From the time when her first short stories and novel were published, O’Connor was identified as a writer with a rare kind of gift. Her specific brand of genius allowed her to adapt powerful religious principles, aesthetic technique, and social observances to create highly original and often shocking literary art which leaned heavily toward the Gothic and grotesque.
She painted with words in the same manner she painted with colors. Stroke by carefully-rendered stroke, she created broken-soul characters who were oddly warped by the jarring impulses of their own scarred personalities, a condition which could make them as misplaced within the confines of their own skin as it could within society.
The Church of Hazel Motes’ Truth
One archetypal example is Hazel Motes, the anti-hero main character in Wise Blood described by Gooch as “a slightly demented saint in the making.” Motes could also be described as a prototype for any number of O’Connor’s characters driven by pain and confusion to rage against their perception of divine, or human, authority over their lives. Hazel Motes is bold enough to propose starting “the Church of truth without Jesus Christ Crucified.” His own ambitiousness and the ambiguities of human mortality inherent in anyone’s life defeat his intentions and ultimately lead to his destruction.
It is not only the daring with which O’Connor wrote such tales as Wise Blood that made her an exceptional writer but an ear for true-to-life dialect and a command of language that enabled her to bend narrative prose into lyrical poetry like this:
“The smokestacks and square tops of buildings made a black uneven wall against the lighter sky and here and there a steeple cut a sharp wedge out of a cloud.” Or the following: “The outline of a skull was plain under his skin and the deep burned eye sockets seemed to lead into the dark tunnel where he had disappeared.”
Such statements, beaded as they were with strong philosophical nuances, would make any writer in any language an exceptional one.
The N-Word Factor
For many African Americans, O’Connor is not an easy read because her fiction is very true to the Southern rural language of her times. That means the word “nigger” tends to flow like breath out of many of her characters’ mouths with such a total disregard for its social, political, or spiritual implications that their use of the word might prompt many a hardcore rapper to reconsider his or her fondness for it.
The degree to which O’Connor herself may have been racist is an issue biographer Brad Gooch does periodically address: “She had returned to settle in a society predicated on segregation and had taken on its charged voices and manners as the setting of her fiction.”
In short, from O’Connor’s perspective as a literary artist, to avoid racially derisive language, and in some cases customs, would have meant dodging an ugly truth rather than confronting it head-on. Moreover, readers should note she was far from being alone in this regard among white and black American writers in the previous century.
NEXT: Exploring the Wonder and Enigma of Flannery O'Connor (final part 3)
If you missed part 1 of Exploring the Wonder and Enigma of Flannery O'Connor and would like to read it Please Click Here.
Aberjhani is a multi-genre author of history, memoirs, poetry, fiction, and journalism. His most recent book is Dreams of the Immortal City Savannah.
In my exchanges with the Dalai Lama on Twitter, we sometimes address the importance of cultivating such practices as exercising compassion and expressing gratitude. My stance regarding compassion has long known per numerous blogs on the subject at Charter for Compassion and elsewhere. I hope my belief in the value of acknowledging thankfulness is also evident not just because Thanksgiving is upon us but because it has long been a fundamental component of my basic approach to daily living.
Gratitude makes an excellent kind of aesthetic and spiritual technology because it refines perspective and sharpens focus on everything from relationships and communications to products and operational results. In other words, it increases individual capacity for reflecting on actions and outcomes. That's pretty much what end-of-year assessments are all about. But in this case, as we head into 2020 we are also talking about the end of an entire decade and the beginning of another.
Goals Identified and Achieved
After surviving back-to-back hurricanes and a severe winter freeze, simply living to see the year 2019 was a phenomenal triumph in itself. The challenges, of course, did not end just because a new year got underway but neither did opportunities for continued growth and exploration.
In the new Bright Skylark Google business portal, I pointed out 3 primary professional objectives going into the year 2019. Those were:
The 100 percent success rate in regard to the above goals was the result of long-term planning, unwavering values, and carefully-applied strategies. Additional unexpected success, however, came from sticking to proven effective practices and maintaining strong relationships with different organizations who share similar values.
The additional unexpected successes came in the form of: a) the publication of a new edition of the novel Songs from the Black Skylark zPed Music Player (ISBN 197703747X); b) inclusion of the Suzanne Jackson Five Decades catalog, which features the poem “Suzannian Algorithm Finger-Painted on an Abstract Wall,” in the industry-leading Artbook/DAP catalog; and c) greater than estimated production for the third quarter of 2019.
