted the senior museum at its best in time for the younger gallery’s birthday.
Inside the Jepson, I was fully prepared for the splendor that greeted me as I viewed the Monet and American Impressionism exhibit in the Steward Galleries. Given the combination of how French artist Claude Monet’s (1840-1926) singular brilliance had defined, and transcended, an entire era in art history so powerfully that its impact was celebrated in the Southeastern United States two centuries later, breathtaking splendor was about the only thing anyone could have expected. What I had not been prepared for were two different but equally-stunning exhibits in the form of photographs by Jack Leigh and the captivating oversized collage canvases of Mickalene Thomas.
The Evolution of
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.