Visionary Vibes: A Blog by Aberjhani

Floating along: A Review Essay on Duncan McNaughton’s Somewhere in the Stream (part 1 of 2)

11/26/2019

(Postered Chromatic Poetics title art graphic by Aberjhani)

Just before I took off running from Hurricane Matthew as it slammed the southeastern United States in 2016, presumably courtesy of the still-raging global climate crisis, I wrote the following notes on Duncan McNaughton's contemporary poetry classic, Valparaiso (Listening Chamber publishing, 1995):

As seen through the lens of this reader's experience of his work, McNaughton is a hunter and gatherer of significant meanings, and names, obscured by time and human negligence. Both a dissector and a sculptor of forms (as well as formlessness), a skillful translator of elusive moments crammed as much with pointless absurdity as with essential insights.....

Three years later, following a very narrow miss from Hurricane Dorian, I opened a copy of his SOMEWHERE IN THE STREAM (Blue Press Books, 2019). With this latest addition to the impressive and too often overlooked corpus of McNaughton's titles--now in fact time is the time for publication of a volume of his collected works--for some reason I felt a little less threatened by upheavals of physical-world conditions. Hurricanes seemingly indicative of negligent environmental stewardship, flaming tempests of political corruption, and suicidal addictions to war and hate fueling suicidal addictions to drugs and violence all took less of a toll on my personalized corner of the world. Maybe there was a reason for that.

A reader contemplating the title of this most recent volume of grace, wit, wisdom, and genius from someone often dubbed a poet's poet might suddenly ask: "Somewhere in the Stream" of what exactly? Potential answers--at least for those unfamiliar with McNaughton’s earlier works or unaware of his connections to genre-influencing poets like Ezra Pound, Charles Olson, Robert Duncan, and Diane di Prima--could turn out to be as ambiguous or obscure as they might precise and informative.

Since the poet is McNaughton, stream of individual consciousness gives us one good possibility. So does stream of collective memory, or of human comedies, absurdities, tragedies, antipoetic ironies, and language. It makes sense also to consider the stream of life, or existence, in general. How it manifests, flows, diverges, halts, dims, or glows to the rhythms of its own self-determining frequencies with seemingly little, if any, regard for human intentions constitutes a recurring observance, if not an actual theme, in many of the 51 poems contained in this collection.

Published by Blue Press based in Santa Cruz, California, Somewhere in the Stream (2019) is the latest poetry collection by renowned poet and educator Duncan McNaughton.

So why does any of this matter? Because McNaughton's sensibility is one which surfs brilliantly through history, layered philosophical concepts, and rhythms of multiple languages with startling ease to collect observations well worth the attention of Gen-Z, Millennials, Baby Boomers, and Traditionals alike. Tagging along gives the feeling at times of accompanying an interdimensional space explorer seeking confirmations of intelligence and civilizations outside boundaries of known planetary systems. Or popular literary conventions. As such, his poemized captain's log (if you will) documents the many strange contradictions of what it means to be human.

Read the short title poem at the volume's beginning and you are immersed instantly in a sense of intimate familiarity:

Always an empty space out
front for my Rocket 88

The Blue Chrysanthemum, Rue Parallèle,
Joanne's boîte,
corner Rue de la Vieille Lanterne
I'm usually here, at the bar, about
this time of night, left foot on The Stone

Aznavour at the piano

Everyone who matters to me drops in

Arthur! Ça va?

Here, space in the physical (on the page) sense appears to underscore prominence in the emotional sense. A thorough embrace of human intimacy, romantic and otherwise, unimpeded by space or time, is one of the great gifts of McNaughton's poetry--and also one of its respectable challenges. On a planet home to billions where so many still find themselves condemned to a strangling sense of alienation, the poem lets readers share in the luxurious comfort of knowing a place exists where one is always expected and always welcome. It allows the narrator to become anchored in affirmations of community tinted with soul-sustaining beauty.

