Visionary Vibes: A Blog by Aberjhani

Volodymyr Zelenskyy and the Angel of Peace 2022

3/7/2022

Before Russia’s launch of the 2022 war in Ukraine, it might have been said Ukraine President Volodymyr Zelenskyy’s weapons of choice in times of disagreement were, by nearly all accounts: humility, eloquence, and a natural charm. American filmmaker David Dodson, who worked for a decade with Zelenskyy on various projects, described him in interview for Business Insider magazine as “the Tom Hanks of Ukraine.”

Dodson also gave him the nickname “Chaplin” as the legendary Charlie Chaplin. A video compilation shared by Kat Abu on Twitter shows Zelenskyy competing on his country’s version of Dancing with the Stars (which he reportedly won in 2006). In one segment of the compilation, he is costumed to look like Chaplin while dancing with as much energized precision as Derek Hough, Janet Jackson, or anyone in love with life ever has. (Does this mean he’s likely to have a profile on IMDB? Actually yes.)

(Ukrainian President and Resistance Leaders in Chief Volodymyr Zelensky on cover of Vanity Fair Magazine March 2022 edition.)

yThe image of performing artist Zelenskyy dancing to one infectious tune after another is far removed from that with which the world is now most familiar: an embattled courageous president struggling with all his might to save his homeland and his people.

Ukrainians follow him willingly because they fell in love with him during a time of relative peace. The world now rallies behind him because the war he fights can be viewed as unjust not only when considering Russia’s president’s unprovoked aggression, but when acknowledging betrayals which made Ukraine more vulnerable than it should have been.

Of Angels, War, & Peace

Just as the increasing threat of the COVID-19 pandemic in 202 forced me to rearrange established priorities, confirmed reports of Russia’s three-pronged land, sea, and air attacks on Ukraine did the same. My focus had been on completing pre-publication tasks for an artbook on different aspects of the pandemic upon individual lives around the world. I stepped away from it long enough to post Ukraine, Russia, and the Art of Being Human, which includes the poem “Angel of War.”

At the time, it seemed ludicrous to imagine the possibility of what we are all now seeing on screens and in print, what we are hearing on podcasts and dreading as we go to bed at night and get up the next morning.

With the conflict growing more intense by the day, the Poet, the Air Force NCO, and the Journalist in me all agreed that having already acknowledged the Angel of War with a poem from The River of Winged Dreams, it was time to show respect for the Angel of Peace with the same. And yes, Volodymyr Zelensky is as human as the rest of us, but at this 2022 moment in history he exemplifies the angelic potential “of our better natures” a lot more convincingly than most of us can claim.

The heroism and inspiring leadership of the Warrior-President of Ukraine are self-evident, and, clearly more authentic than the kind of photo-op posturing too many witness in political leaders around the world. The poem I’m sharing now, however, is not only presented as a tribute to him. It is my way of sharing the pain-ridden journey of the more than one million Ukrainians, largely women and children, who have been forced to abandon their homeland.

Angel of Peace

Such are these places
where lovers of bliss behold
the angel of peace:

Above the burning,
and below the cold of all
the sad killing fields;

Where poetry sighs,
smiling magic in the lap
of flesh and blood joy;

Upon the shoulders
of elders carved beautiful
by sage artistry;

Where a starbright gown
trails healing through gardens of
eternity’s laughter;

In the arms of dreams
that shepherd hope through the eyes
of praying children;

Under waterfalls
bristling silk storms from the shores
of my skin to yours;

In the taste of a
woman glowing firemilk through
the tips of her breasts;

Afloat on rhythms
of minds too stoned on love to
recall how bombs work;

At the edge of a
man’s kiss casting holy spells
of sweet compassion;

Inside the beauty
of faith’s unburied treasure
sparkling truth and hope;

Beneath trees of song
heavy with angelic light,
evergreen with strength;

Upon the wings of
nightingales trilling comfort
to embattled grace;

In your heart’s whisper,
soft as love, that truly all
is well with your soul.

