Visionary Vibes: A Blog by Aberjhani

The Art of Beautifying America’s Infrastructure

6/3/2023

Detail from "Henry Street Underpass No. 2" by Aberjhani. Complete fine art photograph art print by Aberjhani available for purchase on Pixels.com and Fine Art America.com.

The need to repair, improve, and some would say beautify America’s aging infrastructure, helped U.S. President Joe Biden score some major political points with the passage of his $1 trillion bipartisan infrastructure bill in November 2021. It will be a while before the majority of Americans get to experience actual physical results of the accomplishment and come to fully appreciate what it means.

The power of art, however, is such that it allows creatives like Lady Pink, Banksy, and Eduardo Kobra to apply their particular visions of future possibilities for public architectures more immediately. Even public areas subject to war can function as art installations which convey messages more aligned with hope and beauty.

Sustainable Inspiration

The henry Street underpass in Savannah, Georgia, is a very unique feature of the city’s infrastructure. Its solid design appears more than capable of continuing for years to support the freight cars which rumble across the rail tracks above it nearly every day. The walls of the underpass have also long proven an ideal space for various visual artists to express themselves. I have not been as bold as some to place images directly on the walls of the underpass, but the structure has inspired creative efforts by me more than once.

The first time I shared the story of my enduring interest in the Henry Street underpass was in June 2018 when I completed work on two fine art photographs: “Henry Street Underpass Number 1 and Number 2.” With those images, I mostly wanted to document what stood out for me as the passageway’s amazing design largely defined by giant steel X’s. I had walked through it many times as a child but only much later, after leaving and returning for extended stays, did it strike me as something extraordinary.

Art detail from "Henry Street Underpass Art Portal No. 1" by Aberjhani now available for purchase on Pixels.com and at Fine Art America.com.

More recently, I wondered what it might look like to utilize the space as the setting for an art installation. The prospect was an unlikely one to attempt on the street itself but completely doable as reimaginings presented on a mixed-media canvas. With that in mind, I have been able to produce a series of "Henry Street Underpass Art Portal” art pieces. A detail from Number 1 is seen above. Two complete images are now available for purchase on Fine Art America.com and Pixels.com.

It is obvious that art cannot accomplish the kind of work which machinery and engineering will over the next few years as different types of infrastructures are reinforced, or completely replaced. What it can do is help us remember that notions of progress do not have to come at the expense of beauty or mindfulness in our lives. In fact, each can help enhance the valued purpose of the other.

Aberjhani

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Explore Black Music Month at Bright Skylark Literary Productions

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The Jazz Factor: Chronicling Legacies of Black Artists in Savannah (part 3 of 3)

5/29/2022

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One of Luther E. Vann’s greatest sources of artistic inspiration was the music of jazz. Viewers of his paintings sometimes attempt to describe a certain fusion of impressionistic and expressionistic energy experienced when looking at his work. It may very well be the same energy the painter experienced when imagining himself in a room with Thelonious Monk seated at one piano and himself at another, the two of them trading riffs and solos “straight with no chaser.”

At the awards ceremony held in the Jepson Center for the Arts, where Vann was recognized as the Telfair Museum Juneteenth Artist of the Year 2015, former Savannah State University radio station manager and Coastal Jazz Association president Theron A. “Ike” Carter spoke of the painter’s passion for the music. He recalled with some pride how Vann once said part of the reason he felt he could remain in Savannah after years of living in New York was because he had heard Carter play Monk's "Coming On The Hudson" on one his broadcasts.

Listening to the Jazz Griot of Savannah

During his stewardship over radio station WHCJ 90.3-FM for more than two decades, Carter became what might be described as a Jazz Griot. He consistently promoted jazz as African America’s “classical music” in a variety of shows, including: Impressions, Jazz by Popular Demand, Masters of the Art, Outside the Box, and Listen Here.

In fact, through the accumulated treasury of transmissions documenting the personalities, moments, instruments, and movements that composed the history of African-American classical music, Vann could do more than commune with Thelonious Monk as an influential muse. He could hang out via the southern airwaves with jazz masters like Duke Ellington, Ella Fitzgerald, Billie Holiday, Louie “Satchmo’ Armstrong, Charlie “Yardbird” Parker,” “Sassy” Sarah Vaughn, and Nina Simone as peers providing reassurance from another era.

