Visionary Vibes: A Blog by Aberjhani

A Little Social Distance Holiday Fun with Former U.S. President Barack Obama

11/25/2020

I considered myself exercising patience and restraint when I resisted paying additional shipping fees to receive my order of Barack Obama’s bestselling book, A Promised Land, just one day after it came out on November 17, 2020. Having opted for the longer arrival time of approximately 2 weeks at the much cheaper cost of “Free Shipping,” I did not expect to receive the book until either the end of November or early December. So imagine my surprise and #gratitude when it showed up November 19, just 2 days after the release date.

There’s no question A Promised Land is one of the most significant, if not THE most significant, memoirs of the modern era. Because of Mr. Obama’s direct involvement with public events which have shaped much of America’s and the world’s history in this first half of the 21st century, it could not have been otherwise.

A Parallel Literary Journey

In the photograph above, I have placed A Promised Land between 2 of my own most recent books: Dreams of the Immortal City Savannah and Greeting Flannery O’Connor at the Back Door of My Mind. The reason is not because I megalomaniacally imagine myself to be as famous or influential as the 44th president of the United States of America, but to commemorate a parallel literary journey through some extraordinary shared history. It is also my way of having a little social distance holiday fun with the great man himself.

Upon his election to the Oval Office 2008, I wrote the first (“There upon A Bough of Hope and Audacity”) of several poems about Barack H. Obama’s historic achievement. During my time as a national cultural arts columnist for AXS Entertainment, I wrote a number of articles documenting responses to Mr. Obama’s first term as president (with now #PresidentElect Joe Biden as his vice president). The proliferation of what we now frequently refer to as disinformation and misinformation prompted me to coin the term guerrilla decontextualization for the extreme nihilism directed against him and his family. Many Americans were not certain he would still be here to write and publish this book. The fact that he did endure to tell his remarkable story in A Promised Land is something totally worthy of celebration and gratitude.

Aberjhani
Harlem Renaissance Centennial 2020-2030

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Taking a Multimedia Approach to Surviving the Year 2020 and Preparing for 2021

11/1/2020

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A shortage of compelling topics to address via books, blog essays, podcasts, fine art, photography, electronic gaming, and other creative media has not been among the traumatizing events unleashed upon humanity in the year 2020. Painful history-altering occurrences have, however, included the following: a very stubborn and deadly COVID-19 pandemic, the resulting economic crisis, further evidence of climate change in the form of murderous fires in California, riots in cities across America in response to #2ManyLivesGone2Soon, and political unease in the face of an uncertain future.

Detail from artwork titled "Blue Rose of Remembrance for Black Lives Gone Too Soon" by Aberjhani.

Incorporating reports on important public happenings into ongoing projects has long been among the better practices at Bright Skylark Literary Productions. It goes back at least as far to the days of my former AXS National African-American Cultural Arts column when I created art graphics for my news stories. Articles sometimes included original poetry to enhance editorial impact. Where the year 2020 is concerned, the following steps have been taken:

To help combat the spread of the COVID-19 pandemic, Bright Skylark added face masks to the line of products offered through its Fine Art America storefront.
To help correct social injustices generated by systemic racism and other forms of oppression, the book Greeting Flannery O’Connor at the Back Door of My Mind underwent a timely revision and launched officially in September. Artwork supporting the same goal was posted on Fine Art America.
The Conversations with the World Blog Series launched to encourage dialogues on unifying as well polarizing topics to help bridge the gap between the two.
A previously dormant Facebook author account was reactivated to increase engagement with people concerned about deteriorating social conditions and help identify ways to improve the same.
Works of art presented as tributes to victims of COVID-19 and diverse frontline essential workers were made available at Fine Art America.

Although taking the above steps did not erase the different social, political, and environmental ills currently dogging the world, I like to think they contributed to the process of helping move things in a better healthier direction.

Aberjhani

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An Encounter with Artist Paul Cezanne in Downtown Savannah

10/6/2020

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If a reporter were to ask how I ended up returning home with the 19th/20th century French painter Paul Cezanne this past weekend after traveling to downtown Savannah for a very different purpose, that would be a more-than-fair question. I actually made the trip to get some quick photos of the Lafayette Square area for a project related to my book, Greeting Flannery O’Connor at the Back Door of My Mind. The encounter with Cezanne, notwithstanding the fact he physically departed the world in 1906, was not one I could have anticipated.

The first big surprise which greeted me was the discovery #COVID19 had not stopped throngs of tourists from visiting during this cooler more hospitable October time of the year. Many of the events for which a lot of people travel to the city this time of year would, after all, be scaled down to one degree or another if not completely canceled by the pandemic. Clearly, however, the city itself was enough for them. I was awed to see so many, some wearing masks, some not, taking photos of the sites and obviously very happy to be out and about in our coronavirus-challenged world.

Something Unusual and Unexpected

The second big surprise came while I stood at Abercorn Street and East Liberty Street Lane taking my own photographs of the majestic Cathedral Basilica of St. John the Baptist. As I clicked away, something to the left started tugging at my attention. I took quick note that, a short distance down the lane, a number of art canvases appeared to be arranged next to an open door. Then I gave in to the urge to investigate further and started walking down the lane.