This sense of community as represented in McNaughton's poetry has never been restricted to zip codes, national boundaries, or even a single period of history. It has always welcomed the voices of different poets and thinkers grappling with the frequently-cruel and yet often-humorous demands of existence itself. With that in mind, his poems may read as engaged conversations, private letters, public editorials, or notes to a singular self taking inventory of a singular life. Many of those "who matter" the most do indeed "drop in" for cameo appearances in the pages of SOMEWHERE. Among them are both historic and more contemporary poets and authors such as: Bill Berkson, Emily Dickinson, James Baldwin, Jack Collom, Robert Grenier, Sunnylyn Thibodeaux, Jack Kerouac, Jack Spicer, Osip Mandelstam, Colin Christopher Stuart, Walt Whitman, and D.H. Lawrence--just to give a quick sense of the wide range of literary territory this astonishing title covers.

How a given society judges or misjudges some of the most powerful, if not necessarily most influential, voices humanity has produced is not always encouraging. In "AT THE HOUSE OF COMMONS,"(caps McNaughton's) for example, the narrator observes:

The small man alone in the corner is
William Blake. Interesting smile.
Fewer and fewer care.

With Blake, one of the original titans of Romanticism, sitting ignored in a corner, the elephant in the room is the huge unasked question about our modern times. When an over-dependence on technology methodically shortens attention spans and ruling oligarchs pass demagoguery off as democracy: how wise it not to care about the sustained life-example of a poet-artist such as Blake?

NEXT: Floating along: A Review Essay on Duncan McNaughton’s Somewhere in the Stream Part 2

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Jarreau Jazz-riff Earth-tunes for the Angel of Compassion: Essay with Poem (part 1 of 2)

2/25/2017

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"Jarreau Jazz-riff Earth-tunes for the Angel of Compassion: Essay with Poem (part 1 of 2)" Postered Poetics art graphic for essay and poem by Aberjhani.

The first time I became aware of the name Al Jarreau was when receiving a letter (of the old-school variety penned by hand) from a former college roommate exclaiming how thrilled he and his girlfriend had been to attend one of his concerts. Despite my former roommate's enthusiasm, which rarely bubbled over so heatedly for anything other than football and slightly-older women, I did not really understand all the fuss over Jarreau.

Then a couple of years later, in the early 1980s, I got to see the rhythm-bending phenomenon myself in Berkeley, California, on a bill that also featured Carlos Santana and Frankie Beverly and Maze. The world by then had come to know him as the Grammy Award-winning talent behind the albums Look to the Rainbow (1977) and All Fly Home (1978). For my part, I finally got to experience the truth of a statement Jarreau would make many years later:

“I have missed the boat over my career by not doing every second or third CD live, because things happen on stage that don't happen in the studio.” (Al Jarreau Biography.com)

By its accommodating democratic nature, live jazz is often a music of improvisation. And by his brilliant fluid aesthetics, Al Jarreau was able to adapt his vocal vibrations to whatever genre he chose. But he was also, in essence a flesh, blood, and soul embodiment of jazz. It would not be absolutely wrong to describe him as a male Ella Fitzgerald or as a contemporary Cab Calloway, both of Harlem Renaissance fame, rolled into one. It might be more accurate, however, to say he was a once-in-a-lifetime kind of talent.

Among the things to which he alluded that could "happen on stage" was for him to suddenly turn his chest and rib cage into a drum set, transform his clapping hands into tambourines, or absorb an inspiration from the improvisational moment and blast it out of his lungs like a laser cannon lighting up multiple Sonny Rollins solos.

Two phenomenal musicians: Al Jarreau and Randy Crawford. (Getty Image photograph by Sean Gallup)

What happened on the stage was the kind of inexplicable enchantment that made music journalists rush to describe the "quintessential jazz musician" who could duplicate the superlative performance of a brilliant quartet, or even an entire orchestra, with just his singular voice and body carved from music. Think of him this way--Al Jarreau did not just perform his music: right before your astonished eyes and heart he brought it to kicking, shouting, dancing, holy cosmic life that left you breathless with wonder.