(from The River of Winged Dreams)

For more reflections on the war in Ukraine please check out The Angel of War and the Year 2022 and Ukraine, Russia, and the Art of Being Human.

By Aberjhani
Author of Dreams of the Immortal City Savannah
and Greeting Flannery O’Connor at the Back Door of My Mind
Creator of Original Silk-Featherbrush Artstyle

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Conversations with the World 108: Ben Okri’s Existential Call to Creative Arms

12/1/2021

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In his November 12, 2021, essay for England’s The Guardian newspaper, Booker Prize-winning author Ben Oki urged creative artists around the globe to dedicate their inspired labors to the production of works addressing the catastrophic crises of the current era. In his words:

“I propose existential creativity, to serve the unavoidable truth of our times, and a visionary existentialism, to serve the future that we must bring about from the brink of our environmental catastrophe.”

It just so happens that many creative artists already advocate not only for environmental justice, but also for economic justice, gender equality, and antiracism. That Okri declined in his op-ed/essay to comment on the last in this year when the verdict for the trial of the death of George Floyd made headlines around the world, and the trial for the killing of Ahmaud Arbery was moving toward a similar outcome, is a little baffling. After all, ending death by racism and xenophobia is no less a global crisis than preventing mass destruction from human-induced climate change. Neither, for that matter, is a coronavirus capable of masking itself and attacking our species in different mutated guises: such as Delta and Omicron.

Deatail from "Finding Shelter in a Circle of Gratitude Number 3: Meanwhile Back on Earth" art by Aberjhani. Full wall art print available for purchase on artist's Fine Art America and Pixels profiles as well as here at Bright Skylark.)

Does any of that mean Okri’s call for more mindful considerations of climate change should be ignored? Not at all. But how any given creative chooses to respond to it is up to them. My own compulsion to address climate change is apparent in the article, “The Art of Reversing Climate Change Denial,” in artwork currently on exhibit in the Savannah/Hilton Head International Airport Art Gallery, and in the book, Dreams of the Immortal City Savannah.

Taking Notice of Rare Literary Talent

I first became aware of Okri’s commanding literary voice after his novel, The Famished Road, catapulted him to world fame in the 1990s. If I hadn’t been a bookseller at the time, I probably would not have learned about the title. Moreover, I likely would have missed out on the gems which have continued to flow from his pen.

The Famished Road turned out to be one of those rare reads which I never wanted to put down and rushed back to at every opportunity. My review essay on it was published first in the now defunct Georgia Guardian newspaper and, later, in my AXS Entertainment African-American Cultural Arts column. In it, I pointed out something which illustrates well Okri’s current howl of existential angst:

His work poses very serious questions for the twenty-first century. Among them: To what extent will we allow the indefinable dynamics of something called “destiny” to maintain grief and horror in the world? How hard are human beings willing to fight to achieve and sustain justice, equanimity, or joy? And should progress be called such when it devours what is best within the human spirit? (From essay Ben Okri’s Famished Road Leads to Thrilling Reading Pleasure, by Aberjhani)

When considering the above observation made years ago, it becomes easy to see why much of my recent literary and fine visual art has indeed been mindful responses to the turbulent terrors of this historical moment. With climate change denial literally stoking the flames of mass destruction, xenophobia prompting unjust killings, and armed conflicts increasing instead of decreasing, how could they be otherwise? Small wonder that billionaire’s are investing their cash into space-bound rockets.

Supporting the Process

My brand of existential creativity cannot include the assertion that these days are humanity’s last days. I have to hold my creative endeavors and my mindful intentions accountable for something more than standing on street corners screaming the end is near. That is where the “visionary” aspect of Okri’s battle cry comes into play and where our philosophical approaches align best.