The closer I got to the canvases, the more I saw how exceptional they were in terms of the subjects, the artist’s technical skill, and applied individual style. The gleaming lustrous medium of choice appeared to be oil. One portrait struck me as reminiscent of the Mona Lisa and another made me think of the classic busts of Greek gods. If somebody’s throwing these away, I thought, they must be crazy because these are absolutely superb. My astonishment was growing stronger when a man casually appeared in the doorway and said hello. It turned out he was the painter of the artworks speaking to me in their own intensified language of visual style and philosophical concerns, and he certainly was not throwing them away.

Being ever mindful of today’s social-distance protocol, even though I was wearing a mask, when he took a few steps out I took a few steps back. The space behind him looked like a small car port or open driveway beneath a carriage house. A couple of trees were visible just past the far end and air flowed freely through the passageway. With the kind of ingenuity for which artists are well-known, it had been outfitted to function as a studio gallery and was filled with more art pieces. Would it be okay, I asked, to take a closer look? “Sure, come on in.”

I stopped at the entrance this time not because of concerns over coronavirus but because of a large captivating image, perched on an easel, fusing elements of figure painting and abstract art. As I stood before it, the thoughts running through my head started diving off my tongue:

“When I look at this,” I said, “I see a combination of Atlas from Greek mythology holding the world on his shoulders and Rodin’s famous ‘The Thinker’ sculpture. Atlas really stands out for me because almost all of us these days feel like we’re carrying the weight of the world on our shoulders since the pandemic has made us more responsible for each other’s well-being than ever before. It’s not something we can be casual about anymore and have to think about all the time.”

“That is Atlas,” he said, “and also Hercules.”

An Atlas/Hercules mash-up. That made sense.

“One day I hope I can make you a respectable offer for this painting.”

After our shared revelations, my eyes wandered from canvas to canvas in which I thought I detected the influence of classic art masters interpreted through the lens of a sensibility which was both modern and something not-modern. There were genuine (as opposed to forced or artificial) reflections of the brushes of Picasso, Francis Bacon, El Greco maybe, and even da Vinci. Isn’t it just like the universe, I thought, to hide a talent of such immense potential beneath a carriage house in a lane in downtown Savannah. Amid the flashing realizations, an 18x24 portrait painted and etched on wood, and hanging near the end of the wall, caught my eye.

“This one reminds me of a friend I used to have but who’s passed now.”
Looking at it actually made me think of several artist friends who are now deceased. It also reminded me of Walt Whitman. I was only a little surprised when he told me it was the French painter Paul Cezanne. The eyes on the painting seemed to be carefully reading my thoughts. Those parts of the portrait where scratches revealed deeper layers of the wood looked to me like stories from my life, or more likely from Cezanne’s, written in hieroglyphics. Or in coded algorithms.

The entire collection emanated such a powerful sense of human beauty intertwined with cosmic collisions that it might serve as an appropriate illustration of this passage from Andre Malraux’s overlooked survey of classic art, The Metamorphosis of the Gods: “…It is the relationship between the tidal rhythms of human life and a power that governs or transcends it that gives these forms their driving force and accent."

The Painter @YoungPablo1881

Having stayed downtown longer than intended and also feeling I had taken up too much of the artist’s time, I thanked him for indulging me, told him my name, and gave him one of my cards. He in turn told me his name is Rocky and gave me a sheet of paper with an abstract sketch on it. At the bottom of the paper was his Instagram handle: @YoungPablo1881. Beneath this was the name he’d just told me paired with another I could not quite make out: Rocky B________.

I turned to leave and was halfway toward the cars and pedestrians still flowing up and down Abercorn Street on this late Saturday afternoon when, again, I turned around. Would it be okay, I asked the artist known as Rocky, if I took a couple of photographs of him standing among his paintings. While snapping away, I explained that I might use them with a blog or article. He thought that would be great and put up with me taking more than the couple of shots for which I had asked.

Aberjhani holding painting of Paul Cezanne by the Artist Known as Rocky a.k.a. @YoungPablo1881 on Instagram. (Photograph Bright Skylark Literary Productions C2020)

Although I had been mesmerized by the painting of Atlas/Hercules shouldering the agony of beauty’s battle against chaos in the world, it was, to my astonishment, the amazing portrait of Paul Cezanne tucked under my arm as I made my way through the glow of early twilight. I called a friend and asked if she felt up to a short social-distance visit so I could show her something fantastic. She said yes.

Aberjhani
author of Dreams of the Immortal City Savannah
and Greeting Flannery O’Connor at the Back Door of My Mind

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Moving forward with global release of: Greeting Flannery O’Connor at the Back Door of My Mind

9/14/2020

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“Of Peacocks & Skylarks” art by Aberjhani used in title graphic for "Moving forward with global release of: Greeting Flannery O’Connor at the Back Door of My Mind" C2020.

