“It had been more than a year since the Joker’s conquest of America and we were all still in shock and going through the stages of grief but now we needed to come together and set love and beauty and solidarity and friendship against the monstrous forces that faced us. Humanity was the only answer to the cartoon. I had no plan except love. I hoped another plan might emerge in time but for now there was only holding each other tightly and passing strength to each other, body to body, mouth to mouth, spirit to spirit, me to you.” –Salman Rushdie (The Golden House)
Production-wise, in addition to the list of essays and poem noted in the previous post, 2017 will go down in my personal history as the year I completed the long-promised book of essays on different aspects of life in Savannah, Georgia (USA). Among the topics addressed in the book are: the increasing wrath of hurricanes, slavery of the past and present-day human-trafficking, the cultural arts, family life, the legacies of James Alan McPherson and Flannery O’Connor, John Berendt’s Midnight in the Garden of Good and Evil, and the enduring allure of the city of Paris, France.
Not too long ago, I responded to a tweet by fellow author J.K. Rowling in which she proposed something which prompted me to think about the scope of material covered in my book: “…If I had listened to 'the rules' back in 1990, there would be no Harry Potter. Stories about schools are passé. 95k words is too long” (https://twitter.com/jk_rowling/status/928688419332657153).
I thanked her with the following reply: @jk_rowling You just gave me a lot 2 think abt. I've been thinking my latest manuscript might actually be 2 #books, not 1. Btw I was a #bookseller in 1990 & HP [much later, around 1998] got me a sales bonus. #Thanks4That
Rowling’s comment––though she may have meant differently from how I first interpreted it–– made me wonder if, in my zeal to write a new kind of creative nonfiction about life in Southeast Georgia as it relates to a single individual and the larger world, I had overreached. She had noted the length specifically in regard to “Stories about schools.” But when I picked up copies of The World and Me, and The Beautiful Struggle by Ta-Nehisi Coates, I estimated each was no longer than 45,000 to 50,000 words. My manuscript by comparison was closer to what JK Rowling––or publishers responding to early Harry Potter manuscripts––had described as “too long.”
Then again, Ibram X. Kendi’s National book Award Winning volume, Stamped from the Beginning: The Definitive History of Racist Ideas, is almost 600 pages long. So which was preferable: concision or heft?
This quandary, I decided, is by no means a tragedy because the new manuscript is written in such a way that it can be published as either a single large edition suitable for attracting those impressed by authorial range, or, as two separate corresponding books attractive to readers who prefer more compact volumes. The popularity of having options could ultimately add to the votes in favor of two volumes rather than one. For right now, the forced considerations provide further evidence of a year which turned out to be exceptionally productive despite endless streams of political, financial, and other kinds of unruly disruption.
Rebirth of a Visual Artist
The other important production news of the year 2017 came from the launch of the Postered Chromatic Poetics store at Fine Art America. As happy as I am that the store opened, it was one of those developments which evolved naturally out of already-established activities as opposed to stemming from a planned enterprise.
Digital art, photography, and mixed media creations have expanded my capacities for communicating literary and philosophical observations about life as we experience it on different physical, mental, and spiritual levels. They increasingly provide frames, inspiration, and useful commentary for some of my most accessed writings.
It was quite an honor when supporters of the Renaming the Eugene Talmadge Memorial Bridge Symposium were presented with gift cards of my Savannah River Bridge The Morning after Hurricane Matthew No 2 as commemorative keepsakes for the historic event. (All of my Postered Chromatic Poetics artwork is currently available until January 7, 2018, at 40 percent off using promo code MEKCFJ). This specific piece formerly was named The Eugene Talmadge Memorial Bridge The Morning after Hurricane Matthew No. 2 for the sake of historical accuracy but more and more it seemed self-defeating to keep using Talmadge’s name while simultaneously calling for its removal from the bridge.
On Eulogies and Elegies
Diverse professional priorities and obligations made it impossible for me to respond, as I often have in the past, to the loss of every beloved figure in 2017 with individual poems or essays. Actress-singer Della Reese, actor Nelsan Ellis, playwright-actor Sam Shepard, actor Robert Gillaume, and rock and roll legend Fats Domino are only a few for whom I did not get a chance to write the kind of tribute I would have preferred. Thankfully, social media made it possible to at least acknowledge most of those to whom we bid farewell during the previous year. I did a little better when it came to jazz master Al Jarreau and the great human rights advocate Dick Gregory:
Prospects and Milestones
What does all of this mean as we settle into the year 2018? Simply that a lot good ground work has been laid to increase the potential for significant accomplishments over the next 12 months. In light of difficulties so many of us are facing on personal, local, national, and international levels, that is a valuable prospect to keep in mind. We can add to those prospects a number of notable milestones towards which we may look forward:
Positive as well as negative world events are going to have their say when it comes to whatever plans and resolutions we declare for this brand New Year 2018. That’s just the way reality rolls and it is all the more reason to salvage the best of everything worthwhile gained in 2017 while preparing to step up our games with just a little bit more inspired drive and determination for 2018.