Screenshot of a Google search result for books exemplifying ekphrasis, or collections of poetry based on visual art, placing Luther E. Vann's and Aberjhani's ELEMENTAL at the top of the list.

Moreover, upon the artist’s passing, Carter dedicated a special broadcast of Listen Here to Vann. The show’s format follows that of a round-table discussion in which guests share and comment on favorite jazz recordings. Participants in the tribute to Vann included painter Suzanne Jackson, sculptor Jerome Meadows, and Lisa Jackson.
Suzanne Jackson recalled first meeting Vann in New York at a gallery where they had work in the same show. Later, they were equally surprised to learn both had relocated to Savannah.
“I believe people,” said Ms. Jackson, “are going to be very grateful to Luther for painting scenes in Savannah that no longer exist.” (Check out: Suzannian Algorithm Finger-Painted on an Abstract Wall)

The music generally provided a Harlem-New-York-City atmosphere in the comfort of his studio (first maintained inside his home and later constructed as the infamous Barn behind it). As he had done while growing up, he could once again combine creative input from the North and the South within his singular being and transfer vibrant interpretations of the experience directly onto canvas. There are some direct homages to music in the pages of Elemental, the Power of Illuminated Love––for example “Christ Listening to Stereo,” “Night Dance,” and “Musical Delight”–– but it is more evident in the 2011 exhibition, Songs of My People.

Cultivating Individual Distinction

What makes any artist exceptionally notable are not outstanding influences or even history-shaping movements with which one might be associated. Those elements play their part but individual distinction derives from how an artist combines different external components with personal experience to communicate statements endowed with elevated meanings.

The different meanings that color images created by Luther E. Vann are not always apparent. That is both as he intended it to be, and for him, the only way it could be.

He generally advised people to spend time with art––not just his but that of any serious artist––and allow it to possibly introduce them to a new experience or empower them in unexpected ways. That is exactly what different forms of inspired expression did for him throughout his life. Those who have collected his work or viewed it in exhibitions over the years have often validated Vann’s words with their own comments. Newcomers to his painted multiverse could find themselves doing the same.

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

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Conversations with the World 106: Reconciling Race & Justice in America

4/27/2021

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"A Crown & Castle for George Perry Floyd Jr. No. 1" art by Aberjhani C2020)

EDITORIAL NOTE: Previous installments of the Conversations with the World Series have featured different translations of popular quotations from my books. This one includes two which many have employed over the past few years in protests against social and racial inequality.

The emerging consensus regarding former policeman Derek Chauvin’s conviction for the murder of George Perry Floyd Jr. appears to be calling not for reduced, but increased advocacy targeting social and police reform in America. President Joe Biden and Minnesota State Attorney General Keith Ellison, along with numerous others, voiced this repeatedly after Chauvin’s three-weeks-long trial ended April 20, 2021 (just over one month shy of a year after George Floyd’s death on May 25, 2020). Members of Mr. Floyd’s family have suggested the same.

What their calls could mean in Savannah, Georgia, is redoubled efforts to protect voting rights in light of the recent passage of the so-called Election Integrity Act of 2021, even as Governor Brian Kemp urges other state leaders to follow suit. Or it could manifest as yet another push to remove the name of white supremacist Eugene Talmadge from the Savannah River Bridge by staging demonstrations on, and marches across, the bridge until that simple but very consequential action is taken. On the national level, such advocacy increases chances of the George Floyd Justice in Policing Act of 2021 will become an actual law.

Believing What You See

In their closing arguments for Mr. Chauvin’s trial, prosecutors encouraged jury members to believe what they had seen in multiple videos showing the former officer’s knee bearing down on Mr. Floyd’s neck until the latter died. It would not have surprised me if, while deliberating Chauvin’s guilt or innocence, jurists discovered they were not able to believe what they saw. It had taken me, after different videos first began surfacing in late May 2020, more than a week to believe what I was seeing.

"Fusion of Faith & Resilence" art by Aberjhani with quote from the book Journey through the Power of the Rainbow.

My first instinct was to call them deep-fake videos produced by people looking for their shot at social media stardom. Maybe this White man in a police uniform was only pretending to pose like some infamous hunter over subdued game while staring, with a toxic mixture of arrogance and defiance, at cameras recording the insanity. Maybe that other gentle giant of a Black man, who probably could have snapped Chauvin in two had he not consciously chosen to respect his authority as an officer of the law, and who cried out repeatedly to someone whose love he did not doubt, was not really gone after all. Except that he really was.

