Visionary Vibes: A Blog by Aberjhani

Encouraging Conscious Coexistence: Conversations with the World 102

9/10/2020

Postered Chromatic Poetics title art graphic by Aberjhani.

Many of my blogs on the Charter for Compassion website address an international audience on why the practice of conscious global coexistence is crucial to humanity’s survival and how we can work towards achieving it. It is something diplomats from different countries have been trying to help nations accomplish for centuries, so the concept is not new. But we continue to get blindsided in the 21st century by biases and phobias which do more to perpetuate divisions than strengthen unity.

Among the quotations from my work employed the most to help transform international antagonism into global cooperation is the following:

“Individual cultures and ideologies have their appropriate uses but none of them erase or replace the universal experiences, like love and weeping and laughter, common to all human beings.” (from Splendid Literarium: A Treasury of Stories, Aphorisms, Poems, and Essays)

These words were first published as part of the essay “For Love of Paris and a More Compassionate World” following terrorist attacks on the city November 13, 2015. The quotation has since been adopted by groups ranging from students’ civic clubs and online study groups to social service nonprofits and political organizations. It has proven particularly popular in different countries on the continent of Africa. Here are two examples:

Individual Cultures quotation social graphic posted in South Africa

Sign featuring quote on Individual Cultures by Aberjhani created by Facebook user in Kenya.

This third social graphic comes from the United States’ Kearsarge Food Hub in New Hampshire.

Many additional artsy social graphics employing the same words indicate a hunger for something other than the tensions which exist between members of different demographics on different continents in different communities. More importantly, educators, conference speakers, various thought leaders, and men and women from diverse backgrounds are not just quoting the words. They are living the truth behind them and demonstrating the greater unifying possibilities which come with embracing our shared humanity. Few realizations could be considered more important during a COVID-19 pandemic which apparently does not play favorites.

Aberjhani
Author, Poet, Artist
Harlem Renaissance Centennial 2020

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Speaking of Women's History

3/7/2020

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“…turnin’ nouns into verbs braids into crowns
and always fetchin’ dreams from a horizon
strewn with bones and flesh of those of us
who didn’t make it…”
Ntozake Shange (from poem “people of watts”)

The poem from which the above quote was taken, “people of watts,” by the late playwright and poet Ntozake Shange (1948-2018) was originally published in her Wild Beauty collection and more recently in the special spring 2020 edition of African Voices Magazine dedicated to Shange and Nobel Laureate Toni Morrison (1931-2019). The quoted lines summarize with agonizing eloquence the work Shange and Morrison have done to resurrect the lynched legacies of African American women. I hope they apply as well to my poem, “A Song of Toni Morrison My Soul Now Sings,” included in African Voices’ celebration of the authors’ amazing lives.

Cover of African Voices Magazine Spring 2020 special tribute edition dedicated to the late African-American women authors Ntozake Shange (seen here on the cover) and Toni Morrison. To order magazine on African Voices' website click the image.

Publisher Carolyn Butts, in her introductory note, spells out the importance of the women’s literary triumphs: “Part 2 of our Ntozake Shange issue honors two Black women writers whose language ignited movements around the principles of self-love, healing and interconnectivity. Toni Morrison and Ntozake Shange freed us from restricting cultural mores while stretching our language and shifting our gaze. We tip our pens in gratitude…”

Balancing Scales of Recognition

Women have always occupied major positions in my nonfiction books, fictional works, essays, poems, and journalism. That may have become more evident over the past year with the inclusion of my work in the art catalogue, Suzanne Jackson: Five Decades, and announcement of my forthcoming lecture at the Flannery O’Connor Childhood Home in Savannah, Georgia.

Morrison in particular has been a recurring subject. However, by comparison, I’ve written far too little about Shange. That realization comes as a major surprise because I recall clearly the controversies stirred over her iconic play: For Colored Girls Who have Considered Suicide/When the Rainbow is Enuf, and the impact it had on me and others.

Described as a choreopoem by Shange in the late 1970s, the play had already become a cultural phenomenon (much like the TV production of Margaret Atwood’s The Handmaid’s Tale has today) by the time I saw it at Temple University in Philadelphia. The playwright had set astonishing witnessed truths, some of them beautiful and some of them horrifying, to linguistic music, and dressed them up in skirted dancing hues. It was as visually captivating as it was dramatically innovative and exhilarating.