Forced to Make a Difficult Decision

The horrible dilemma with which I had to deal the night I saw Jarreau at the Berkeley Coliseum was that he had already been onstage for an hour, took a very short break, then came back for an additional set that lasted even longer. Dependent as I was on the Bay Area Rapid Transit (BART) subway system to get me back to San Francisco, I could not ignore the fact that it was close to midnight and, according to my schedule, the last train to the city would leave at that time.

Thoroughly immersed in the essential work of channeling raw creative energy into musical genius, the singer himself clearly had no use for clocks or schedules and the band seemed happy to match him song for song. Knowing no one from whom I could beg for a ride if I chose to stay, I forced myself to leave and head for the subway.

Just as I was about to enter the station some blocks away, something incredible caught my attention. It was his voice. Whether due to the unique acoustics of the coliseum or the undiminished intensity of his performance, I could still hear him. It was if the night itself with the surrounding buildings, street lamps, trees, and sweet cool air had become his microphone and speakers. I smiled, then laughed out loud, and then laughed some more while simultaneously trying to sing along with him and hurry down the subway steps.

NEXT: Jarreau Jazz-riff Earth-tunes for the Angel of Compassion: Essay with Poem (part 2)

Aberjhani
©February 2017
Bright Skylark Literary Productions

AUTHOR

Author-Poet Aberjhani is currently completing a book of nonfiction narratives about race relations, histories of erasure, the cultural arts, and practices of slavery in his hometown of Savannah, Georgia, USA.

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3 Poems about 1 Phenomenal President

1/6/2017

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“Poetry empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.” Postered Poetics by Aberjhani.

In the debate over the potential repeal of the American Care Act, popularly known as Obamacare, mainstream media commentators commonly refer to the law as President Barack Obama’s “signature achievement.” Whether you describe that tendency as guerrilla decontextualization or simple disrespect, it mostly adds up to a miscalculation of the assessment of President Obama’s impact on American and world history.

Said assessment is one which historians will be determining for decades, but for now, by way of introducing the 3 poems that will soon follow, it is enough to note that the American Care Act is only one of many key achievements spearheaded by Mr. Obama on behalf of his American constituents and his fellow leaders in the global community. How is it commentators so easily overlook the fact that under his leadership a downward spiraling recession which nearly brought the country to its red, white and blue knees was effectively strategically reversed, dropping unemployment figures from double digits to when he took office to the current figure below 5 percent? How can they so casually forget that his accomplishments earned him the Nobel Prize for Peace?

Historic 2009 Black History Month American Legacy Magazine cover by artist Allan Burch featuring President Barack H. Obama (center), and pictured in the background starting from the left going clockwise: Malcolm X, Mary McLeod Bethune, Frederick Douglass, and Rev. Dr. Martin Luther King Jr. Original source: http://allanburch.blogspot.com/2009/02/barack-obama-for-american-legacy.html

That he became the United States’ first African-American president at the age of 47 is possibly less remarkable than the full two terms during which one generation was born, and another grew into maturity living without the assumption that a black American president––this one accompanied by First Lady Michelle Obama and their two daughters–– was by default an anomaly. The observation is more than just the most commanding fact to cite for Black History Month every year from this point onward. It is one of the most compelling arguments for ramping up improved lessons worldwide in diversity, cultural literacy, and peaceful coexistence.

Add to the above the skillful application of leadership principles employed by Mr. Obama to repair diplomatic abroad and whether storms of race-fueled violence at home. Look closely at the risks he took in effort to achieve a diverse workforce with appointments of women, gays, Latinos, Asians, and African Americans to influential offices. And although he obviously boasted a bit when it came to his role as Commander-in-Chief, he was amazingly effective in his position as Chief Comforter following some of the most horrendous natural and man-inflicted disasters in history.

Of the poems below, the first was written to commemorate Barack Obama’s historic 2008 election to the presidency. The second and third were written as it became apparent that his presidency was going to meet with serious oppositions of every kind: political, racial, personal, military, betrays, and more. Each of the poems are available in the pages of The River of Winged Dreams.

