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
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
The original subject scheduled for this post was the 100th anniversary of the "Harlem Hellfighter's" celebratory parade through New York City in February, 1919, following the United States' and allies' successful campaign to end World War I in Europe. For the African Americans who comprised the unit, participation had meant another step toward gaining racial equality and ending unwarranted violence against them at home. With Black History Month only a couple of weeks away and commemorations of the Harlem Renaissance Centennial now kicking off around the globe, the subject would have been timely and appropriate.
However: just as humanity had to address the impact of various forms of violence--such as war, lynching, and race riots--during the Jazz Age Harlem Renaissance, we find ourselves doing the same in 2019, an entire century later. Too often, the casualties you might anticipate hearing about are not the military personnel or police officers who confront danger as part of their profession. They tend to be children in school classrooms, at parties, attending concerts, playing in front yards, immigrating from one oppressive situation to another, or just nestled at home among family members assumed to be dedicated to their safety and wellness.
The beauty of all they were or may have become is gone in the flash of one horrific moment. Rather than revisit yet again the question of why so many of us exercise so little compassion toward children and disregard the potential inherent in every child, I launched the Kaleidoscope Moons Art Series as one way to reclaim with compassion the beauty of lives lost too soon.
A New Perspective on an Old Wound
How to survive and cope with grief over the loss of an offspring is a dilemma I began exploring as a writer through poems in my first book, I Made My Boy Out of Poetry, and then later in essays in The American Poet Who Went Home Again. As the year 2019 slowly gains momentum, I am viewing the subject through a distinctly 21st century lens and re-engaging it as a visual artist via the Kaleidoscope Moons series. Why at this precise time? Largely because of what I expressed in these notes on the series:
STORY BEHIND THE SERIES
The American media has proclaimed the heroics of 13-year-old Jayme Closs for managing after three months to escape her kidnapper. However, she lost her parents to the abductor's shotgun blasts and in that instant experienced the destruction of her childhood. Clearly the concept of compassion held no meaning for him and a civilized society is obligated to reflect on possible reasons why.
What roles, for example, might the glamorization of hatred and sustained monetization of war play in Closs's abductor's choice to ignore the excruciating pain he would cause a child and her family? How did institutionalized practices which place the well-being of children toward the lower end of any list of priorities possibly intensify his nihilism? When reflecting on likely answers, this much becomes clear: the degree to which any given individual might be held accountable for helping maintain a culture of indifference and, by doing so, contribute to the malevolent destruction of human life is a consideration which can no longer be avoided.
NEXT: Kaleidoscope Moons Reclaim with Compassion the Beauty of Lives Lost Too Soon Part 2
Founder of the 100th Anniversary of the Harlem Renaissance Initiative and creator of the Silk-Featherbrush Art Style, Aberjhani's work as both an author & an artist have been acclaimed by critics, readers, and cultural arts supporters around the world.
Elemental's 10th anniversary inspires mindful reflections & renewed hopes (part 2 of 2): illumination
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:
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.
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.