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.
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
I'm a big fan of those moments when a proven best practice confirms its value by yielding the kind of positive results I like to refer to as: sweet serendipity.
The best practices in this instance are revisiting, revising, and relaunching a promising book project which stalled for one reason or another. The concluding sweet synchronicity is that instead of engaging readers this summer with just the single newly-released nonfiction title, Dreams of the Immortal City Savannah, I am now able to broaden the spectrum of interaction with the first trade paperback release of my high-fantasy novel, Songs from the Black Skylark zPed Music Player.
The Practice of Persistence
This is how it all happened: about three years ago I announced on LinkedIn that Songs from the Black Skylark zPed Music Player had become part of a then innovative book streaming service. Many readers were therefore able to enjoy the adventures and misadventures of its young offbeat characters online. But those who prefer the experience of holding a physical book while reading were unable to do that with the digital innovation.
Overwhelming competition caused the streaming service to shut down. Should that have meant the end of the book's accessibility as well? Not hardly.
I communicated with members of Amazon's Kindle Direct Publishing team about releasing a trade paperback edition of the novel. At the time, the work I'd already started on the Postered Chromatic art galleries combined with deadlines to complete chapters for Dreams of the Immortal City Savannah (ISBN 9789388125956) made it impossible to spend the time needed to make changes requested for Songs from the Black Skylark zPed Music Player (ISBN 9781977037473).
However, once the number of prints in the art gallery reached an acceptable level and DREAMS made its initial debut with a respectable sales ranking and promising focus group feedback, after some three years I was able to turn my attention back to SONGS. Last week, the folks at Kindle informed me the title had gone live and was now available.
Even readers who are not lit nerds like me and certain friends can appreciate the virtually simultaneous release of a memoir like DREAMS and a novel like SONGS. Such synchronicity is not completely unheard of in publishing but unusual without the influence of a major traditional organization.
Adapting to Multiple Format
Although the novel's paperback release was delayed, the issues with which it deals makes it exceptionally timely. The impact of celebrities on everyday culture, effects of war on individual lives, the pull of suicide on fragile psyches, and the persistence of love in the face of relentless horror are realities to which many can relate. Even when they unfold on more than one plane of existence.
Imagine combining the new reality TV show Songland with the paranormal series The InBetween with some metaphysical rock and roll and evolving superheroes thrown into the mix. That will give you some idea of what makes the book unique and why different readers have been drawn to it in different formats.
The 514-page trade paperback represents more than just a single win for a single individual. With today's numerous media producers (Hollywood, Netflix, etc.) in constant search of stories adaptable to films, podcasts, and audio-books, the musical component of the title makes for some exciting possibilities.
Hashtags like #StoriesOutOfGeorgia (despite threats of decreased production due to Georgia Governor Brian Kemp’s controversial “Heartbeat” abortion law) and #ItHappenedInTheSouth have become useful for introducing production reps to the novel as well as to Dreams of the Immortal City Savannah. We can call that kind of exceptional combined potential one more example of sweet serendipity deriving from a steady application of best practices.
NOTE: This article was first published here on LinkedIn.
Harlem Renaissance Centennial 2019
NOTE: If you missed part 1 of this special tribute to the jazz singer and songwriter Al Jarreau please check it out here. Part 2 begins now.
For the past few years, I have been particularly grateful for the technological advances that allowed me to catch online streaming of Al Jarreau's International Jazz Day performances from around the world: Washington D.C, Istanbul, Paris, etc. When news of his death came on February 12, 2017, the only thing I could really focus on was the astonishingly beautiful gift that was his presence in this world.
The first song by him I was able to access to commemorate his triumphant artistry was an MP3 file of the 1993 live version of "Summertime" from George Gershwin's and DuBose Heyward’s classic folk opera Porgy and Bess. The second was a 3-song set with the equally-amazing singer Randy Crawford on their 1982 Casino Lights CD recorded live in Montreux, Switzerland. Once again, like all those years before in Berkeley, I found myself compelled to sing along. This time, employing a style utilized for the Songs of the Angelic Gaze series published in The River of Winged Dreams, my participation took the form of a haiku jazz poem:
Jarreau Jazz-riff Earth-tunes for
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.