Hope and Audacity Revisited

The poem titled “There Upon a Bough of Hope and Audacity” was first published in The Savannah Herald after Barack Obama’s first election to the U.S. presidency. Ironically enough, the poem proposed that Mr. Obama was not to be compared to the great Abraham Lincoln, and yet one of the more noted responses to his re-election in 2012 was a challenge much like one Mr. Lincoln faced a century and a half ago. It was the challenge, whether symbolic or literal, of a growing call for different states to secede from the U.S. President Obama’s re-election was by no means a given. The battle to win was as epic a political struggle as America has ever seen, but U.S. citizens in the end made their choice clear:

There Upon a Bough of Hope and Audacity by Aberjhani originally published in the Savannah Herald to commemorate Barack Hussein Obama's first presidential inauguration.

Songbird of speckled feathers and new millennium eyes,
you trill notes of democratic vistas heavy with light.
Chords of miraculous notions enrich your blessed voice
with power to sing dreams into deeds well done.

Above your head Sallie Hemings’ children laugh rainbows.

You are neither Christ nor King nor Lincoln.
But what you are is willing, capable, and sincere,
there upon a bough of hope and audacity
as branded by history as any have ever been.

Knights of global tables toast the lyrics of your vision.

A grand son of two continents, your heart marches
to the glorious world beat of universal drummers,
and your American dream dutifully follows: one step
for peace, another for justice, two more for strength.

Harriet Tubman’s tears splash prayers for your success.

From where you perch, the trade winds of destiny
lift your songs like leaves of silken prophecies,
scattering the soft true gold of their melodies and joy:
to their rhythm a world sways, hums, and dares to believe.

(from The River of Winged Dreams)

Angel of Hope’s Persistent Flight

“To continue one’s journey in the darkness with one’s footsteps guided by the illumination of remembered radiance is to know courage of a peculiar kind––the courage to demand that light continue to be light even in the surrounding darkness.”
--Howard Thurman

I.
Wreaths of nuclear ash
decorate civilian hearts
with unresolved blood.

Greed, crowned emperor,
rules the earth with cold disdain
for harmony’s path.

War poisons the land
like diseased minds downloaded
into bowls of tears.

Chaos, loving none
so much as itself, slurps and
spits dead souls like bones.

What is belief now?
What is faith that will not die?
What news from heaven?

II.
In midnight’s orchard
rose’s blossom the secrets
that heal daylight’s wounds.

Beats of broken hearts
flow waves of revelation––
open gates to strength.

Cradled in scorched arms,
a soldier’s moon keeps its vows––
shines persistent hope.

This love that God is
curves in figure eights greater
than both time and space.

Death wins nothing here,
gnawing wings that amputate––
then spread, lift up, fly.
(from The River of Winged Dreams)

(Postered Poetics title art graphic for Midnight Flight of the Poetry Angels by Aberjhani.)

“It was a savage scene, and we stayed there for a long time, watching life feed on itself, the silence interrupted only by the crack of bone or the rush of wind, or the hard thump of a vulture’s wings as it strained to lift itself into the current, until it finally found the higher air and those long and graceful wings became motionless and still like the rest.”
––Barack Obama, Dreams from My Father

What once was blood streaks
your face with indigo tears
and lush midnight tunes.

Holding silver hands,
you compose a Tao of art
that heals broken wings.

Lips glow violet,
open to reveal tongues bright
with pearl metaphors.

A speckled halo
handcuffs the world’s best liars
to soft dark passions.

Music’s sweet labors
give birth to a springtime rush
of sighs rippling dreams.

Out of your mouth rhymes
blossom like warm paradigms
already in flight.

Golden, your songs,
and noble; spinning stars on
their axis of love.

On faith’s battered back
calm eyes etch prayers that cool
a nation’s hot rage.

Inside these scarred hearts
genius flows incandescent
waves of truth made real.

Hope drowned in shadows
emerges fiercely splendid––
boldly angelic.
(The River of Winged Dreams)

From the History Channel: “The 44th President: In His Own Words”

Author-Poet Aberjhani is currently completing a collection of nonfiction narratives on the cultural arts, history, race relations, literature, and social and political conditions in Savannah, Georgia (USA).