The above achievements have positioned Bright Skylark Literary Productions for a strong first-quarter showing for the second consecutive year. That means a good launch for the Decade of the Harlem Renaissance Centennial, with which many Bright Skylark catalog materials are already solidly aligned.
What has been dubbed the second Golden Age of Television, the continuing growth of independent technology giants like Netflix and now Amazon, and independent digital media platforms have increased available outlets for adaptations of literary titles. That observation only matters if such titles themselves are also available. For the purposes of this discussion, it matters a great deal because of an abundance of such assets.
For potential impact on podcast industry please click here .
At Bright Skylark Literary Productions, I've been very fortunate in 2019 to see the following: planned publication of long-term projects, the unexpected publication of new book editions in new formats, work included in an important forthcoming art catalog, the continuation of major titles in progress, and the launch of dynamic new undertakings. All of these have put the year 2019--with the year 2020 likely to follow suit-- on track to become a banner year for literary productions:
The innate quality of each of the above literary texts, based on long-standing Bright Skylark values, practices, and goals, lends itself to very effective multi-media film, audio, or digital treatment. Moreover, the recent discovery of a virtual cache of materials utilized by diverse publishers at Issuu demonstrate potential creative uses of it (although sometimes unauthorized) in ways I had not considered.
Connecting with Millions via Issuu
The non-redacted fact of the matter is many publishers and fellow creatives leading up to this 2019 moment have honored my literary labors by requesting use of specific quotes or citations to lend stronger context and substance to particular projects. So it was not surprising to see those pop up in magazines such as the scholarly JSTOR, or in books like Australian novelist Dianne Wolfer's young adult thriller The Shark Caller.
I was surprised, however, when one of my friendly tech-angels took it upon herself to research inclusion of my work by publishers on the Issuu digital platform and discovered an impressive collection of journal credits had been building up for at least a decade. That meant, unknown to me during all that time, my work had been published in digital pages (please see part 2 for details and photo gallery) accessed by millions of readers around the world on a regular basis. This provided further confirmation of various catalogue titles' and in-progress works' adaptability not only to multiple media formats like podcasts but to different cultural demographic contexts.
So what did I think about that?
NEXT: How 2019 Turned into a Big Year for Literary Productions (part 2)
Harlem Renaissance Centennial
I'm a big fan of those moments when a proven best practice confirms its value by yielding the kind of positive results I like to refer to as: sweet serendipity.
The best practices in this instance are revisiting, revising, and relaunching a promising book project which stalled for one reason or another. The concluding sweet synchronicity is that instead of engaging readers this summer with just the single newly-released nonfiction title, Dreams of the Immortal City Savannah, I am now able to broaden the spectrum of interaction with the first trade paperback release of my high-fantasy novel, Songs from the Black Skylark zPed Music Player.
The Practice of Persistence
This is how it all happened: about three years ago I announced on LinkedIn that Songs from the Black Skylark zPed Music Player had become part of a then innovative book streaming service. Many readers were therefore able to enjoy the adventures and misadventures of its young offbeat characters online. But those who prefer the experience of holding a physical book while reading were unable to do that with the digital innovation.
Overwhelming competition caused the streaming service to shut down. Should that have meant the end of the book's accessibility as well? Not hardly.
I communicated with members of Amazon's Kindle Direct Publishing team about releasing a trade paperback edition of the novel. At the time, the work I'd already started on the Postered Chromatic art galleries combined with deadlines to complete chapters for Dreams of the Immortal City Savannah (ISBN 9789388125956) made it impossible to spend the time needed to make changes requested for Songs from the Black Skylark zPed Music Player (ISBN 9781977037473).
However, once the number of prints in the art gallery reached an acceptable level and DREAMS made its initial debut with a respectable sales ranking and promising focus group feedback, after some three years I was able to turn my attention back to SONGS. Last week, the folks at Kindle informed me the title had gone live and was now available.
Even readers who are not lit nerds like me and certain friends can appreciate the virtually simultaneous release of a memoir like DREAMS and a novel like SONGS. Such synchronicity is not completely unheard of in publishing but unusual without the influence of a major traditional organization.