Global Support for African Americans

Strangely, what broke my frozen-in-time disbelief was another set of images which flashed across the globe over the weeks that followed. Protesters in Pretoria, Madrid, Rio de Janeiro, London, Paris, Tokyo, Hong Kong, Sydney, Berlin, and many more international cities took to streets, plazas, and fields to register their rejection of the hatred documented so thoroughly and horrifically. Their actions, however, also demonstrated something else which many may not have considered.

In different capacities internationally, African Americans have become known to the world as something very different from what Chauvin chose to dismiss with such heinous disregard. And certainly different from what a bridge named after former Governor Talmadge would have visitors to Savannah believe. Globally, various Black performance artists, athletes, members of the military, business partners, and spiritual consultants have become highly-valued members of an extended family. This value was something the policeman could not imagine. As prosecuting attorney Jerry Blackwell stated repeatedly during opening and closing statements of the trial, “He didn’t get up, and he didn’t let up.”

Questions & Possible Answers

It is worth questioning why Chauvin felt so comfortable murdering someone suspected of having passed on a counterfeit $20 bill and why his subsequent conviction was not a foregone conclusion. The same question bears contemplation when examining circumstances surrounding the deaths of: Ahmaud Arbery, Breonna Taylor, Elijah McClain, Tamir Rice, Trayvon Martin, 13-year-old Adam Toledo, 20-year-old Daunte Wright, and 42-year-old Andrew Brown Jr. Not a comprehensive list by any means but only of names which come most readily to mind at this moment. Questions regarding them have also hounded me my entire life in regard to the 1963 death of my adolescent brother Robert Lee, shot in the back and killed by police here in Savannah.

The answers have to do with the casual manner in which too many Americans, until now (possibly), have chosen either actively or passively to sustain a culture which encourages the advancement of one demographic based on the detriment of another. The short name for this is well known: systemic racism. Because it truly is SYSTEMIC, ironically, any number of African Americans, Latinos, and Asian Americans have been conditioned to perpetuate its devastating consequences in subtle and sometimes not-so-subtle ways.

Martin Luther King Jr. knew he was not going to see the end of racism in his lifetime just as Barack H. Obama knew his election to the U.S. presidency would not accomplish that extraordinary feat. The current U.S. Vice President Kamala Harris acknowledges the same. Nonetheless, the conviction of Derek Chauvin has, perhaps like no other single court ruling in U.S. history, confirmed that it can be done.

The successful movement to see justice delivered on behalf of George Floyd’s family was accomplished by engaged citizenry applying sustained advocacy at every social level where diverse people happened to find themselves. As impossible as it may seem to end racism at this current history-making moment, perhaps the best way to honor Mr. Floyd’s amazing contribution to the effort is to do all we can anyway to make sure it does end at some point. Otherwise, what good does it do to celebrate such things as a small helicopter called Ingenuity lifting itself for a few moments off the surface of Mars 181.55 million miles away? In what way would it make sense to continue boasting about advancements in artificial intelligence if we refuse to commit our innate human intelligence to healing the world of the life-destroying disease that is racism?

Aberjhani
Co-Author of Encyclopedia of the Harlem Renaissance
Author of Greeting Flannery O’Connor at the Back Door of My Mind

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Exploring the Wonder and Enigma of Flannery O'Connor (part 1 of 3)

12/19/2019

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Flannery O'Connor Wonder & Enigma title art graphic for Aberjhani's Postered Chromatic Poetics.

Among the biggest surprises to come my way in 2019 was an invitation to give a talk and sign copies of Dreams of the Immortal City Savannah at the Flannery O'Connor Childhood Home in Savannah, Georgia. Health issues prevented me from accepting the initial invitation but I am now slated to give a presentation in May 2020. The plan is to also have available for signing a forthcoming book in which I recount adventures and misadventures involving three iconic writers: O'Connor, James Alan McPherson, and John Berendt.

Any literary biographer will tell you writing a book of meaningful depth on an influential author requires a ton of research involving what other writers have already said about the subject. The following are reflections on another scribe's brilliantly-informed perspective, first published by AXS Entertainment as: "Events, Books, Highlight Flannery O’Connor’s Legacy."