Bright Skylark Literary Productions
© 9 January, 2017

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Presenting a Poem for the Earth and Al Gore’s Unwavering Optimism (Part 1 of 2)

4/22/2016

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"The Earth in Rapture, Our Earth" special PRINCE TRIBUTE EDITION Postered Poetics by Aberjhani (featuring Hubble Spacecraft photography).

Should people refer to the increasing occurrence of extreme climate events as evidence, signs, or warnings? Whatever the chosen terminology, it has become clear enough that humanity can no longer ignore the impact human activities have on the Earth.

The heart-stopping flash flood that brought Houston, Texas, to a halt earlier this week, the increasing intensity of hurricanes and tornadoes, and the unsettling occurrence of rapid-fire earthquakes in places where few ever popped up before have made something very clear. And that is this: the warnings about climate change that began to emerge decades ago could not have come too soon.

The Earth in Rapture, Our Earth

The Earth in rapture sings a holy hurricane
of ten thousand prophet-poets
burning stones and blood to the music
of higher rainbow spheres, every leaping tree
declares itself a divine idiot dancing inside
shadows of history and flames of tomorrow.

Our Earth in rapture screams the muted glory
of a shy goddess wed to ecstasy and destiny.
Her veil of tidal waves and indigo clouds
hide scalding tears of smoke and lava.
Volcano rumblings of cosmic grief
moan soft blue thunder as she re-births
her eternal rhythms of eternal love.

Aberjhani (from Visions of Skylark Dressed in Black)

Transcript of Al Gore's Case for Maintaining Hope

In a TED Talk presented earlier this year, founder and chairman of The Climate Reality Project Al Gore shared why he believes humanity is in a good position to win the battle against self-destruction. The YouTube video below, first posted by “Climate Reality” under a standard share license, features his talk and is followed a transcript of the main address:

"I was excited to be a part of the "Dream" theme, and then I found out I'm leading off the "Nightmare?" section of it. [Laughter] And certainly there are things about the climate crisis that qualify. And I have some bad news, but I have a lot more good news.

"I'm going propose three questions and the answer to the first one necessarily involves a little bad news. But -- hang on, because the answers to the second and third questions really are very positive.

"So the first question is, "Do we really have to change?" And of course, the Apollo Mission, among other things changed the environmental movement, really launched the modern environmental movement 18 months after this Earthrise picture was first seen on earth, the first Earth Day was organized. And we learned a lot about ourselves looking back at our planet from space."

An Open Sewer

"And one of the things that we learned confirmed what the scientists have long told us. One of the most essential facts about the climate crisis has to do with the sky. As this picture illustrates, the sky is not the vast and limitless expanse that appears when we look up from the ground. It is a very thin shell of atmosphere surrounding the planet. That right now is the open sewer for our industrial civilization as it's currently organized.

"We are spewing 110 million tons of heat-trapping global warming pollution into it every 24 hours, free of charge, go ahead. And there are many sources of the greenhouse gases, I'm certainly not going to go through them all. I'm going to focus on the main one, but agriculture is involved, diet is involved, population is involved. Management of forests, transportation, the oceans, the melting of the permafrost. But I'm going to focus on the heart of the problem, which is the fact that we still rely on dirty, carbon-based fuels for 85 percent of all the energy that our world burns every year.

"And you can see from this image that after World War II, the emission rates started really accelerating. And the accumulated amount of man-made, global warming pollution that is up in the atmosphere now traps as much extra heat energy as would be released by 400,000 Hiroshima-class atomic bombs exploding every 24 hours, 365 days a year. Fact-checked over and over again, conservative, it's the truth."

Let’s Look at the Atmosphere

"Now it's a big planet, but [Explosion sound] that is a lot of energy, particularly when you multiply it 400,000 times per day. And all that extra heat energy is heating up the atmosphere, the whole earth system. Let's look at the atmosphere. This is a depiction of what we used to think of as the normal distribution of temperatures. The white represents normal temperature days; 1951-1980 are arbitrarily chosen. The blue are cooler than average days, the red are warmer than average days. But the entire curve has moved to the right in the 1980s.