It is, without question, imperative we acknowledge the near-apocalyptic conditions forcing dangerous human migrations all over the world and producing toxic circumstances both physical and psychic in nature. It is equally vital we propose and work to secure alternative outcomes. My way of supporting that process has been, and remains, to help provide language, images, and strategies which enable us to steer our way through the raging chaos. How many before us have had to so the same?

The spark of life itself never goes out completely. The stream of existence adapts to new pathways and new challenges while yet flowing steadily toward a horizon of uncertainty and a dawn of renewed hope. This reflection is not intended to suggest the existential perils before us are insignificant. It is intended to affirm the priceless value of all we stand to lose and which yet might be salvaged.

Aberjhani
Creator of Silk-Featherbrush Artstyle
Author of Greeting Flannery O’Connor at the Back Door of My Mind

CATCH UP ON MORE CONVERSATIONS WITH THE WORLD

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Here’s to a Healthier, Happier, & Hopefully COVID-Free 2021

12/30/2020

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(“Ending the Nightmare of COVID-19” art by Aberjhani for Bright Skylark Literary Productions C2020)

Today, December 30, 2020, is the first anniversary of the first inter-agency announcements regarding what would later be identified as COVID-19. Two weeks later, on January 14, 2020, a team from BlueDot, a Canadian software company on a mission to “create a global early warning system for infectious disease,” published the following statement in the Journal of Travel Medicine:

“On 30 December 2019, a report of a cluster of pneumonia of unknown aetiology was published on ProMED-mail, possibly related to contact with a seafood market in Wuhan, China.1 Hospitals in the region held an emergency symposium, and support from federal agencies is reportedly helping to determine the source of infection and causative organism.”

Who among us would have thought such a definitively geeky statement would have indicated life as we knew it, hampered by myths and delusions or not, was about to be seriously hijacked and held hostage by a nightmare for the rest of the year? This author certainly did not. But yes, like many other Americans, I began paying closer attention to reports on the weird new coronavirus beginning to infect headlines on the internet, radio, newspapers, and finally television network news.

Well, I thought, this is something different. Soon, soon following stories the microscopic beast had started spreading its invisible mayhem on both coasts of the United States, I began writing my own reflections.

What Exactly Does This Thing Mean

Emerging reports on the COVID-19/Coronavirus pandemic of 2020 repeatedly have confirmed observations made by authors like Albert Camus writing in The Plague, Thomas Mann in his novel Death in Venice, and Gabriel Garcia Marquez in 100 Years of Solitude: pestilence on a global scale can prompt human beings to act with either the most courageous and benevolent inclinations, or, with the most cowardly and heinous. Somewhere in the mix of those extremes, individuals in these socially-distant times are discovering what it means to have or not have a soul and the difference it makes when speaking of things like communities, love, or the future.

"We Hold These Names to Be Self-Evident" art memorial by Aberjhani dedicated to 2020 victims of racial injustice.

The indifference with which pestilence can compromise human life on a worldwide scale is one of its most attention-grabbing qualities. It is not slowed by ethics or a guilty conscience but only by the combined wisdom, knowledge, courage, and dedicated actions of men and women working to defeat it. It pays no heed to flags, gender-conflict issues, skin color (although the disproportionate impact of COVID-19 upon people of color in different countries has been well-documented), declarations of self-righteousness, or speech accents. Its single impulse is a vampiric one: to devour humans so its own lifeform can continue thriving.

Adapting, Evolving, and Persevering

It hardly seemed possible that in our ultra-modern technologically-advanced era we would find ourselves, at the end of 2020 going into 2021, stunned by nearly 2 million deaths worldwide and a steadily increasing overload of more than 82 million cases. At the time of this writing, it is estimated that someone somewhere on the planet dies of the disease every half minute.

It was a struggle, at the beginning, to adapt to the social distancing restrictions imposed by the pandemic. I grumbled about having to cancel book signings and lectures previously scheduled to support the launch of Greeting Flannery O’Connor at the Back Door of My Mind. That self-absorbing regret was soon dumped in favor of a determination to encourage others to support efforts to defeat COVID-19 and help protect those vulnerable to it.