8 January 2018
Bright Skylark Literary Productions
On any given day of the week, the creator of Postered Chromatic Poetics and co-author of Encyclopedia of the Harlem Renaissance, Aberjhani, may be found wearing any number of hats: historian, visual artist, poet, advocate for compassion, novelist, journalist, photographer, and editor. Having recently completed a book of creative nonfiction on his hometown of Savannah, Georgia (USA) he is currently writing a full-length play about the implications of generational legacies as symbolized by efforts to rename the Eugene Talmadge Memorial Bridge.
In his lifetime, Dick Gregory (1932-2017) achieved the distinction of becoming a celebrated athlete, conscientious comic, civil rights leader, devoted (in his own singular way) family man, philanthropist, American icon, and author of more than a dozen books.Publisher Harper Collins released his most recent title, Defining Moments in Black History, Reading Between the Lies, on September 5, 2017. The event was a highly-significant one for a 21st-century America in which racial conflicts continue to fuel social and political division. It also represented the extension of a major literary legacy begun at the height of the 1960s Civil Rights Movement.
‘For Black Folks and White Folks’
Gregory possessed an uncanny ability to transform the soul-crushing anguish of racism and poverty into healing inspiration. As rare as such a gift can be, it is on full display in his first triumphant publishing venture: the classic autobiography titled Nigger, (written with Robert Lipsyte).
My used paperback edition of the book was published in 1964 and has a cover price of $1.94. On its now-famous front is a beautiful black and white photograph of Gregory beside a red starburst with bold white text announcing in all caps: OVER ONE MILLION COPIES SOLD. The copy in my possession has been so thoroughly read and re-read by different people that the cover has started coming off and had to be reinforced with cellophane tape.
As impressive as the book’s 1 million-plus sales figures are, equally noteworthy is an observation shared by Gregory in its pages about the history and future of the struggle to which he would dedicate so much of his life:
“It started long before I came into it, and I may die before it’s over, but we’ll bust this thing and cut out this cancer. America will be as strong and beautiful as it should be, for black folks and white folks” (p. 209).
Few in 1964 would have imagined those words retaining the relevance which they have for more than half a century. Yet the #TakeAKnee and Black Lives Matter movements, both of which owe some ideological debt to the icon’s legacy, indicate they have never been more applicable. In addition, Mr. Gregory has indeed passed on while the struggle has not halted but intensified in ways unpredictable before the advent of social media.
On August 20, the day before the great eclipse of 2017, I learned that Gregory had died on the 19th at the age of 84. Prior to learning about his death, my plan for the day had been to spend some time constructing an outline for an article or an op-ed in response to suggestions the Confederate Monument in Savannah’s (Georgia, USA) Forsyth Park should be removed. But news of the great satirist’s demise prompted me once again to pick up his brilliant autobiography.
‘More Hope in Laughing’
In his own way, Richard Claxton Gregory, who was born on Columbus Day, was as politically dynamic as Malcolm X, as spiritually motivational as Martin Luther King Jr., and as socially revolutionary as Nelson Mandela. Yet his talent for coaxing laughter out of the most brutally inhumane situations set him apart as an astonishingly unique and painfully necessary individual.
He said his genius for employing comedy in the face of humor-less oppression derived from a lesson taught by Lucille Gregory (1909-1953) his mother, whom he saw cruelly beaten by Presley Gregory (b.?-1964) his father: “She taught us that man has two ways out in life—laughing or crying. There’s more hope in laughing” (p. 25).
In regard to the highly-controversial word chosen for the title of his autobiography, he examined it from many different angles and concluded it said more about people who used it to express hatred that it did about people who were targets of its use. He himself employed it in different situations, such as in 1963 during a protest demonstration in Greenwood, Mississippi, when threatened by a white policeman: “Nigger, you want to go to jail?” (p. 172). By that time, when he was 30 years old, Gregory had already become one of the most successful comedians in America and responded to the policeman as follows:
His words represented more than just a furious retort. Gregory felt a deep compassion for humanity as a whole; one of his early mentors was the white Southern Illinois University track and field coach Leland “Doc” Lingle. Like many of the great civil rights activists of his time and now, he believed racism was at least as injurious to those who practiced it as it was to those dis-empowered by it.
In the universe as the comically-inclined author saw it, whether certain words cause an individual’s soul to bleed or help it to heal depends on the emotional intent expressed behind its use. Hatred can turn a beautiful poem into a curse. Love can transform an expletive into a benediction. Therefore, the same word which word which sustained an intense encounter between him and a policeman could make others smile: such as when reading this dedication to his mother:
“Dear Momma––Wherever you are, if you ever hear the word ‘nigger’ again, remember they are advertising my book.”
Maintaining that fine-line balance between humor and rage never became easy. In light of the author’s commitment to eradicating social injustice, however, the ability to do so remained critical.