Promotional art graphic for director Tyler Perry’s film adaption of Ntozake Shange’s FOR COLORED GIRLS starring: Loretta Devine, Kimberly Elise, Whoopi Goldberg, Macy Gray, Janet Jackson, Thandie Newton, Phylicia Rashad, Anika Noni Rose, and Kerry Washington.

Male friends had declined to go see it with me because they bought into the hype it was “anti Black men.” While there may have been grounds for such an argument, I had grown up with too many sisters and female cousins to fail to recognize the shocking validity of Shange’s voice. I had read the works of too many of her predecessors–like Zora Neale Hurston, Ann Petry, and Lorraine Hansberry––to fail to accept that hers was a major authentic contribution to a dialogue essential to African Americans’ expanded understanding of African Americans. As a young writer looking to develop his own voice, how I could I not be astounded by what she had done with hers?

It is not the destiny of literary sisters like Morrison, Maya Angelou, and Shange to rest in peace. Legacies such as theirs tend to lift our love for and memories of them ever higher in power. That is something for which we can always be grateful.

Aberjhani
© Women’s History Month 2020
Harlem Renaissance Centennial

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Exploring the Wonder and Enigma of Flannery O'Connor (part 2 of 3)

12/19/2019

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From the time when her first short stories and novel were published, O’Connor was identified as a writer with a rare kind of gift. Her specific brand of genius allowed her to adapt powerful religious principles, aesthetic technique, and social observances to create highly original and often shocking literary art which leaned heavily toward the Gothic and grotesque.

She painted with words in the same manner she painted with colors. Stroke by carefully-rendered stroke, she created broken-soul characters who were oddly warped by the jarring impulses of their own scarred personalities, a condition which could make them as misplaced within the confines of their own skin as it could within society.

The Church of Hazel Motes’ Truth

One archetypal example is Hazel Motes, the anti-hero main character in Wise Blood described by Gooch as “a slightly demented saint in the making.” Motes could also be described as a prototype for any number of O’Connor’s characters driven by pain and confusion to rage against their perception of divine, or human, authority over their lives. Hazel Motes is bold enough to propose starting “the Church of truth without Jesus Christ Crucified.” His own ambitiousness and the ambiguities of human mortality inherent in anyone’s life defeat his intentions and ultimately lead to his destruction.

It is not only the daring with which O’Connor wrote such tales as Wise Blood that made her an exceptional writer but an ear for true-to-life dialect and a command of language that enabled her to bend narrative prose into lyrical poetry like this:

“The smokestacks and square tops of buildings made a black uneven wall against the lighter sky and here and there a steeple cut a sharp wedge out of a cloud.” Or the following: “The outline of a skull was plain under his skin and the deep burned eye sockets seemed to lead into the dark tunnel where he had disappeared.”

Such statements, beaded as they were with strong philosophical nuances, would make any writer in any language an exceptional one.

The N-Word Factor

For many African Americans, O’Connor is not an easy read because her fiction is very true to the Southern rural language of her times. That means the word “nigger” tends to flow like breath out of many of her characters’ mouths with such a total disregard for its social, political, or spiritual implications that their use of the word might prompt many a hardcore rapper to reconsider his or her fondness for it.

The degree to which O’Connor herself may have been racist is an issue biographer Brad Gooch does periodically address: “She had returned to settle in a society predicated on segregation and had taken on its charged voices and manners as the setting of her fiction.”

In short, from O’Connor’s perspective as a literary artist, to avoid racially derisive language, and in some cases customs, would have meant dodging an ugly truth rather than confronting it head-on. Moreover, readers should note she was far from being alone in this regard among white and black American writers in the previous century.

NEXT: Exploring the Wonder and Enigma of Flannery O'Connor (final part 3)

If you missed part 1 of Exploring the Wonder and Enigma of Flannery O'Connor and would like to read it Please Click Here.

Author

Aberjhani is a multi-genre author of history, memoirs, poetry, fiction, and journalism. His most recent book is Dreams of the Immortal City Savannah.

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Exploring the Wonder and Enigma of Flannery O'Connor (part 1 of 3)

12/19/2019

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Flannery O'Connor Wonder & Enigma title art graphic for Aberjhani's Postered Chromatic Poetics.

