Just before I took off running from Hurricane Matthew as it slammed the southeastern United States in 2016, presumably courtesy of the still-raging global climate crisis, I wrote the following notes on Duncan McNaughton's contemporary poetry classic, Valparaiso (Listening Chamber publishing, 1995):
As seen through the lens of this reader's experience of his work, McNaughton is a hunter and gatherer of significant meanings, and names, obscured by time and human negligence. Both a dissector and a sculptor of forms (as well as formlessness), a skillful translator of elusive moments crammed as much with pointless absurdity as with essential insights.....
Three years later, following a very narrow miss from Hurricane Dorian, I opened a copy of his SOMEWHERE IN THE STREAM (Blue Press Books, 2019). With this latest addition to the impressive and too often overlooked corpus of McNaughton's titles--now in fact time is the time for publication of a volume of his collected works--for some reason I felt a little less threatened by upheavals of physical-world conditions. Hurricanes seemingly indicative of negligent environmental stewardship, flaming tempests of political corruption, and suicidal addictions to war and hate fueling suicidal addictions to drugs and violence all took less of a toll on my personalized corner of the world. Maybe there was a reason for that.
A reader contemplating the title of this most recent volume of grace, wit, wisdom, and genius from someone often dubbed a poet's poet might suddenly ask: "Somewhere in the Stream" of what exactly? Potential answers--at least for those unfamiliar with McNaughton’s earlier works or unaware of his connections to genre-influencing poets like Ezra Pound, Charles Olson, Robert Duncan, and Diane di Prima--could turn out to be as ambiguous or obscure as they might precise and informative.
Since the poet is McNaughton, stream of individual consciousness gives us one good possibility. So does stream of collective memory, or of human comedies, absurdities, tragedies, antipoetic ironies, and language. It makes sense also to consider the stream of life, or existence, in general. How it manifests, flows, diverges, halts, dims, or glows to the rhythms of its own self-determining frequencies with seemingly little, if any, regard for human intentions constitutes a recurring observance, if not an actual theme, in many of the 51 poems contained in this collection.
So why does any of this matter? Because McNaughton's sensibility is one which surfs brilliantly through history, layered philosophical concepts, and rhythms of multiple languages with startling ease to collect observations well worth the attention of Gen-Z, Millennials, Baby Boomers, and Traditionals alike. Tagging along gives the feeling at times of accompanying an interdimensional space explorer seeking confirmations of intelligence and civilizations outside boundaries of known planetary systems. Or popular literary conventions. As such, his poemized captain's log (if you will) documents the many strange contradictions of what it means to be human.
Read the short title poem at the volume's beginning and you are immersed instantly in a sense of intimate familiarity:
Always an empty space out
Here, space in the physical (on the page) sense appears to underscore prominence in the emotional sense. A thorough embrace of human intimacy, romantic and otherwise, unimpeded by space or time, is one of the great gifts of McNaughton's poetry--and also one of its respectable challenges. On a planet home to billions where so many still find themselves condemned to a strangling sense of alienation, the poem lets readers share in the luxurious comfort of knowing a place exists where one is always expected and always welcome. It allows the narrator to become anchored in affirmations of community tinted with soul-sustaining beauty.
This sense of community as represented in McNaughton's poetry has never been restricted to zip codes, national boundaries, or even a single period of history. It has always welcomed the voices of different poets and thinkers grappling with the frequently-cruel and yet often-humorous demands of existence itself. With that in mind, his poems may read as engaged conversations, private letters, public editorials, or notes to a singular self taking inventory of a singular life. Many of those "who matter" the most do indeed "drop in" for cameo appearances in the pages of SOMEWHERE. Among them are both historic and more contemporary poets and authors such as: Bill Berkson, Emily Dickinson, James Baldwin, Jack Collom, Robert Grenier, Sunnylyn Thibodeaux, Jack Kerouac, Jack Spicer, Osip Mandelstam, Colin Christopher Stuart, Walt Whitman, and D.H. Lawrence--just to give a quick sense of the wide range of literary territory this astonishing title covers.