Detail from "Architecture for a New Beginning" artwork by Aberjhani available on Fine Art America.

Moreover, there was clearly a new and essential kind of work to get done. The introduction to Greeting Flannery O’Connor at the Back Door of My Mind had to be rewritten before the rescheduled Fall 2020 launch. Functions artwork suitably designed for face masks needed to be produced (something accomplished through partnership with Fine Art America).

And, perhaps most importantly, I needed to decide the form which my extended documentation of the pandemic would take. Neither a blog nor a podcast nor a single world of fine art would be enough in itself. So I decided, and began work, on a full-size book of full-page color art and texts presented in a unique format. Something like that was very much in line with one of the words used most frequently throughout 2020: unprecedented. Given the intense nature of the subject, I am hoping that upon completion and publication, it will prove appropriate and worthy.

Here's to a Happier COVID-Free New Year 2021.

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

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A Hidden American Treasure Comes to Revelatory Light (part 3 of 3): Sweating out a Poem

9/16/2019

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Title art-graphic with Suzanne Jackson, Rachel Reese, and Alonzo Davis on stage at Telfair Museums Jepson Center for the Arts. The screen above them is showing archival images from the Suzanne Jackson Five Decades art exhibit. (photo by Aberjhani for Bright Skylark Literary Productions)

Having refrained for years from attending any kind of party at all, I relaxed my self-imposed tension by mixing in a little work with a lot of fun. In a room next to the kitchen (which itself resembled an art installation) I saw a stack of books and, being the bookaholic I am, could not resist their pull.

Picture my surprise when discovering in the pages of Daniel Widener's Black Arts West: Culture and Struggle in Postwar Los Angeles (2010), and Kellie Jones's South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017), extensive references to the woman of the hour. Also nearby was a copy of ELEMENTAL and seeing it made me feel like the spirit of our friend Luther had dropped in to support the launch with his blessings.

By the time of the party, I had already learned that as well as being a visual artist, Suzanne was a poet who had studied with the phenomenal Lucille Clifton (1936-2010). At least two volumes featuring poems by her had been published: What I Love: Paintings, Poetry, & a Drawing (1972), and Animals (1978). Her writing had also been included in notable anthologies like the Nikky Finney-edited The Ringing Ear: Black Poets Lean South (2007). Maybe I was hoping to find those among the stacked books as well but, to avoid becoming self-absorbed to a point of rudeness, I forced myself to step away and began taking photographs of Suzanne, different guests, and the lush greenery outside the house.

The symbolic images seen in Suzanne Jackson's 12-foot award-winning canvas "Passages" (1978, above) are described in the FIVE DECADES exhibition catalog as "associated with love, childbirth, and women painted in expressive acrylic layers." It hangs here in front of 1 of 7 display vitrines and next to other compelling works included in the Five Decades retrospective debut at the Telfair Museums Jepson Center for the Arts. (Bright Skylark Literary Productions photograph by Aberjhani ©2019)

I tried to avoid cameras myself, not because I felt shy but because for some unknown reason I had begun to sweat--not daintily "perspire" but ferociously SWEAT, like somebody fully-clothed in a sauna--and my shirt was getting soaked. No one else appeared to be having this problem. Reluctantly, when informed that Suzanne wanted an assistant to take a black-and-white photo of me for potential use in a publication, I consented. Soon afterwards, the sweating became too ridiculous and I couldn't figure out why so I said my good-byes and started walking toward my residence, located at the time on the other side of town.

About halfway there, an energized psychic push-and-pull began stirring in my skull and words started to assemble themselves in flashes and clusters. Phrases such as "painted star-fire" and "unmapped territories" swirled and glowed like special effects in a movie. Is this, I wondered, what all the heat which had started flowing through me at the party and forced me to leave before I was ready was all about? A ball of winged language was preparing to reveal itself in one form or another and left me no choice but to stop walking, grab from my shoulder bag a pen and piece of paper, and write the fragments down.