Among the biggest surprises to come my way in 2019 was an invitation to give a talk and sign copies of Dreams of the Immortal City Savannah at the Flannery O'Connor Childhood Home in Savannah, Georgia. Health issues prevented me from accepting the initial invitation but I am now slated to give a presentation in May 2020. The plan is to also have available for signing a forthcoming book in which I recount adventures and misadventures involving three iconic writers: O'Connor, James Alan McPherson, and John Berendt.

Any literary biographer will tell you writing a book of meaningful depth on an influential author requires a ton of research involving what other writers have already said about the subject. The following are reflections on another scribe's brilliantly-informed perspective, first published by AXS Entertainment as: "Events, Books, Highlight Flannery O’Connor’s Legacy."

Regarding a Gifted Child

One of the words most frequently used to describe Flannery O’Connor is “paradoxical.” Exactly why that word is such an appropriate one is demonstrated with informed passion and masterful skill in Brad Gooch’s finely layered biography: Flannery, A Life of Flannery O’Connor.

The fact that the mystery of O’Connor’s life and work continues to draw increasing attention in the twenty-first century is amazing when considering how steeped it is in the language of her times—the very racially-charged South of the mid-1900s–– and when noting her early death from lupus at the age of thirty-nine.
Gooch begins his story by revisiting a moment which would remain a reference point of both humor and symbolism throughout O’Connor’s remarkable life. He takes us to the author’s childhood home in Savannah, just off Lafayette Square, where in 1930 she was visited by a news cameraman “to record her buff Cochin bantam, the chicken she reputedly taught to walk backward.” While a chicken may have been the first bird to enhance her public profile, in her personal essay about the incident, The King of the Birds, O’Connor noted “My quest, whatever it was actually for, ended with peacocks.”

Her childhood penchant for reversing the accepted order of things might be read as nothing more than weird if attributed to another five-year-old. Because it is O’Connor, it may instead be viewed as one early hint of a creative sensibility which in time would create and coax characters into acting out challenging dilemmas of the human condition as she observed it. Biographer Gooch’s narrative is particularly astute when it comes to his evocation of how that sensibility recognized its own value and instinctively preserved itself within “a regulated and meticulously organized world within a world.”

Flannery O'Connor quotation art graphic by BrainyQuote.

Her tactics included the creation of poems, cartoons, and booklets in which she presented portraits of Edward O’Connor, her adored businessman father, and the resilient Regina Cline O’Connor, her mother. They also included somewhat restrained rebellions against the authority of the nuns, at St. Vincent’s Grammar School for Girls, whose job it was to help shape her character into one reflecting modern Catholic grace and values.

Loss and Suffering

Like nearly all Americans who grew up during the 1930s, Flannery O’Connor’s childhood was marked by the economic ravages of the Great Depression. Her father lost first his real estate business, then a succession of jobs until he was forced to accept a position in Atlanta in 1938 and moved his family to Milledgeville, where in time his daughter would become one of its most famous citizens. Even more notable than the family’s financial up and downs was Edward O’Connor’s death from lupus at the age of forty-five in 1941. His daughter was then fifteen.

Each turn of fate in Flannery O’Connor’s life as recounted by Gooch seems to have reinforced her personality with powerful measures of theological insight, focused creativity, and humor. A couple of years following her father’s death, she noted: “A sense of the dramatic, of the tragic, of the infinite, has descended upon us, filling us with grief, but even above grief, wonder.” Most people stop at the “grief” part and allow themselves to simply wallow in it until ready to move on. The mystery of the “wonder” continuously pushed O’Connor forward.

Flannery O'Connor: Acts of Redemption from Elizabeth Coffman on Vimeo.

At the age of twenty-five, in December 1950, she was told she was suffering from a severe case of rheumatoid arthritis, but two years later learned her true condition had been hidden from her. Sally Fitzgerald, one of her closest friends, told her she was suffering from the same disease which had killed her father. By the time she learned her actual condition, she had already distinguished herself as an aspiring writer at the famous Iowa Writers’ Workshop and as one from whom great things were expected at the renowned Yaddo Artists’ Colony. Her status as a professional author rested mostly on a number of short stories published in prestigious literary journals and on her now classic 1952 novel, Wise Blood, published just a month before learning about her medical fate.

