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.
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:
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.
Few things can rearrange the priorities of individuals or nations like a full-blown pandemic. Its impact is felt no less by cultural arts workers than by anyone else. In some cases it is felt even more keenly through creatives’ attempts to convert the overwhelming collective and personal shock to meaningful works in different disciplines.
Responding to events of an historic magnitude with visual and text creations has become very natural for me over the past couple of years so that is how my response to the COVID-19/Coronavirus pandemic of 2020 started. I’m stressing the word ‘started’ here because, like everyone else, I have had to adapt to the new social distance norms imposed by the crisis before I could begin converting the experience into a creative format. What resulting forms will look like in the weeks, months, and years to come remain to be seen. For right now, the new “Battle against the COVID-19 Curve” and “Angels of Music Revisited” artwork posted with commentaries on Fine Art American and Pixels.com represent the beginning of a series of creative counter-measures.
From the Postered Chromatics C19 Art Gallery
Spread of the coronavirus known as COVID-19 has become one of the most dominating forces, if not the single most dominating, in modern times. Populations around the world are confronting it in their own professional and creative ways to the best of their abilities. We see doctors, nurses, grocery store workers, and public transportation workers putting themselves at risk to help others. With famous singers streaming concerts from their living rooms and families gathered outside the homes of loved ones, standing several feet apart while singing them happy birthday or sharing wishes for a happy new married life together. The images in this gallery along with writings about the impact of the 2020 coronavirus pandemic are my way of standing in solidarity with humanity as we overcome the crisis.
Battle Against the COVID-19 Curve
The race to beat what scientists describe as the COVID-19 curve, meaning the highest likely impact levels of the 2020 coronavirus pandemic, began back in January after people in China had already suffered its deadly fury. The goal since then has been to reduce major devastation while the pandemic continued its death march across the globe.
We nevertheless have seen within individual cities, countries, and the international community, scenes which have been terrifyingly heartbreaking and others which have been amazingly inspiring. It is my hope that the Silk-Featherbrush painting titled THE BATTLE AGAINST THE COVID-19 CURVE, captures some of the mixture of extreme emotions and behaviors which have characterized our responses to the ordeal so far.
Inspired The orange-and-rust colored arch in the foreground of the image represents a visual metaphor symbolizing two things. One is the narrow window of opportunity countries outside of China had time-wise to prepare for the invasion of the virus. Secondly, it symbolizes an entry-point to a new collective reality which shows why embracing practices of co-existence and cooperation are much more beneficial to everyone than maintaining belief in conflicts and domination.
The surrounding surging colors are waves of a diverse but unified humanity moving persistently against whatever holds us back from being our best selves. The shadows of dark red in the background can be interpreted a number of ways. I like to think the overall image implies that somehow hope will emerge victorious.
NEXT: Confronting COVID-19 With Inspired Art Part 2: Return of the Angels of Music
author of Dreams of the Immortal City Savannah
co-author of Encyclopedia of the Harlem Renaissance
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.
Aberjhani is a multi-genre author of history, memoirs, poetry, fiction, and journalism. His most recent book is Dreams of the Immortal City Savannah.
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.”
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.
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)
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.
More than a decade after our first meeting, one afternoon I turned the radio on to catch some jazz music on WHCJ 90.3 FM, Savannah State University's celebrated multi-platform multicultural station. To my surprise, I heard Jackson discussing music with the station's legendary former director of programming, and Jazz Festival Hall of Fame member, Theron "Ike" Carter. Their voices were soon joined by that of the great sculptor and Indigo Sky art gallery founder, Jerome Meadows, and those of two more commentators with whom I was not familiar.
Ike Carter's famously-raspy attention-grabbing voice informed listeners this version of his various broadcasts was called LISTEN HEAR and featured a round-table discussion on different music selections brought in by members of the group. Listening to the show in the weeks that followed, it was a kind of revelation to hear Jackson in concert with the others sharing unbridled enthusiasm for classic jazz musicians like: Ella Fitzgerald, Charlie Parker, Billie Holiday, Thelonious Monk, Sarah Vaughn, Duke Ellington, Yusef Lateef, Miles Davis, and numerous others. Her deep appreciation for jazz--often referred to by Carter as African-American classical music--provided hints regarding how the stories, aesthetics, and energy behind the music might, to some degree, influence her own artistry.
Visiting with Carter, Jackson, and various guests through the low-tech efficiency of FM radio waves became a regular pleasure. The easy simpatico between the sensibilities of the commentators and the brilliance of the music they shared made me feel a little proud to have written the article on jazz for the encyclopedia. It was deeply moving to hear them dedicate the April 12, 2016, program to the memory of Luther E. Vann, who had just passed on April 6. During that broadcast, Jackson spoke of first meeting her fellow artist years before at an exhibition in New York City and referred to him as "one of the best painters in Savannah." Carter would later pay similar tribute on Listen Here to Sandra L. West.
Invitation to a Party
Then time passed as time does and another unexpected development occurred: I received an invitation to a launch party to be held on June 30, 2018, for a forthcoming exhibit of the artist's work.
What!? Really!? This was fantastic news indeed.
The idea of an exhibit of her art excited me because I had only glimpsed samples on the internet and knew the general categorization of her as an abstract artist made Jackson something unique (so far as I could tell anyway). What I knew about Black Women artists came primarily from my work on the encyclopedia and from my adoration for Barbara Chase-Riboud, whom I greatly admired because she also wrote some amazing novels.
It had been a very long time since I'd attended a party of any kind at all. My empathic nature has been known to overload in such situations and get the better of me. I set this thought aside as I walked up the steps of the artist's home and saw in the window a sign which read: HATE HAS NO HOME HERE.
The sign's proclamation bore out as in every room of the house, upstairs, downstairs, on the back porch, in the back yard, and in the adjoining studio, I encountered friends and acquaintances (far too many to name) I had not seen for years. In addition, I met for the first time curator and editor Rachel Reese, along with members of the team who were already playing such an important role putting together the retrospective.
Taking on a Creative Challenge
The suggestion that I consider writing something for the planned Five Decades catalog caught me by surprise. At the time, I was focused on completing and publishing my nonfiction book Dreams of the Immortal City Savannah. It seemed highly unlikely I would be able to conjure enough additional creative energy to write a poem worthy of inclusion in the catalog. Yet the notion of doing so was such a beautiful one it could not be dismissed and I recalled with some small amount of guilt Maya Angelou's statement that the more one used one's creativity the more it increased.
True, the entire volume of ELEMENTAL, the Power of Illuminated Love contained ekphrastic verse derived mostly from meditations on paintings by Vann. But a large number of the poems I'd written since then were elegies acknowledging and mourning the passing of beloved friends or famous individuals. Here gleaming before me at the Five Decades launch party was an opportunity, to paraphrase Martin Luther King Jr.'s famous statement on jazz: to let poetry speak to life by commemorating the ongoing achievements of a largely-unsung s/hero who combined within her person multiple artistic gifts and persuasive passion disciplined enough to infuse those gifts with history-altering purpose.
I therefore promised to consider writing something--most likely an essay but possibly a poem--for the catalog and said I would provide a more concrete yes-or-no answer in a month or so. That was what I said. The almighty multiverse apparently had something else in mind.
NEXT: A Hidden American Treasure Comes to Revelatory Light (part 3 of 3)
Please CLICK HERE to read: Part 1 of A Hidden American Treasure Comes to Revelatory Light.
author of The Wisdom of W.E.B. Du Bois
and Dreams of the Immortal City Savannah
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.