"And you'll see in the lower right-hand corner the appearance of statistically significant numbers of extremely hot days. In the 90s, the curve shifted further. And in the last 10 years, you see the extremely hot days are now more numerous than the cooler than average days. In fact, they are 150 times more common on the surface of the earth than they were just 30 years ago. So we're having record-breaking temperatures.

"Fourteen of the 15 of the hottest years ever measured with instruments have been in this young century. The hottest of all was last year. Last month [January 2016] was the 371st month in a row warmer than the 20th-century average. And for the first time, not only the warmest January, but for the first time, it was more than two degrees Fahrenheit warmer than the average. These higher temperatures are having an effect on animals, plants, people, ecosystems."

This Has Consequences

"But on a global basis, 93 percent of all the extra heat energy is trapped in the oceans. And the scientists can measure the heat buildup much more precisely now at all depths: deep, mid-ocean, the first few hundred meters. And this, too, is accelerating. It goes back more than a century. And more than half of the increase has been in the last 19 years. This has consequences.

"The first order of consequence: the ocean-based storms get stronger. Super Typhoon Haiyan went over areas of the Pacific five and a half degrees Fahrenheit warmer than normal before it slammed into Tacloban, as the most destructive storm ever to make landfall. Pope Francis, who has made such a difference to this whole issue, visited Tacloban right after that. Superstorm Sandy went over areas of the Atlantic nine degrees warmer than normal before slamming into New York and New Jersey.

"The second order of consequences are affecting all of us right now. The warmer oceans are evaporating much more water vapor into the skies. Average humidity worldwide has gone up four percent. And it creates these atmospheric rivers. The Brazilian scientists call them "flying rivers." And they funnel all of that extra water vapor over the land where storm conditions trigger these massive record-breaking downpours. This [picture] is from Montana. Take a look at this storm last August. As it moves over Tucson, Arizona. It literally splashes off the city. These downpours are really unusual.

"Last July in Houston, Texas, it rained for two days, 162 billion gallons. That represents more than two days of the full flow of Niagara Falls in the middle of the city, which was, of course, paralyzed. These record downpours are creating historic floods and mudslides.

"This one is from Chile last year. And you'll see that warehouse going by. There are oil tankers cars going by. This is from Spain last September, you could call this the running of the cars and trucks, I guess. Every night on the TV news now is like a nature hike through the Book of Revelation. [Laughter] I mean, really."

Systemic Causation

“The insurance industry has certainly noticed, the losses have been mounting up. They're not under any illusions about what's happening. And the causality requires a moment of discussion. We're used to thinking of linear cause and linear effect -- one cause, one effect. This is systemic causation. As the great Kevin Trenberth says, ‘All storms are different now. There's so much extra energy in the atmosphere, there's so much extra water vapor. Every storm is different now.’

“So, the same extra heat pulls the soil moisture out of the ground and causes these deeper, longer, more pervasive droughts and many of them are underway right now. It dries out the vegetation and causes more fires in the western part of North America. There's certainly been evidence of that, a lot of them. More lightning, as the heat energy builds up, a considerable amount of additional lightning also.

“These climate-related disasters also have geopolitical consequences and create instability. The climate-related historic drought that started in Syria in 2006 destroyed 60 percent of the farms in Syria, killed 80 percent of the livestock, and drove 1.5 million climate refugees into the cities of Syria, where they collided with another 1.5 million refugees from the Iraq War. And along with other factors, that opened the gates of Hell that people are trying to close now.

“The US Defense Department has long warned of consequences from the climate crisis, including refugees, food and water shortages and pandemic disease. Right now we're seeing microbial diseases from the tropics spread to the higher latitudes; the transportation revolution has had a lot to do with this. But the changing conditions change the latitudes in the areas where these microbial diseases can become endemic and change the range of the vectors, like mosquitoes and ticks that carry them.

“The Zika epidemic now –– we're better positioned in North America because it's still a little too cool and we have a better public health system. But when women in some regions of South and Central America are advised not to get pregnant for two years ––that's something new–– that ought to get our attention. The Lancet, one of the two greatest medical journals in the world, last summer labeled this a medical emergency now. And there are many factors because of it.”