Such “devastating knowledge” might have reduced another sensitive soul to a simmering puddle of depression from which they might never have recovered. As Gooch points out:

“She did not know whether she would be allotted the same three years of borrowed time as her father, following his diagnosis, or if indeed ‘the Scientist’ possessed a miracle cure. She had her doubts.

She also had her faith and intellectual passion, both of which helped her to confront the enemy known as lupus. (Gooch’s report on how doctors treated individuals with the disease in the 1950s is particularly interesting in light of the Food and Drug Administration’s 2011 approval of a drug called Benlysta as a treatment option; the authorization marked the first time in fifty-four years a new drug received such an endorsement.)

NEXT: The N-Word Factor: Exploring the Wonder and Enigma of Flannery O'Connor (part 2)

Author

Aberjhani is the author of Dreams of the Immortal City Savanna and co-author of Encyclopedia of the Harlem Renaissance. He is also an accomplished artist & photographer.

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Chaos of 2017 Sets Stage for Growth and Greater Unity in 2018 (part 1 of 2)

12/28/2017

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(Chaos of 2017 sets stage for 2018 Postered Poetics art by Aberjhani)

“Men and women who dedicate their lives to the realization of their gifts tend the office of that communion by which we are joined to one another, to our times, to our generation, and to the [human] race.”
––Lewis Hyde (The Gift)

I am ending the year 2017 the same way I started it: by recommitting myself to life-affirming values and productive best-practices. The hope is such commitment will help me and others continue to steer our way past the debris of political chaos and social nihilism which characterized too much of 2017 and thereby make 2018 a time of much greater unity and productivity.

In 2017 this translated into doing anything and everything necessary to complete a nonfiction book project on which I had been working for nearly a decade. It also meant increasing efforts to encourage the use of compassion as a primary tool for nonviolent conflict resolution.

Being able to say I met with significant measures of success on both fronts is a good feeling. These individual accomplishments, however, become much less satisfactory when considering how little an impact the call for compassion had on those who throughout the year 2017 convinced themselves that mass murder, as uselessly insane as it is, was a viable approach to achieving some kind of victory. Or some form of favor with divine authority.

Historic Tipping Point

While striving to reach certain goals (about which more will be said a little later) that component of history known as current events frequently interrupted my plans with its own agenda. Like authors, journalists, and artists all over the world watching the clashes between political uprisings and humanitarian urgencies, I responded in the best ways I could.

Some, like the massacre of 305 people at the al Rawda Mosque in Egypt on November 24 and the killing of 58 people (along with the loss of millionaire gunman Stephen Craig Paddock’s life) on the Las Vegas Strip in Nevada (USA) on October 1 (just to give two examples) left me speechless for days; I was astounded at our collective inability to evolve beyond an apparent addiction to the cruelest kinds of pandemonium.

In addition: extreme alt right politics (often equated with white supremacy), scary fluctuations in the climate, and the ongoing disclosure of unacceptable sexual aggressiveness within business environments have created what many consider a historic tipping point for humanity. The question is whether we’re going to tip forward toward healing progression or tumble screaming backwards into even more aggravating mayhem. A certain president’s—that would be U.S. POTUS Donald Trump’s––decision to re-tweet inflammatory anti-Muslim videos and repeatedly bate unstable dictators has not been particularly comforting.

Various transgressions stirring furious indignation are not new. Does this mean they must remain unceasing? The level of expanded public outrage prompting corrective responses to perceived, and often confirmed, injustices represents a powerful shift in humankind’s shared awareness of its potential plight. And that in itself is reason to keep hope alive and kicking.

A Bridge of Silver Wings Reconsidered

Of all the issues worth pausing my writing and art projects long enough to join fellow citizens in public protests and advocacy, the one which actually prompted me to do so was the historic Renaming the Talmadge Bridge Symposium sponsored by the social justice advocacy group Span the Gap and the Beach Institute of Savannah, Georgia. Originally, I was slated to join participating panelists on stage at the Savannah Theatre along with the moderator, former Mayor Otis S. Johnson. Health issues, however, forced me to limit my participation to taking a front-row seat in the audience and accepting Span the Gap’s gracious acknowledgment of my contributions to the ongoing campaign.

