 (“Giving a Hoot at Temple U” digital painting of Temple University’s O’Connor Plaza located in Founder’s Garden with the Temple Owl by Aberjhani. Original Owl sculpture by Corolfi Studios.) Of the different schools I have attended and wrote about in Dreams of the Immortal City Savannah, the one where I did not do especially well was Temple University, home of the mighty Owls in Philadelphia, Pennsylvania. At this point, years later, I can smile with some humility about it because two groundbreaking books with my name attached to them are now university’s library. This is the story of why that matters during this 20th anniversary of Encyclopedia of the Harlem Renaissance. There were at least a couple of significant reasons for my frowny-face grades at Temple. One was the difficulty I had adapting to the school’s much larger classrooms after I’d attended a private college where classes usually accommodated between 10 and 15 or 20 students. At Temple, as with many large American universities, the number of students per classroom often began at 20 and at least two of mine, dealing with the history of journalism, had more than 40. Being seen to get answers to questions could be as difficult as hearing what the professor was saying at any given moment. So far as formal academics went, I had underestimated my personal need for the more intimate setting provided by my former college located in Florida. The 3.5 average which had gotten me into Temple took a stunning and painful nosedive. At the same time, the city of Philadelphia itself––with its rich history, demographic diversity, vibrant cultural arts scene, and swinging nightclubs––provided me with an education in northern urban culture I had long desired and finally received. Partying Footballers and Privileged Roommates The second cause of my non-impressive academic performance was sleep deprivation. The resulting brain fog came from being placed in a dorm room next to a popular football player who preferred partying with teammates and adoring young co-eds way past midnight, every night of the week, as opposed to studying or sleeping on any night of the week. My next-door party-owl might not have needed decent grades or a part-time job to stay enrolled but I did. He couldn’t believe it when I dared to hammer on his door, banging louder than the drums in his blaring rock and roll, and ask him to lower the volume so those of us who were not on athletic scholarship could study and/or get some sleep. The muscle-heavy teammates standing behind him couldn’t believe it either and appeared genuinely confused that I was not begging to join them. This scenario repeated itself enough that the floor RA feared we were heading toward a battle of the over-six-footers and had me moved down to the first floor. The move created another situation with a wealthy roommate who made it clear he was just hanging out at the university until his father caved in and gave him a job at his company. With his future so solidly set, he slept all day and at night noisily exited and entered the room with his girlfriend. He became more thoughtful after I let him know what his lack of consideration felt when I spent an entire day rushing back to the room, in between classes and work, to interrupt his snoring. Fortunately for both of us, he and his lady moved in together somewhere and I actually I had the entire room to myself for at last month of one semester. Joyful Gratitude (Screenshot of Temple University Library page showing copies of Encyclopedia of the Harlem Renaissance and Suzanne Jackson Five Decades.) Many other experiences at Temple were very positive, like: working for Temple U Press, singing in the school's gospel choir, and photographing Philadelphia’s famed public sculptures. But I’ve always regretted having received there the only “F” and “D” I ever got at any college or university. Bearing that in mind, however, it is more than a little satisfying to know the school’s library currently holds copies of : Encyclopedia of the Harlem Renaissance and Suzanne Jackson Five Decades. The university itself and Temple U Press are referenced several times in the encyclopedia and it contains an entire article, written by West, on Philadelphia and the Harlem Renaissance. My books’ presence on the school’s library shelves could be described as a kind of poetic justice or vindication. I like the idea that history took up its pen to write a version of my time at Temple filled with more joyful gratitude than painful frustration. Aberjhani |
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Some, however, might be surprised to learn Vann’s art also adorned the covers of several more of my books, including: the poetry collection The Bridge of Silver Wings; and, the novels Christmas When Music Almost Killed the World, and Songs from the Black Skylark zPed Music Player. In Dreams of the Immortal City Savannah, Vann’s aesthetic relationship with the artists Claude Monet and Kahlil Gibran is explored in story titled “Monet, Vann, and Gibran at the Telfair Museum of Art.” The following is a short excerpt from the story:
“When considering how the practices of slavery, philanthropy, and rebellion could all converge behind the exquisitely-rendered doors of the Telfair Museum, it becomes less difficult to imagine the different implications of it housing works by artists as diverse as France’s Claude Monet (Nov 14, 1840 – Dec 5 1926), America’s Luther E. Vann (Dec 2, 1937-April 6, 2016), and Lebanon’s Kahlil Gibran (Jan 6, 1883 – April 10, 1931)... There is a kind of unrecognized kinship between their painted meditations on the layered realities of human existence and the ever-unfolding wonders of time’s relationship with space, and light’s eternal dance with shadows and hues.” (from Dreams of the Immortal City Savannah)
The above reference to “practices of slavery” (hopefully obviously) should not be taken as allusion to those associated with today’s Telfair Museums of Art. It refers rather to past practices which made possible the foundation upon which the museum was founded. It is nevertheless painfully relevant to our modern times because of the current pandemic of human trafficking. That makes the work and function of the modern Telfair Museums, which often bridges cultural divides and celebrates human diversity, all the more essential.