NEXT: Presenting a Poem for the Earth and Al Gore’s Unwavering Optimism Part 2

Aberjhani
©Earth Day 2016
Bright Skylark Literary Productions

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Sustaining the Sweet Joyful Howl of Poetry in the 21st Century

4/3/2016

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“Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.” --Aberjhani from Splendid Literarium: A Treasury of Stories, Aphorisms, Poems, and Essays. ©Postered Poetics based on original poetry Spencerian calligraphy art by G.A. Gaskell. #NPM16 #PocketPoem

The launch of National Poetry Month, sponsored by the Academy of American Poets, in April 1996, came just three years after the debut issue of the Savannah Literary Journal in 1993. In addition to 49 poems by 35 brilliant writers with regional and national reputations, the 1996 edition of the journal featured six works of fiction and three pieces of creative nonfiction.

My contribution to the journal that year was a personal essay but the title of it, Angels and Shakespeare (later published in I Made My Boy Out of Poetry), revealed the central place verse has always held in my life. So did this epigraph borrowed from the Chilean poet Pablo Neruda:

“For this reason Monday burns like
oil... and it howls in passing like a
wounded wheel...”

(Pablo Neruda, from Walking Around)

Both National Poetry Month and the publication of the journal (up until 2001) could be considered as invitations to readers, writers, and publishers to explore a more deeply intimate relationship with language. These invitations coaxed them as well to experience the different levels of power words can wield when endowing our lives with either newly-claimed or wholly-unexpected meaning.

The responses, now 20 years down the timeline, have mushroomed into a worldwide cultural mainstay where National Poetry Month (NPM) is concerned. In regard to the Savannah Literary Journal, published by the former Savannah Writers Workshop, it has confirmed the value of one of the city’s most prized artistic legacies.

Of Bloggers and Nobel Laureates

But what should we say of poetry as a whole during the last two decades when life as so many once knew it shape-shifted into a spinning mass of digital signals, globalized communities unbounded by geographic borders, and astounding varieties of terror clashing head-on with determined demands for liberty?

Former Poetry Society of Georgia member Gerald Chan Sieg (1909-2005) receiving the Savannah Literary Journal Irene Tromble McAlister Literary Prize from editor Robert Keber in 1999. (photo Bright Skylark Literary Productions Collection)

That now populous demographic of humanity known as bloggers did not exist in 1996 and programmer Peter Merholz would not condense the term “weblog” to invent the word “blog” until 1999. Nevertheless, poetically-inclined bloggers during the first and second decades of this 21st century have done a great deal to ensure poetry occupies a prominent position within the global imagination and humanity’s collective ethical consciousness.

Moreover, the ever-mindful Nobel Prize Committee actually saw fit in 1996 to award the Nobel Prize in Literature to Polish poet Wislawa Szymborska (1923-2012) "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality." And in 2011 it bestowed that same honor upon Sweden’s Tomas Tranströmer , "because, through his condensed, translucent images, he gives us fresh access to reality."

A Movement Designed to Inspire

Obviously the Academy of American Poets’ commitment to recognizing, honoring, and documenting literary excellence within the work of American Poets did not begin with the establishment of NPM. That happened back in 1934 when founder Marie Bullock surveyed America’s literary landscape and came to a certain conclusion.

Despite the quietly-evolving cultural canonization at the time of such poets as Langston Hughes (1902-1967), Jean Toomer (1894-1967), Carl Sandburg (1878–1967), William Carlos Williams (1883-1963), E.E. Cummings (1894-1962), T.S. Eliot (1888-1965), and other American quill-masters of the period, it became apparent that more needed to be done to place poetry on some level of esteem comparable to what it stirred in the literary capitals—such as Paris, London, and Dublin––of Europe.

National Poetry Month more than half a century later represented a game-changing upgrade from previous efforts. Since its start, affiliated programs each successive year have helped observations to grow in scope and influence. Initiatives such as Poem in Your Pocket Day (observed this year on April 21), the Dear Poet Project, and Poem-A-Day (via email) contribute immensely to sustaining the sweet joyful howl of poetry in these new millennial times. The key words and hashtags that dominate social media every April––like #npm16, #pocketpoem, #jazzpoetry, #celebratingpoetry, and the tagged names of favorite poets––denote only one small measure of how successful the campaign has become.