Adapting to Multiple Format
Although the novel's paperback release was delayed, the issues with which it deals makes it exceptionally timely. The impact of celebrities on everyday culture, effects of war on individual lives, the pull of suicide on fragile psyches, and the persistence of love in the face of relentless horror are realities to which many can relate. Even when they unfold on more than one plane of existence.
Imagine combining the new reality TV show Songland with the paranormal series The InBetween with some metaphysical rock and roll and evolving superheroes thrown into the mix. That will give you some idea of what makes the book unique and why different readers have been drawn to it in different formats.
The 514-page trade paperback represents more than just a single win for a single individual. With today's numerous media producers (Hollywood, Netflix, etc.) in constant search of stories adaptable to films, podcasts, and audio-books, the musical component of the title makes for some exciting possibilities.
Hashtags like #StoriesOutOfGeorgia (despite threats of decreased production due to Georgia Governor Brian Kemp’s controversial “Heartbeat” abortion law) and #ItHappenedInTheSouth have become useful for introducing production reps to the novel as well as to Dreams of the Immortal City Savannah. We can call that kind of exceptional combined potential one more example of sweet serendipity deriving from a steady application of best practices.
NOTE: This article was first published here on LinkedIn.
Harlem Renaissance Centennial 2019
"Simply by allowing its darker-hued brothers and sisters to openly discuss ideas without having to constantly justify, defend, or survive the color of their skin, whether in classrooms of the great Sorbonne or while walking un-hunted down a boulevard, Paris [France] made a crucial contribution to what would become known as the Harlem Renaissance and to the legacy of African-American intellectual traditions in general." from Dreams of the Immortal City Savannah quote, art graphic, & new 2019 book by Aberjhani. Click image to pre-order.
The basic image in this quotation art graphic was derived from visual studies prepared for the works of art which have become known as Harlem Renaissance Deja Vu Numbers 1 and 2 canvases. The work seen above was modeled after a famous photo (photographer unknown at this point) of a young James Baldwin holding a copy of his essay collection, No Name in the Street. In the poster graphic viewed here, this author is seen holding a copy of the forthcoming title, Dreams of the Immortal City Savannah (ISBN 978-9388125956) currently slated for release May 1, 2019. It is also now the focus of a new blog-site you can check out by clicking either the art graphic or this link: Dreams of the Immortal City Savannah
With actress Regina King having won Golden Globe and Academy Awards for her portrayal of Sharon Rivers in the film adaptation of Baldwin's classic novel, If Beale Street Could Talk, plus the critical acclaim garnered by the 2016 biopic, I Am Not Your Negro, the iconic Baldwin is possibly more famous now than ever before. And No Name In Street, of course, has gone on to become an American literary classic.
The personal essay style utilized in Dreams of the Immortal City Savannah may or may not reflect some of Baldwin's influence. He is referenced in the stories "Cities of Lights and Shadows and Dreams," and "Trees Down Everywhere" but any stylistic similarity is not intentional. Contemporary authors who grew up reading Baldwin, as I did, are more likely than not to have been influenced by him to one degree or another on one level or another.
Connecting and Disconnecting
The observation noted in the above quote about the city of Paris's connection to the cultural arts revolution known as the Harlem Renaissance might seem out of place in a book titled Dreams of the Immortal City Savannah. In fact it is not. One reason is because the book is being published during the 100th anniversary of the Harlem Renaissance.
Another is because Savannah, like Paris, also has strong ties to the event which is generally recognized as having lasted throughout the 1920s going into the 1930s, but which endured to a lesser degree well into the 1940s. That such an unlikely connection can be identified between the Harlem Renaissance, Paris (France), and Savannah (Georgia, USA) is one more example of how the phenomenal movement transcended geographical boundaries and strengthened the case for harmonious interactions between multicultural communities.
I first explored that three-way connection in an essay titled The Harlem Renaissance Way Down South, and now revisit it in the aforementioned story, "Cities of Lights and Shadows and Dreams." The narrative stands as a good metaphor for one of the primary concerns highlighted in Dreams of the Immortal City Savannah: how we connect and why we sometimes disconnect during disruptive, or stagnant, moments in our personal lives and shared public histories. Measuring, determining, and applying the value of such awareness holds possible advantages for many more than the denizens of just one city or region.
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.