Cover of Suzanne Jackson Five Decades retrospective catalog. For information on closing tour of the retrospective and book signing with artist Suzanne Jackson click the image. (Cover art courtesy of Telfair Books)

Such experiences were not new to me but the way they sometimes manifested could still come as an unsettling disruption. This was such an instant and every other block I had to stop walking and start scribbling. By the time I got home, I had written a rough draft which looked like it could be the beginnings of a poem. Okay, I thought, I'll just leave it in this folder and go back to it next week sometime.

Except that it refused to wait.

Polychromatic Inked Pages

Over the next few days I kept feeling drawn back to the folder and added to the lines already written in black ink, more lines composed in green, red, and purple ink. Sometimes I wondered: was I writing a poem or painting one?

Eventually, the evolving draft was complete enough to take on the title Syllables Painted on a Suzannian Canvas. It was enough to type up and print a second, then later third and fourth drafts before finally settling on: Suzannian Algorithm Finger-Painted on an Abstract Wall. It fit, I thought, the words which had sweated themselves out, the polychromatic inked pages, and the artist in whose honor the work had been composed.

Table of contents from Suzanne Jackson Five Decades retrospective art exhibition catalog. In addition to artist Jackson and editor Rachel Reese, catalog contributors include: Betye Saar, Aberjhani, Melanee C. Harvey, julia elizabeth neal, & Tiffany E. Barber. (Page image courtesy of Telfair Books)

My hope to come up with an idea for an essay or poem for the planned catalog in a couple of months appeared instead to have become an accomplished mission in a few weeks. It seemed the poem, which in time would be accepted for the pages of the catalog, had started writing itself the moment I read the words HATE HAS NO HOME HERE on the sign in Suzanne's window. Or it may have started long before then, upon that first meeting during my 2004 Harlem Renaissance lecture and book signing at the Carnegie Branch Library.

Contemplating how the poem had unveiled itself, I considered it a direct response to the dynamic creative presences gathered that day in Suzanne's home, and to my observances of the current Harlem Renaissance Centennial. This was appropriate enough given the way Harlem Renaissance artists, musicians, writers, educators, and leaders often inspired and empowered each other's creative efforts and political agendas.

Countering Toxic Bigotries & Heinous Practices

The unprecedented advancements of the Harlem Renaissance on multiple cultural fronts helped counter the toxic bigotries and heinous practices of a time when many Americans, if not most, were still entrenched in unyielding mindsets forged during the death-throes of slavery as it was practiced in the 19th century. They remained so even as social, legislative, and technological progressions in the 20th century indicated those who insisted on holding onto delusions of white supremacy were doomed to agonizing personal and collective implosions.

Our present 21st-century hour bears a lot of similarities to the previous time-frame. Works by black artists supportive of progressive change mattered then as they do now because often found within them were/are important ingredients for remedies to what ails our bleeding and burning world the most. Ingredients like symbols of life-sustaining values and language encouraging actions motivated by compassion and mindfulness.

The recognition and celebration of Suzanne Jackson's achievements in this modern era when chaos and enmity command so much attention on a daily basis is a recognition and celebration of some of our better options for moving toward the next century. Her painted, poemized, and otherwise choreographed meditations offer us touchstones of remembrance and awareness. Those touchstones inspire individuals and communities to consider more deeply and more efficiently the choices which have brought humanity to this 2019 moment of quivering uncertainties, and, the options most likely to help us regain the advantages of higher ground and hopes now seemingly lost.