NEXT: Text and Meaning in Dick Gregory’s ‘Nigger’ part 2: Unyielding Commitment
On any given day of the week, the creator of Postered Chromatic Poetics and co-author of Encyclopedia of the Harlem Renaissance, Aberjhani, may be found wearing any number of hats: historian, visual artist, poet, advocate for compassion, novelist, journalist, photographer, and editor. Having recently completed a book of creative nonfiction on his hometown of Savannah, Georgia (USA) he is currently working on a play about the implications of generational legacies as symbolized by efforts to rename the Eugene Talmadge Memorial Bridge.
Quotation Art on birth , rebirth, and poetry: “Born once of flesh, then again of fire, I was reborn a third time to the sound of my name humming haikus in heaven’s mouth.” Text and Self-portrait art by Aberjhani–– (from The River of Winged Dreams) copyright 2017 (Postered Poetics by Aberjhani @ Bright Skylark Literary Productions 2017)
The diamonds referenced in the above title symbolize two concrete objectives as well as the more metaphysically metaphorical interpretations some might glean from it.
The first among the two material objectives is an examination of themes, meanings, and historical events that have provided some degree of context for my life up until this point. These are the subject of my current 4--part blog series on Charter for Compassion titled: Notes on Compassion in the Summer of a Life Infused with Democratic Vistas and Creative Resistance. So far we are up to part 3 and you can check them out by clicking the images in this post.
The second objective is a serious consideration of creative projects recently-completed and others just getting underway. Of these, the most immediate is a book of creative nonfiction on cultural arts, history, and race relations within Savannah, Georgia (USA).
This is one of those books which had to be lived before it could be written. And I admit the living was not always easy but I celebrate having come this far to share the tales told in its pages.
Additional components of the second wave of planned goals include: ongoing development of the Chromatic Poetics art project; and––a big drum-roll here—completion of at least one of the two plays currently sitting on my desk waiting for characters to take the stage.
For those who wonder why or how it is the engine room of my creative output remains so productive, the answer is more simple than complex. When looking at everything going on socially, politically, spiritually, economically, and otherwise-ly in our extraordinary world, it becomes impossible for me not to contribute in some way to the many dialogues that could make a powerful positive difference.
Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist Award, and Poet of the Year Award. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia.
For the part 1 introduction to this blog on artwork which has recently become available please check it out right here. Part 2 begins right here right now:
Beauty of the World's Fountains
Fountains are among the most admired ornamental man-made structures because they combine the artistic beauty of refined sculpture with the precision of engineering and architecture. Celebrated examples can be found all over the world, including Savannah, Georgia. One of the city's most famous is the subject of two new Postered Chromatic Poetics images. Below is the accompanying text for the art and although I like both very much, I confess to being particularly pleased by the results achieved with Champagne Twilight:
Sepia Afternoon: Forsyth Park Fountain in Savannah, Georgia (USA)
A solitary figure stops in front the Forsyth Park Fountain to enjoy one of the city of Savannah's most popular and majestic attractions.
Ever since the days following the American Civil War, the fountain has been a favorite location for residents and visitors alike to take photographs. During the war, the park was known as the South Common military encampment where prisoners of war, a hospital, and poor house were maintained.
The fountain's spraying water is dyed green every year in celebration of St. Patrick's Day. In this image, late afternoon sunlight on a hot summer day creates an amber sepia haze that colors the air and water, slightly clarified and enhanced by digital filter.
Champagne Twilight: Forsyth Park Fountain in Savannah, Georgia (USA)
The elegantly-sculpted Forsyth Park Fountain, also referred to as the Versailles Fountain, dates back to the 1850s when model for it was derived from French-styled designs of the period. Along with the Confederate Monument, this is one of the primary centerpieces of Forsyth Park. The present-day fountain is the result of many renovations over the past century and a half, including a complete restoration in 1988.
A robed woman adorns the top of the fountain as water birds and tritons (or mermen) spout water below. In addition to benches that allow passersby to sit and enjoy the view, the fountain is surrounded by moss-covered oaks, palm trees, magnolias, and elms.
Prior to becoming known as Forsyth Park, the location during the Civil War was the South Common military encampment where POWS and a hospital were maintained.
Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist, and Poet of the Year. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia.
NOTE: If you missed part 1 of this special tribute to the jazz singer and songwriter Al Jarreau please check it out here. Part 2 begins now.
For the past few years, I have been particularly grateful for the technological advances that allowed me to catch online streaming of Al Jarreau's International Jazz Day performances from around the world: Washington D.C, Istanbul, Paris, etc. When news of his death came on February 12, 2017, the only thing I could really focus on was the astonishingly beautiful gift that was his presence in this world.
The first song by him I was able to access to commemorate his triumphant artistry was an MP3 file of the 1993 live version of "Summertime" from George Gershwin's and DuBose Heyward’s classic folk opera Porgy and Bess. The second was a 3-song set with the equally-amazing singer Randy Crawford on their 1982 Casino Lights CD recorded live in Montreux, Switzerland. Once again, like all those years before in Berkeley, I found myself compelled to sing along. This time, employing a style utilized for the Songs of the Angelic Gaze series published in The River of Winged Dreams, my participation took the form of a haiku jazz poem:
Jarreau Jazz-riff Earth-tunes for
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.