Cover of Academy of American Poets Journal Vol 50 NPM16. “Greens, Biopsy 2” Digital C Print 2007 by artist Yedda Morrison.

It also did not hurt when citizens of the United States elected a lover and writer of poetry, Barack H. Obama, as their first African-American president in 2008. The following is from a 2009 essay written to commemorate both NPM and Jazz Appreciation Month:

…The birth of the Academy meant the birth of a movement designed to inspire, cultivate, and preserve the voice of American poets. And although it likely was not his intention to do so, President Barack Obama extended that movement not only by bearing the “stigma” of being an accomplished wordsmith but by inviting Elizabeth Alexander––an author of several books but of whom many had never heard until Obama spoke her name––to serve as his Inauguration Day poet.

(Aberjhani, from All that National Poetry Month Jazz)

If there is one thing populations of the world have needed, and received, from poetry for the past two decades, it has been inspiration. But not only inspiration in that classic form which reaffirms the value of faith.

Poetry in our post 9/11 era provides the kind of inspiration that defiantly raises poets’ voices against the brutalities of war, the insanities of terrorism, and the indignities of oppression in all its toxic forms. It empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.

Although the last edition (to date) of the Savannah Literary Journal was published in 2001, its legacy continues to stand as a richly inspiring one. Many of the poets, essayists, fiction writers, and creative nonfiction writers featured in its pages have since gone on to win national and international acclaim in various fields. These are but a few listed in no particular order: Janice Daugharty, Linda Rocheleau, Darryl Lorenzo Wellington, David C. Hightower, Susan Johnson, Lily Keber, Ja A. Jahannes (1942 -2015), Errol Miller, Kathleen Thompson, Toussaint St. Negritude, Dufflyn Lammers, Anis Mojgani, and Vaughnette Goode-Walker. Again, these represent only a few.

Most would probably tell you their greatest contributions to the literary arts thus far have not been particular poems or stories or books. They have instead been the relationships cultivated with the hearts and souls who heard what they had to say and then drew from that hearing enough motivation to speak their own truths to power and pain and joy.

Despite the Cacophony

Whether through contributors to literary journals, the sustained dedicated efforts of members of the Academy of American Poets, or bloggers content just to have a platform where they could post lines at will, poetry has maintained a dynamic living breathing presence in the world.

Despite the cacophony of bombs and bullets which so often drown out the music of laughter (or possibly because of them) poetry at this point in history may very well be more commanding than any other previous time. There are many reasons to believe its potency, and its beauty, shall grow even stronger in the future.

Aberjhani
© National Poetry Month 2016
Bright Skylark Literary Productions

2016 National Poetry Month poster featuring a florilegium with text excerpted from poems by diverse classic and contemporary poets. The poster was designed by Debbie Millman and produced by Emily Weiland. NPM16

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Floating along: A Review Essay on Duncan McNaughton’s Somewhere in the Stream (part 1 of 2)

Contact the Author-Artist

Jarreau Jazz-riff Earth-tunes for the Angel of Compassion: Essay with Poem (part 1 of 2)

Forced to Make a Difficult Decision

3 Poems about 1 Phenomenal President

Hope and Audacity Revisited

Angel of Hope’s Persistent Flight

From the History Channel: “The 44th President: In His Own Words”

Presenting a Poem for the Earth and Al Gore’s Unwavering Optimism (Part 1 of 2)

The Earth in Rapture, Our Earth

​Transcript of Al Gore's Case for Maintaining Hope

An Open Sewer

Let’s Look at the Atmosphere

This Has Consequences

Systemic Causation

Sustaining the Sweet Joyful Howl of Poetry in the 21st Century

Of Bloggers and Nobel Laureates

A Movement Designed to Inspire

Despite the Cacophony

Aberjhani

Archives

Categories

Transcript of Al Gore's Case for Maintaining Hope