Aberjhani
author of Dreams of the Immortal City Savannah
and co-author of Encyclopedia of the Harlem Renaissance

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Elemental's 10th anniversary inspires mindful reflections & renewed hopes (part 2 of 2): illumination

5/4/2018

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That Elemental, the Power of Illuminated Love, would prove a challenge to get published had always been known. Potential traditional publishers had no problems admiring its bold creativity and uninhibited spiritual intensity. What most could not accept was something traditionally troublesome when it comes to artists and the marketplace: the financial risks involved.

With all respect to healthy doubts and sensible reservations, so far as Luther and I were concerned the years of energy, labor, and determination already invested in Elemental by the time 2006 rolled around equated to something more than a calculated transactional value. From the perspectives of our deepest meditations and intentions, the completion of Elemental meant contributing to the cultural legacies established by creative artists like those who made possible such movements as Impressionism, Cubism, Surrealism, and the Harlem Renaissance. This last, especially, was one which had already stamped our destinies as Luther had studied with artists of the Harlem Renaissance and I had already co-authored Encyclopedia of the Harlem Renaissance.

The center image for this art graphic features the first two stanzas of a poem by Aberjhani from ELEMENTAL (p. 22) titled "Past, Present & Future Are One" based on a Luther E. Vann painting of the same title. The third-eye illustration seen above was drawn by Jason Maurer when the poem was published in the former SCAD newspaper The Georgia Guardian in 1993, 15 years prior to the publication of ELEMENTAL. The combined creative synergy demonstrates how ELEMENTAL has helped to inspire and empower others from the beginning.

But once creative passion and committed partners empowered us to finally produce a physical book, we reached two important conclusions. First: we recognized the need to articulate, both for potential buyers and booksellers, as definitively as we could, the goals and values inherent in Elemental. Secondly: it seemed obvious the work could be adapted for different mediums. These considerations resulted in the following statements:

ILLUMINATED LOVE

1) The vision behind ILLUMINATED LOVE is that human beings and the environments we inhabit are inherently multidimensional in ways that are typically ignored but which can make our lives richer and more fulfilling than generally recognized or consciously experienced.

2) The mission of ILLUMINATED LOVE is to express through visual art, poetry, and music the creative and spiritual harmony that connects shared public spaces with individual need and existence; and, to demonstrate the multidimensional nature of the same.

3) The objective and/or goal of ILLUMINATED LOVE is to provide a product that functions as a source of entertainment, as inspiration, and as an enhanced tool for the study of employing complementary creative genres within an appealing multi-media format.

When envisioning Elemental as a staged musical or as a video production, I described it thus:

...An exploration and documentation of the way human beings occupy public spaces in interpretative contrast to how they experience inner spaces... It illustrates the way collective intention makes communal interaction possible while individual need and impulse maintain the integrity of a person's separate being.

For example, the Luther E. Vann painting "Christ Listening to Stereo" (p. 27) is of a youth on a bus in New York City (please see image below). The image reveals how the youth is at once physically part of a larger setting while remaining, via his personal stereo, completely apart from it. Immersed in his music, he claims a connection to the artist who made the music and who allows him to not only share in the expressed creative passion, but to utilize the same as a kind of soundtrack for his own anticipations, memories, desires, needs, or fears of the moment. Very similar and yet very different scenes are enacted in such public spaces as parks, malls, back yards, office buildings, clubs, and street corners. They all make the individual part of a larger whole even while many individuals continue to exist primarily as isolated fragments of that whole.

The image used for the cover of the novel Songs from the Black Skylark zPed Music Player is from a section of Vann's painting "Christ Listening to Stereo."

From One President and Generation to the Next

Some might consider the timelessness of the project a good thing in regard to aesthetics but then questionable for the way Elemental's implied commentaries on social and political conditions of a decade ago remain relevant today. In this sense, it continues to illuminate how our least and most desirable practices impact humanity's quest for mutually-advantageous coexistence.

