Receiving feedback about content published on a cultural arts website like Bright Skylark Literary Productions is always a good thing so I appreciate visitors who have expressed disappointment over the lack of posts usually presented every February in celebration of Black History Month (officially ordained by the U.S. Government as African-American History Month). Sometimes we find ourselves too engaged in living the unfolding history of the present moment to address the exemplary achievements of the past. At least that’s how it has been with me lately.
As indicated in the previous post I am currently scheduled to give a lecture at the Flannery O’Connor Childhood Home in May. Presenting a lecture on such an iconic author, even when preparing to publish a book in conjunction with the same, is not something which can be done (not by me anyway) haphazardly. It has required extensive focus and tapping a few reserves of stored energy. Which is why I’m grateful that while I was concentrating on O’Connor’s work, folks at the WW Law Community Center Branch Library in Savannah, Georgia, were featuring a display of my book Dreams of the Immortal City Savannah along with a poster for it in honor of Black History Month. An administrator asked if I would be willing to take a few photos at the library. I agreed.
A Literary Photo-Op
To accomplish our shared mission, I went to the library (where I have conducted research many times) and took with me about a dozen books which I had either written, co-written, edited, or contributed to, plus just as many literary magazines containing writings by me. I had never assembled my various publications for photographing so was kind of stunned by the variety and quantity, from the slender first paperback edition of I Made My Boy Out of Poetry and early volumes of the Savannah Literary Journal, to shiny hardback copies of Encyclopedia of the Harlem Renaissance, ELEMENTAL The Power of Illuminated Love, and the Civil War Savannah Book Series. Included in the creative mix was a 1992 edition of the African American Review and a more recent poster rendition of the book cover for Dreams of the Immortal City Savannah.
Even more amazing was realizing copies of ESSENCE Magazine and numerous other publications––not to mention online articles, essays, and blog posts––were not included in the display. If ever I felt tempted to criticize myself for not having done more (thus far) as an author, there before me was considerable evidence of a substantial effort. So having put it all together, the librarians took a number of photos, some of them showing me with the books and some of the books by themselves. The lighting was not the best for picture-taking but it turned out to be a good way to continue a very special Bright Skylark Black History Month tradition.
© Harlem Renaissance Centennial 2020
Article art graphic featuring black & white images of musician Nina Simone, Sonny Rollins, author Pat Conroy, author & editor Susan L. Taylor, King of Pop Michael, poet & educator Ja A. Jahannes, Encyclopedia of the Harlem Renaissance, actor Danny Glover, artist Luther E. Vann, and more. (Bright Skylark Literary Productions)
If you’re a regular reader of my national African-American cultural arts column, you may have noticed that I have not been posting articles as frequently as I once did. The reason is simple enough. Having reached a certain point in the research for my current book-in-progress (at least one of them anyway) I had to reduce as many additional writing obligations as possible to fully concentrate on completion of the work.
For me, this is the part of authorship when the lyrical muse sings and the creative pen dances. The greater bulk of the more rigid tasks of verification and documentation have been satisfied, and imagination may be allowed to take over the processes of narrative construction. The resulting musical flow of image and language stamp the work with its own unique identity. And its own self-defined meanings destined to merge with different readers’ interpretations of the same.
The Writer and the Times
I started the national African-American cultural arts column on July 13, 2009, with a story about the debut of Johnny and Me, Savannah author Miriam K. Center’s play based on her friendship with the late 4-time Academy Award-winning composer Johnny Mercer. That was followed by a profile of acclaimed artist Jerome Meadows. The next month, August, saw the launch of the controversial series on the trial (and eventual execution) of Troy Anthony Davis, convicted for the murder of Savannah policeman Mark Allen MacPhail. Not writing about Davis’s trial, to my mind, would have been a case of gross negligence. Doing so was one early indication of what readers would discover over the next few years: basically, I found it impossible to restrict myself (as asked to do) to the subject of “the arts” as pertaining to African Americans.
How could that have been likely for someone who had already chronicled the global multicultural impact of the Harlem Renaissance in the pages of an encyclopedia, and whose first novel featured a cast of post-Millennials on a parallel Earth? I could no more refrain from engaging political discourse within a column bearing my name than Zora Neale Hurston could have resisted writing black dialect or Franz Kafka could have ignored the absurdities of his existential dilemmas.
Collage of images from the National African-American Art Examiner pages. See here are: King of Pop Michael Jackson, the African-American Family Monument in Savannah, Georgia, author Octavia Butler, slain officer Mark Allen MacPhail, artist Jerome Meadow, author John Lennon, executed Savannahian Troy Anthony Davis, and others.
Moreover, how could it even have been possible in the era that saw such titanic events as these: the two-term presidency of Barack H. Obama, America’s first African-American commander-in-chief, the domino effect of the Arab Spring in 2011, the death of a global pop icon like Michael Joseph Jackson in 2009, the advent of civil war in Syria with its subsequent refugee and migrant crisis, the heart-rending terror of Boko Haram and the #BringBackOurGirls campaign, the Black Lives Matter Movement, the astonishing triumphs of the Marriage Equality Movement, massive shifts in population demographics, and the end of diplomatic estrangement between Cuba and the United States. Just to name a few.
This is not, of course, to say that during the same period I considered the cultural arts any less important than national or international politics. It has been more than thrilling to share with readers through this specific platform essays on such topics as: the poetry of Elizabeth Alexander, the life and legacy of Maya Angelou, the novels and ever-increasing relevance of Toni Morrison, reports on winners of the Nobel Prize, the enduring literary vision of James Baldwin, the annual global triumph of International Jazz Day, profiles of Kennedy Center honorees, and reviews of some of the most important films of our modern times.
Framing the 21st Century with Interpretive Journalism
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.