The panelist who did go on stage included: civil rights attorney, pastor, and educator Francys Johnson, president of Georgia state NAACP; community organizer Bernetta B. Lanier; Connect Savannah’s community editor Jessica Leigh Lebos; former Chatham County commissioner John McMasters; Savannah Morning News columnist Dr. Mark Murphy; community activist Pamela Oglesby; and chairman of SCAD’s Architectural History Department Robin Williams.

My participation in discussing the need to change the name of the bridge from that of someone who openly championed white supremacy to one less racially antagonistic was less robust than I had preferred but I took some consolation in knowing I had helped create this momentous event through the publication of various essays and articles prior to it taking place. Among them:

Struggle Continues to Correct Racial Transgressions of America’s Past
The Bridge and the Monument: A Tale of Two Legacies (from The American Poet Who Went Home Again)
2016 and 2017 Statements on Renaming the Eugene Talmadge Bridge(circulated offline)
Review of The Wild Man From Sugar Creek
Re-Envisioning the Confederate Monument as a Portrait of Diversity
Commitment and Conscience in Debates over Removal of Confederate Monuments in America

The Renaming the Talmadge Bridge symposium did not end with any kind of firm commitment to immediately change the name of the causeway. The event did help raise public awareness of what’s at stake if it remains unchanged. It also inspired me to begin work on a play about the dynamics of inter-generational legacies and embracing the battle to correct social injustices.

Vigorous Applications of Compassion

The practice of compassion sat either at or near the top of the list of most crucial life-affirming values to which I re-committed myself in 2017. Working with partners at Charter for Compassion, I strove to drive home the point that a vigorous application of compassion in daily personal or professional encounters, the composition of government policies, and religious considerations could go a long way toward solving many of our most egregious dilemmas.

The following is a list of blog essays in which I attempted to present my case for advantages of applying a philosophy of universal compassion to everything from global warming and violent conflicts (domestic as well as international) to creative maladjustment, poem-making, and the agony of historic cultural shifts.

So: why all these diverse explorations of the application of the golden rule? Because there’s a lot more wisdom in doing unto others as we would have them do unto us than most people take time to consider.

NEXT: Chaos of 2017 sets stage for growth and greater unity in 2018 (part 2 of 2)
By Aberjhani

About Aberjhani

On any given day of the week, the creator of Postered Chromatic Poetics and co-author of Encyclopedia of the Harlem Renaissance, Aberjhani, may be found wearing any number of hats: historian, visual artist, poet, advocate for compassion, novelist, journalist, photographer, and editor. Having recently completed a book of creative nonfiction on his hometown of Savannah, Georgia (USA) he is currently writing a full-length play about the implications of generational legacies as symbolized by efforts to rename the Eugene Talmadge Memorial Bridge.

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Encouraging Conscious Coexistence: Conversations with the World 102

Aberjhani
Author, Poet, Artist
Harlem Renaissance Centennial 2020

Contact the Author

Speaking of Women's History

Balancing Scales of Recognition

Contact the Author

Exploring the Wonder and Enigma of Flannery O'Connor (part 2 of 3)

The Church of Hazel Motes’ Truth

The N-Word Factor

Author

Exploring the Wonder and Enigma of Flannery O'Connor (part 1 of 3)

Regarding a Gifted Child

Loss and Suffering

Author

Chaos of 2017 Sets Stage for Growth and Greater Unity in 2018 (part 1 of 2)

Historic Tipping Point

A Bridge of Silver Wings Reconsidered

Vigorous Applications of Compassion

About Aberjhani

Aberjhani

Archives

Categories

Encouraging Conscious Coexistence: Conversations with the World 102

AberjhaniAuthor, Poet, ArtistHarlem Renaissance Centennial 2020

Contact the Author

Speaking of Women's History

Balancing Scales of Recognition

Contact the Author

Exploring the Wonder and Enigma of Flannery O'Connor (part 2 of 3)

The Church of Hazel Motes’ Truth

The N-Word Factor

Author

Exploring the Wonder and Enigma of Flannery O'Connor (part 1 of 3)

Regarding a Gifted Child

Loss and Suffering

Author

Chaos of 2017 Sets Stage for Growth and Greater Unity in 2018 (part 1 of 2)

Historic Tipping Point

A Bridge of Silver Wings Reconsidered

Vigorous Applications of Compassion

About Aberjhani

Aberjhani

Archives

Categories

Aberjhani
Author, Poet, Artist
Harlem Renaissance Centennial 2020