Another example: the ebb and flow of dismay and inspiration from the time of publication until now might be seen in criticisms of former President George Bush's administration as the book was heading to the printer in early 2008. Likewise: less that a year later, after its publication, came Barack H. Obama's unprecedented election to the White House followed by eight years of spectacular innovations and shifts in public consensus regarding everything from race relations and gender equality to environmentalism and economic reforms. And now: current POTUS Donald Trump continues to implement policies resulting in a tug of war between the Oval Office and American citizens committed to resistance.

From one president to the next and one generation the next, Elemental has always proposed for leaders and followers alike a path of informed awareness built on common ground:

The states of interaction with one another and estrangement from each other represent states of being, or levels of reality, that the artist seeks to capture and identify in order to understand their possible implications and consequences in the modern world. Social conditions and activities indicate different outcomes. Some appear to thrive in powerful socially rewarding ways—such as economic advancement or political prestige––while others seem to quietly wither away, turning into the infamous "damned souls" of the world existing in states of perpetual despair leading to the destruction of self and others.

In its essence, Elemental, the Power of Illuminated Love, maintains we are all on a quest to experience qualities of compassion and acceptance capable of helping to sustain both the individual and the larger society. Because such a journey tends to take place even more within than without, the visual imagery, words, and music of ILLUMINATED LOVE incorporates both levels of that reality.

Admittedly, those words might sound a bit more grandiloquent than intended. That does not mean they are any less sincere or applicable.

Powerful and Cherished Allie

This celebration of the 10th anniversary of a book of art and poetry is not to suggest that such a volume holds the key to solving all the world's very serious problems. It is, however, to suggest that humanity for too long has remained too comfortable investing faith in fear and violence. Student walk-outs in protest against gun violence in their schools, calls for police policy and training reform, the #MeToo movement, and resistance to government policies which threaten to widen even further the gap between "haves and have-nots" prove the need and desire for something more healing and beneficial than relentlessly suffocating trauma.

We celebrate Elemental because it identifies not just a potential but a capability already within our reach. It helps take the edge off the impulse to destroy what we fear to understand and allows sufficient time to remind ourselves of this: Love, Knowledge, and Beauty are not our enemies. Whether dressed up as art, poetry, or a simple smile, they have always been among our most powerful life-sustaining allies.

Aberjhani
© May 2018

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Volodymyr Zelenskyy and the Angel of Peace 2022

Of Angels, War, & Peace

Angel of Peace

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

Conversations with the World 108: Ben Okri’s Existential Call to Creative Arms

Taking Notice of Rare Literary Talent

Supporting the Process

Contact the Author-Artist at Bright Skylark Literary Productions

Here’s to a Healthier, Happier, & Hopefully COVID-Free 2021

What Exactly Does This Thing Mean

Adapting, Evolving, and Persevering

A Hidden American Treasure Comes to Revelatory Light (part 3 of 3): Sweating out a Poem

Polychromatic Inked Pages

Countering Toxic Bigotries & Heinous Practices

Elemental's 10th anniversary inspires mindful reflections & renewed hopes (part 2 of 2): illumination

From One President and Generation to the Next

Powerful and Cherished Allie

Aberjhani

Archives

Categories

Volodymyr Zelenskyy and the Angel of Peace 2022

Of Angels, War, & Peace

Angel of Peace

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

Conversations with the World 108: Ben Okri’s Existential Call to Creative Arms

Taking Notice of Rare Literary Talent

Supporting the Process

Contact the Author-Artist at Bright Skylark Literary Productions

Here’s to a Healthier, Happier, & Hopefully COVID-Free 2021

What Exactly Does This Thing Mean

Adapting, Evolving, and Persevering

A Hidden American Treasure Comes to Revelatory Light (part 3 of 3): Sweating out a Poem

Polychromatic Inked Pages

Countering Toxic Bigotries & Heinous Practices

Elemental's 10th anniversary inspires mindful reflections & renewed hopes (part 2 of 2): illumination

​From One President and Generation to the Next

Powerful and Cherished Allie

Aberjhani

Archives

Categories

From One President and Generation to the Next