Sometimes in the middle of a pandemic a writer has to make difficult publishing decisions. That sounds a little odd, I know, but this is one of those times for me as I move forward with the global release of Greeting Flannery O’Connor at the Back Door of My Mind, now on its way to online and offline book distributors.

The final stages of releasing Greeting Flannery to the public have not gone as smoothly as preferred but then few things have for most of us since COVID-19 arrived and refused to go away. With that being the case, I had to choose between either continuing to delay release of the book because of stubborn cosmetic problems concerning several pages incorporated to address the impact of coronavirus, or finally give readers access to the literary content I’ve been promising. I opted for the latter choice because the book as it stands, I believe, is a worthy contribution to current dialogues driving strategies to confront serious ongoing issues.

Consider that in addition to coronavirus, we are dealing more aggressively than ever before with: social injustices, correcting cultural biases, ending racial inequality, education versus misinformation, and adapting to a rapidly-changing world.

Quote from Greeting Flannery with art dedicated by Aberjhani to the U.S. West Coast: “With each passing day, I allowed myself to become a little more intoxicated by limitless possibilities which seemed sometimes to roll in with the fog, murmur suggestions that would have made me run yelling from them had I been anywhere [other than San Francisco], then leave me to cope with that special brand of terror bestowed by sweet and sour tastes of freedom.”

Lastly, when weighing the decision whether to publish or further delay release of the book, I was forced to acknowledge the old saying (paraphrasing Proverbs 27:1) that “Tomorrow is not promised us.” Truth of those words has never appeared more self-evident than during this #pandemic. Hopefully, however, the newly-released Greeting Flannery O’Connor at the Back Door of My Mind (ISBN 1-716-68481-1) is only the first in a succession of editions which will improve more and more relevant with each publication . But because this is a first edition and features original art by the author on the front and back covers, plus some rare photographs in its “Antique Photo Album” section, it is a genuine collector’s item. Please remember as well that a collection of corresponding artworks has already been set up with several images on Fine Art America and more will be added throughout the month of September.
I welcome any and all feedback on the book for future editions and hope everyone investing in this one enjoys the read and finds the shared insights useful.

Aberjhani
Author, Poet, Artist
Harlem Renaissance Centennial 2020

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A Friendly Chat with Flannery O’Connor

9/7/2020

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"A Friendly Chat with Flannery O'Connor" art graphic by Aberjhani. C2020

Running throughout the title story of Greeting Flannery O’Connor at the Back Door of My Mind is a series of intuited exchanges between this author and O’Connor. They range from nostalgic and humorous to confrontational and exploratory. The following is one of those exchanges:

Aberjhani: I agree about the limited perceptions of race in the South as opposed to the more extended objective reality, but I can’t agree that anything you said absolves certain politically empowered social groups of responsibility for the institution of slavery.

O’Connor: That’s because you’re trying to booby trap me again and I’m not having it. Tell me this: can you imagine God as a great author and history as a fantastic fountain pen in His hand?

Aberjhani: Actually, yes, I can.

O’Connor: I know you can. Now imagine God in 1865 authoring a manuscript dated 2008 and writing the unexpected name of the winner of the United States’ presidential election.

(From the book Greeting Flannery O’Connor at the Back Door of My Mind ISBN 1-716-68481-1)

Aberjhani
Harlem Renaissance Centennial 2020

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A Little Social Distance Holiday Fun with Former U.S. President Barack Obama

A Parallel Literary Journey

Taking a Multimedia Approach to Surviving the Year 2020 and Preparing for 2021

Aberjhani

Contact Bright Skylark Literary Productions

An Encounter with Artist Paul Cezanne in Downtown Savannah

Something Unusual and Unexpected

The Painter @YoungPablo1881

Moving forward with global release of: Greeting Flannery O’Connor at the Back Door of My Mind

Aberjhani
Author, Poet, Artist
Harlem Renaissance Centennial 2020

Contact the Author-Artist

A Friendly Chat with Flannery O’Connor

Aberjhani
Harlem Renaissance Centennial 2020

Contact the Author

Aberjhani

Archives

Categories

A Little Social Distance Holiday Fun with Former U.S. President Barack Obama

A Parallel Literary Journey

Taking a Multimedia Approach to Surviving the Year 2020 and Preparing for 2021

Aberjhani

Contact Bright Skylark Literary Productions

An Encounter with Artist Paul Cezanne in Downtown Savannah

Something Unusual and Unexpected

The Painter @YoungPablo1881

Moving forward with global release of: Greeting Flannery O’Connor at the Back Door of My Mind

AberjhaniAuthor, Poet, ArtistHarlem Renaissance Centennial 2020

Contact the Author-Artist

A Friendly Chat with Flannery O’Connor

AberjhaniHarlem Renaissance Centennial 2020​

Contact the Author

Aberjhani

Archives

Categories

Aberjhani
Author, Poet, Artist
Harlem Renaissance Centennial 2020

Aberjhani
Harlem Renaissance Centennial 2020