Regarding a Gifted Child

One of the words most frequently used to describe Flannery O’Connor is “paradoxical.” Exactly why that word is such an appropriate one is demonstrated with informed passion and masterful skill in Brad Gooch’s finely layered biography: Flannery, A Life of Flannery O’Connor.

The fact that the mystery of O’Connor’s life and work continues to draw increasing attention in the twenty-first century is amazing when considering how steeped it is in the language of her times—the very racially-charged South of the mid-1900s–– and when noting her early death from lupus at the age of thirty-nine.
Gooch begins his story by revisiting a moment which would remain a reference point of both humor and symbolism throughout O’Connor’s remarkable life. He takes us to the author’s childhood home in Savannah, just off Lafayette Square, where in 1930 she was visited by a news cameraman “to record her buff Cochin bantam, the chicken she reputedly taught to walk backward.” While a chicken may have been the first bird to enhance her public profile, in her personal essay about the incident, The King of the Birds, O’Connor noted “My quest, whatever it was actually for, ended with peacocks.”

Her childhood penchant for reversing the accepted order of things might be read as nothing more than weird if attributed to another five-year-old. Because it is O’Connor, it may instead be viewed as one early hint of a creative sensibility which in time would create and coax characters into acting out challenging dilemmas of the human condition as she observed it. Biographer Gooch’s narrative is particularly astute when it comes to his evocation of how that sensibility recognized its own value and instinctively preserved itself within “a regulated and meticulously organized world within a world.”

Flannery O'Connor quotation art graphic by BrainyQuote.

Her tactics included the creation of poems, cartoons, and booklets in which she presented portraits of Edward O’Connor, her adored businessman father, and the resilient Regina Cline O’Connor, her mother. They also included somewhat restrained rebellions against the authority of the nuns, at St. Vincent’s Grammar School for Girls, whose job it was to help shape her character into one reflecting modern Catholic grace and values.

Like nearly all Americans who grew up during the 1930s, Flannery O’Connor’s childhood was marked by the economic ravages of the Great Depression. Her father lost first his real estate business, then a succession of jobs until he was forced to accept a position in Atlanta in 1938 and moved his family to Milledgeville, where in time his daughter would become one of its most famous citizens. Even more notable than the family’s financial up and downs was Edward O’Connor’s death from lupus at the age of forty-five in 1941. His daughter was then fifteen.

Each turn of fate in Flannery O’Connor’s life as recounted by Gooch seems to have reinforced her personality with powerful measures of theological insight, focused creativity, and humor. A couple of years following her father’s death, she noted: “A sense of the dramatic, of the tragic, of the infinite, has descended upon us, filling us with grief, but even above grief, wonder.” Most people stop at the “grief” part and allow themselves to simply wallow in it until ready to move on. The mystery of the “wonder” continuously pushed O’Connor forward.

Loss and Suffering

Flannery O'Connor: Acts of Redemption from Elizabeth Coffman on Vimeo.

At the age of twenty-five, in December 1950, she was told she was suffering from a severe case of rheumatoid arthritis, but two years later learned her true condition had been hidden from her. Sally Fitzgerald, one of her closest friends, told her she was suffering from the same disease which had killed her father. By the time she learned her actual condition, she had already distinguished herself as an aspiring writer at the famous Iowa Writers’ Workshop and as one from whom great things were expected at the renowned Yaddo Artists’ Colony. Her status as a professional author rested mostly on a number of short stories published in prestigious literary journals and on her now classic 1952 novel, Wise Blood, published just a month before learning about her medical fate.

Such “devastating knowledge” might have reduced another sensitive soul to a simmering puddle of depression from which they might never have recovered. As Gooch points out:

“She did not know whether she would be allotted the same three years of borrowed time as her father, following his diagnosis, or if indeed ‘the Scientist’ possessed a miracle cure. She had her doubts.

She also had her faith and intellectual passion, both of which helped her to confront the enemy known as lupus. (Gooch’s report on how doctors treated individuals with the disease in the 1950s is particularly interesting in light of the Food and Drug Administration’s 2011 approval of a drug called Benlysta as a treatment option; the authorization marked the first time in fifty-four years a new drug received such an endorsement.)

NEXT: The N-Word Factor: Exploring the Wonder and Enigma of Flannery O'Connor (part 2)

Author

Aberjhani is the author of Dreams of the Immortal City Savannah and co-author of Encyclopedia of the Harlem Renaissance. He is also an accomplished artist & photographer.