How a given society judges or misjudges some of the most powerful, if not necessarily most influential, voices humanity has produced is not always encouraging. In "AT THE HOUSE OF COMMONS,"(caps McNaughton's) for example, the narrator observes:
The small man alone in the corner is
With Blake, one of the original titans of Romanticism, sitting ignored in a corner, the elephant in the room is the huge unasked question about our modern times. When an over-dependence on technology methodically shortens attention spans and ruling oligarchs pass demagoguery off as democracy: how wise it not to care about the sustained life-example of a poet-artist such as Blake?
NEXT: Floating along: A Review Essay on Duncan McNaughton’s Somewhere in the Stream Part 2
Some of the publications at Issuu, like CONNECT Savannah, are simply digital editions of magazines for which I've written feature stories or poetry. Others employing my writings are new to me. What probably amazes me more than anything else is the scope of their ideological --from politics and social justice issues to spirituality and the creative arts--application of the works.
More often than not, their assessments of certain situations align with mine. Although we have not formally partnered to include my voice in various photo spreads, feature articles, or special sections, the sense of balanced perspectives sometimes creates the feeling we have.
It has been just as revealing to learn how much international territory the different publications cover as it has been to check out their aesthetic strategies. For example, both the Daily Times (April 2019) in Lagos, Nigeria, and African-American News & Issues (March 2019) have based themes of entire editorials on concepts expressed in a single quote which serves as the lead statement or primary point of discussion. One addresses political freedoms and responsibilities in a democratic society while the other focuses more specifically on the Black Lives Matter movement.
The AssiégéEs Citadel des Resistance (June 2015), based in France, employed my Guerrilla Decontextualization philosophy to enhance a penetrating (some might say crushing) ideological critique. Going in a completely different direction, popular writings from different books were also presented in publications like One Curvy Boutique (Feb 2018) in Florida, USA, with images celebrating healthy self-esteem in women:
The September 11 edition of OPUS 2016 features a well-known maxim from ELEMENTAL, The Power of Illuminated Love, alongside the photographic artistry (referred to as "Burtography") of Brazil's (by way of New York) Burt Sun. Mr. Sun's incorporation of the text is particularly intriguing due to the fine art photographer's skillful juxtaposition of nude figure with apocalyptic environments. His work forces us to challenge definitions of obscenity and question the honesty of declaring the nude human form as indecent while granting license for the destruction of communities in the name of political, military, or monetary gain. In short, his images provoke the kind of reflections I generally hope my pen does.
This fine art photograph by Burt Sun, as indicated by the text on the left side, is titled Syrian Kitchen. The quote beneath the title, "This world’s anguish is no different from the love we insist on holding back," is from the poem "The Homeless, Psalm 85:10," published in ELEMENTAL, The Power of Illuminated Love.
These observations might strike some as stretching small events to make big statements. They are in fact much more than that. It means, and suggests, a great deal when an editor of Pakistan Today (June 2019) in Karachi, Pakistan, the fifth largest city in the world (est. population 14.91 million), employs an author's literary voice to launch a powerful examination of “The Politics of Megalomania.”
There are, however, certain kinds of enchantment which may rightfully be described as small because they likely mean more to me than anyone else. Such an instance occurred upon discovering the popular quotation, 'Hearts rebuilt from hope resurrect dreams killed by hate,' had been published in Revista Medalhão Persa (January 2019) as part of a somewhat lyrical celebration of the city of Tabriz. Fans of the poetry of Jalal al-Din Muhammad Rumi will forever recognize Tabriz as a place associated with Rumi's great spiritual companion: Shams. But according to the publication, Tabriz "for some scholars was also the site of no less than the Garden of Eden.”
Familiar Touchstones of Cultural Awareness
The simple point of all this is not only to further highlight for podcast and film producers the advantages of adapting for their platforms materials from the Bright Skylark Literary Productions catalog. It is to confirm the demonstrated appeal of a catalog of contemporary works to populations across the globe.
While I welcome the prospects of adaptation different works to podcasts and/or film, one of my primary goals as a writer has always been to help foster dialogues which strengthen humanity's capacity for world-sustaining co-existence. Years of producing unique literary compositions which evolved into familiar touchstones of cultural awareness have created an exciting momentum from which many can benefit. That would be a good thing to keep going as we approach the final quarter of 2019 and prepare to accomplish a potentially much stronger surge forward in the year 2020.
If you missed part 1 of this post please check it out by clicking right here. Below is the promised image gallery of some of the publications at Issuu featuring my work.
Harlem Renaissance Centennial
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
"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.