Aberjhani
100th Anniversary of the Harlem Renaissance
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Dreams of the Immortal City Savannah (ISBN ISBN 978-9388125956) by Aberjhani: A memoir of what happens when the heart & soul of a city meet the art & purpose of a 21st-century advocate for compassion & social justice.
The second epigraph at the beginning of Dreams of the Immortal City Savannah comes from a contemporary and friend of Nobel Prize for Literature winner Albert Camus (1913-1960), the French poet Rene Char (1907-1988):
"On our temperate side we have a series of songs in us, guarding us, wings of communication between our calm breath and our highest fevers..."
(R. Char from Put on Guard)
The hope to establish a balance between temperance and its opposite, heedlessness or chaos, so that a "series of songs" may flow unimpeded, is an important theme in "A Brazilian Thanksgiving in Georgia," the second story in Dreams of the Immortal City Savannah (ISBN 978-9388125956). In fact, the story might also have borrowed from Char's quote the phrase "Between Our Calm Breath and Our Highest Fevers" for an alternate title. This is the synopsis for it:
"One Thanksgiving holiday when people all over the country are gathering with family members to enjoy a good meal and each other’s company, the narrator makes peace with the fact that his estrangement from certain relatives will make the occasion a challenging one: for the widowed family matriarch he looks after, and, for himself. Having already resolved to make the best of a sad situation, he is surprised by a visit from two friends, a brother and sister from Brazil. In addition to several boxes loaded with traditional Brazilian food, they bring with them much-needed inspiration."
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Determining the best strategies and practices when it comes to caring for aging populations is something impacting the lives of people around the world. While Traditional Elders may be the primary recipients of this care, Millennials, members of Generation X, and Baby Boomers are largely the ones charged with providing it. And members of Generation Z eventually will inherit the same responsibilities.
How well we accomplish the task before us with love and compassion or how miserably we fail has become one of the true 21st-century tests of what we like to call-- our humanity.
Aberjhani
100th Anniversary of the Harlem Renaissance
Read More Blog-Notes on Dreams from the Immortal City Savannah:
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"The realization of dreams, like every battle for freedom, has always required compromise to one degree or another. When the result of a concession, however, is the mutilation of your soul or the cancellation of someone else's future, then it may be said the desired goal was corrupted or destroyed rather than attained." –Aberjhani (from Dreams of the Immortal City)
There are two quotes at the beginning of Dreams of the Immortal City Savannah. This is the first, by the author and Catholic monk Thomas Merton (1915-1968):
“It is true that a person always remains a person and utterly separate and apart from every other person. But it is equally true that each person is destined to reach with others an understanding and a unity which transcend individuality…” (T. Merton from A Life in Letters)
These wise and useful words from Merton illustrate one of the primary themes of Dreams of the Immortal City Savannah (Cyberwit.net Publishing) which is the necessity of individuals and social groups to reconcile themselves with one another to achieve sustainable peace and mutually-beneficial progress. Merton referred to that necessity as though it were/is an inevitability described as "an understanding and a unity."
