“…turnin’ nouns into verbs braids into crowns
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.
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.
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.
© Women’s History Month 2020
Harlem Renaissance Centennial
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
“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:
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)
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.
Quotation Art on birth , rebirth, and poetry: “Born once of flesh, then again of fire, I was reborn a third time to the sound of my name humming haikus in heaven’s mouth.” Text and Self-portrait art by Aberjhani–– (from The River of Winged Dreams) copyright 2017 (Postered Poetics by Aberjhani @ Bright Skylark Literary Productions 2017)
The diamonds referenced in the above title symbolize two concrete objectives as well as the more metaphysically metaphorical interpretations some might glean from it.
The first among the two material objectives is an examination of themes, meanings, and historical events that have provided some degree of context for my life up until this point. These are the subject of my current 4--part blog series on Charter for Compassion titled: Notes on Compassion in the Summer of a Life Infused with Democratic Vistas and Creative Resistance. So far we are up to part 3 and you can check them out by clicking the images in this post.
The second objective is a serious consideration of creative projects recently-completed and others just getting underway. Of these, the most immediate is a book of creative nonfiction on cultural arts, history, and race relations within Savannah, Georgia (USA).
This is one of those books which had to be lived before it could be written. And I admit the living was not always easy but I celebrate having come this far to share the tales told in its pages.
Additional components of the second wave of planned goals include: ongoing development of the Chromatic Poetics art project; and––a big drum-roll here—completion of at least one of the two plays currently sitting on my desk waiting for characters to take the stage.
For those who wonder why or how it is the engine room of my creative output remains so productive, the answer is more simple than complex. When looking at everything going on socially, politically, spiritually, economically, and otherwise-ly in our extraordinary world, it becomes impossible for me not to contribute in some way to the many dialogues that could make a powerful positive difference.
Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist Award, and Poet of the Year Award. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia.
Adding the mantel of visual artist to that of wordsmith requires--aside from repeatedly earning such a title--doubling the secondary function of launching projects once they are either completed or close to completion. Some of us are naturals at it and others, like this author-artist, more likely to rely on the kindness of friends and pros.
With the ongoing soft launch of Postered Chromatic Poetics, one of the secondary devices employed has been a blog provided by the kind souls at Fine Art America and the camaraderie offered through the active clubs there. The club aspect is reminiscent of the Creative Thinkers International community once based at the Ning Network and I am often tempted to spend as much time there as here.
The Chromatic Poetics blog at FAA has been used primarily to introduce site visitors to new visual works, which is a good thing. Not so good is the present format restriction on images and links that can be included with it. So to help supplement those efforts, I am sharing below and in the next post the two most recent art entries with informational text and purchase widgets:
Dare to Love Life on National Selfie Day and Always
The Dare to Love Yourself "movement" had nothing to do with National Selfie Day when it began to slowly develop ten years ago. The well-known quote--"Dare to love yourself as if you were a rainbow with gold at both ends."-- as many are now aware, originated with the poem Angel of Healing: for the Living, the Dying, and the Praying.
The poem was first published in the book The Bridge of Silver Wings and later in The River of Winged Dreams. It has become increasingly popular over the past few years as a rallying cry to support suicide prevention and to discourage suicide bombers. The association with National Selfie Day was never intentional but obviously a natural fit which hopefully helps encourage not narcissism, but a positive healthy self-image and a deep appreciation for all life.
The following two art descriptions are for recently-added images that celebrate the potential healing capacity of love in all our lives:
Putting Self-Love in Chromatic Context
Loving yourself isn't just about the photographs we post to our social media profiles to show the world we know how to have fun. It's mostly about recognizing where we fit in the larger scheme of things and how our lives contribute meaning and value to the world. Below is the image is the poem, published in The River of Winged Dreams, from which the dare-to-love-yourself quote is taken. The image itself is the second official Postered Chromatic Poetics artwork to feature it:
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.