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A Hidden American Treasure Comes to Revelatory Light (part 1 of 3): Geography & History

9/9/2019

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Title-art graphic featuring artist Suzanne Jackson in conversation on stage at the Telfair Museums' Jepson Center for the Arts. (Art graphic by Aberjhani)

Anyone on June 27, 2019, attending the opening of the Suzanne Jackson Five Decades retrospective at the Telfair Museums' Jepson Center for the Arts in Savannah, Georgia (USA), or involved in its production prior to that historic evening, could tell something exceptional was happening. In addition to the mesmerizing kind of vibrant textiles and stunning canvases one might expect to discover at such an opening for a contemporary artist, there were seven vitrines (display cases) filled with family photographs, vintage 1960s flyers advertising a "Revolutionary Art Exhibit," sketchbooks, program notes, letters, photographs, and other revealing archival materials from different chapters of Jackson's, and America's, life stories.

The items made available went beyond career highlights to illuminating an artist's considerable immersion in a significant historical moment: the 1960s-1970s Black Arts Movement as it rooted and flowered in Los Angeles and San Francisco, California. For those observers of African-American history who contend America's West Coast contributed much less to the Harlem Renaissance than other regions because it lacked, during the 1920s-1940s, a heavy representation of the traditions and institutions then associated with Black culture in the South, the 1960s may be considered the bridge which connected history and geography.

Ideas of how and why that might be the case, within the context of Five Decades, first struck me as apparent while listening to the on-stage conversation between Jackson, fellow artist Alonzo Davis, and Telfair Museums curator Rachel Reese. Jackson's and Davis's stories of establishing art galleries in downtown Los Angeles, building a sustainable cultural arts community, and balancing commitments to careers and political struggle with commitments to family life were not completely unlike what we find in the life stories of East Coast predecessors like Lois Mailou Jones and Augusta Fells Savage.

This observation does not contradict the contexts of ecowomanism and black feminist ethics contexts in which the brilliant essays by Reese, julia elizabeth neal, Melanee C. Harvey, and Tiffany E. Barber place Jackson's work in the forthcoming Five Decades catalog. It simply acknowledges one more powerful aspect of the place she now occupies as an influential contemporary artist of historical importance. In her foreword to the catalog, artist Betye Saar alludes to the significance of Jackson's role as someone whose art and advocacy have bridged gaps:

"In the 1960s, black artists in Los Angeles were struggling to be recognized. Some public venues had integrated exhibitions, but generally speaking black artists were ignored... Suzanne made a concrete imprint when she opened Gallery 32 on Lafayette Park Place..." (Appropriately enough, work by the 93-year-old Saar herself is currently undergoing a kind of revival with forthcoming solo shows at the Los Angeles County Museum of Art and the Museum of Modern Art in New York City.)

After Jackson's, Davis's, and Reese's dynamic conversation, the feeling when walking among the dozens of artworks hung with dazzling appeal in the Steward North and Kane Galleries, absorbing the full impact of the actual exhibit, was like glimpsing a long-hidden priceless American treasure. Those who have yet to treat themselves to the experience still have until October 13, 2019, to do so at the Jepson. Just as importantly, the exhibition catalog is due out September 25 and orders for it are being accepted now.

Continental Crossings & Fortuitous Connections

Artist Suzanne Jackson (right) speaking with librarian Mark Darby (left) at historic 2004 "Harlem Renaissance in Savannah" book signing and lecture presented by Aberjhani (center) at the Carnegie Branch Library in Savannah, Georgia (USA). (Photograph Bright Skylark Literary Productions Collection)

My journey toward the almost magical evening of June 27 actually began on August 28, 2004, when Ms. Jackson attended my "Harlem Renaissance in Savannah" lecture and book signing at the Carnegie Branch Library in Savannah. Since relocating to the city eight years earlier, she had been surprised to discover the African-American cultural arts scene was as vibrant as it was and included someone who had co-authored (with the late Sandra L. West) the groundbreaking Encyclopedia of the Harlem Renaissance.

I was surprised and impressed to learn she had lived on the West Coast--just as I had in San Francisco--and now taught at the Savannah College of Art & Design (SCAD). If I'd had the slightest prophetic clue of the visual marvels that would be revealed 15 years later, I would have been flat-out amazed.