Dr. Martin Luther King Jr. (1929-1968) called it "an inescapable network of mutuality" and the "inter-related structure of reality.” I have tended, for some years now, to think of it as a convergence of historical confluences which either align the priorities of individuals and societies with historical trends or place them in conflict with the same.
These wise and useful words from Merton illustrate one of the primary themes of Dreams of the Immortal City Savannah (Cyberwit.net Publishing) which is the necessity of individuals and social groups to reconcile themselves with one another to achieve sustainable peace and mutually-beneficial progress. Merton referred to that necessity as though it were/is an inevitability described as "an understanding and a unity."
Dr. Martin Luther King Jr. (1929-1968) called it "an inescapable network of mutuality" and the "inter-related structure of reality.” I have tended, for some years now, to think of it as a convergence of historical confluences which either align the priorities of individuals and societies with historical trends or place them in conflict with the same.
Navigating the Dynamics
Living in the 21st century means mindfully deciding exactly how one fits into such ideological configurations. That is also about the way it was when Dr. King and Merton were formulating their conclusions during the 1960s. And It is what we see in the pages of Dreams of the Immortal City Savannah as people navigate the dynamics of such issues as: personal conduct in public places, assessing the value of long-held cultural traditions in a world of rapidly-evolving multiracial demographics, and maintaining a healthy sense of self within environments made toxic by factors like greed, xenophobia, demagoguery, and other debilitating regressions.
A good example of the invigorating challenge before us is "Cities of Lights and Shadows and Dreams," the very first story in the book. It is described in the following synopsis:
One of the great compromises people sometimes have to make in life is accepting that plans do not always work out as preferred. In Cities of Lights and Shadows and Dreams, the author becomes preoccupied by a strange false memory of being in Paris, France, just after World War II, a time when a number of African Americans had made their way to The City of Lights. Tears in the fabric of this memory allow him to see himself in another later time in his hometown of Savannah where he talks with singer India Arie and others about the visit to Paris but which in fact has never taken place.
The story introduces the parallel themes of displacement, expatriation, attempted escape from painful conflict, and unavoidable return as the narrator imagines what it was like for author Richard Wright (Native Son, Black Boy) upon his arrival in Paris and struggles to make peace with the reality of his actual life in a very different time and place.
Or we can look at it this way: journeys and destinations are not one and the same. The first has to be engaged with a great deal of committed flexibility and enthusiastic perseverance before the other can be enjoyed with any amount of secured satisfaction whatsoever.
Aberjhani
Co-Author of Encyclopedia of the Harlem Renaissance
Creator of Silk-Featherbrush ArtStyle
One of the great compromises people sometimes have to make in life is accepting that plans do not always work out as preferred. In Cities of Lights and Shadows and Dreams, the author becomes preoccupied by a strange false memory of being in Paris, France, just after World War II, a time when a number of African Americans had made their way to The City of Lights. Tears in the fabric of this memory allow him to see himself in another later time in his hometown of Savannah where he talks with singer India Arie and others about the visit to Paris but which in fact has never taken place.
The story introduces the parallel themes of displacement, expatriation, attempted escape from painful conflict, and unavoidable return as the narrator imagines what it was like for author Richard Wright (Native Son, Black Boy) upon his arrival in Paris and struggles to make peace with the reality of his actual life in a very different time and place.
Or we can look at it this way: journeys and destinations are not one and the same. The first has to be engaged with a great deal of committed flexibility and enthusiastic perseverance before the other can be enjoyed with any amount of secured satisfaction whatsoever.
Aberjhani
Co-Author of Encyclopedia of the Harlem Renaissance
Creator of Silk-Featherbrush ArtStyle
About the Author:
A passionate reader, committed writer, artist, photographer, dedicated practitioner of mindfulness, hurricane survivor, maker of poems, believer in the value of compassion, historian, award-winner, journalist, adherent of beauty, and student of wisdom.
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