Mounted wall screen showing video images from life and career of artist and educator Suzanne Jackson. The video was part of the opening for Jackson's Five Decades Retrospective at the Telfair Museums Jepson Center for the Art in Savannah, Georgia, on June 27, 2019. (Bright Skylark Literary Productions photograph by Aberjhani ©2019)

That early meeting was genuinely fortuitous because in those days my responsibilities as a caregiver had already started to limit participation in public events. I nevertheless did make it out occasionally and during the years which followed the lecture our paths crossed enough for an acquaintance to become a friendship. As it turned out, we had more than the cultural arts and California in common. We had both also spent time in Fairbanks, Alaska--she as a child growing up there and me some years later as a U.S. military journalist.

We came to know many of the same creatives and shared enthusiasm over their triumphs. Grief, too, demanded acknowledgement when experiencing the loss of such individuals as painter Allen M. Fireall (1954-2014), his fellow artist and friend Luther E. Vann (1937-2016), and author-educator Ja A. Jahannes (1942-2015). More personal, more blood-connected losses inserted themselves into the stories of our individual lives as well, both stalling and fueling painted poems and poemized visions that would manifest in coming years.

NEXT: A Hidden American Treasure Comes to Revelatory Light (part 2): Jazz, Art, & Partying

Aberjhani
author of Dreams of the Immortal City Savannah
and Songs from the Black Skylark zPed Music Player

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<<Previous

The Art of Beautifying America’s Infrastructure

Sustainable Inspiration

Contact Author-Artist Aberjhani at Bright Skylark Literary Productions

Explore Black Music Month at Bright Skylark Literary Productions

The Jazz Factor: Chronicling Legacies of Black Artists in Savannah (part 3 of 3)

Listening to the Jazz Griot of Savannah

Cultivating Individual Distinction

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Preservation and Erasures of History

Contact Author-Poet-Artist Aberjhani at Bright Skylark Literary Productions

Conversations with the World 106: Reconciling Race & Justice in America

Believing What You See

Global Support for African Americans

Questions & Possible Answers

Aberjhani
Co-Author of Encyclopedia of the Harlem Renaissance
Author of Greeting Flannery O’Connor at the Back Door of My Mind

Contact Aberjhani at Bright Skylark Literary Productions

Exploring the Wonder and Enigma of Flannery O'Connor (part 1 of 3)

Regarding a Gifted Child

Loss and Suffering

Author

Contact the Author

A Hidden American Treasure Comes to Revelatory Light (part 1 of 3): Geography & History

Continental Crossings & Fortuitous Connections

Contact the Author

Aberjhani

Archives

Categories

The Art of Beautifying America’s Infrastructure

Sustainable Inspiration

Contact Author-Artist Aberjhani at Bright Skylark Literary Productions

Explore Black Music Month at Bright Skylark Literary Productions

The Jazz Factor: Chronicling Legacies of Black Artists in Savannah (part 3 of 3)

​Listening to the Jazz Griot of Savannah

​Cultivating Individual Distinction

AberjhaniAuthor of Dreams of the Immortal City SavannahCo-author of Encyclopedia of the Harlem RenaissanceCreator of Authentic Silk-Featherbrush Artstyle

More from Aberjhani on Cultural Preservation and Erasures of History

Contact Author-Poet-Artist Aberjhani at Bright Skylark Literary Productions

Conversations with the World 106: Reconciling Race & Justice in America

Believing What You See

​Global Support for African Americans

​Questions & Possible Answers

AberjhaniCo-Author of Encyclopedia of the Harlem RenaissanceAuthor of Greeting Flannery O’Connor at the Back Door of My Mind

Contact Aberjhani at Bright Skylark Literary Productions

Exploring the Wonder and Enigma of Flannery O'Connor (part 1 of 3)

​Regarding a Gifted Child

Loss and Suffering

Author

Contact the Author

A Hidden American Treasure Comes to Revelatory Light (part 1 of 3): Geography & History

Continental Crossings & Fortuitous Connections

Contact the Author

Aberjhani

Archives

Categories

Listening to the Jazz Griot of Savannah

Cultivating Individual Distinction

Aberjhani
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Creator of Authentic Silk-Featherbrush Artstyle

Global Support for African Americans

Questions & Possible Answers

Aberjhani
Co-Author of Encyclopedia of the Harlem Renaissance
Author of Greeting Flannery O’Connor at the Back Door of My Mind

Regarding a Gifted Child