Books containing compelling narrative writing combined with appealing fine art by a single creative individual are rare. That makes the forthcoming nonfiction narrative collection by Aberjhani, titled "Dreams of the Immortal City Savannah" (ISBN 978-9388125956), Cyberwit.net Publishers) as well as the artwork from it featured here at Fine Art America/Pixels.com, highly collectible. In addition, the rarity makes them likely to continue increasing in value.
The images in the book are black and white versions of color prints which may be viewed by clicking here: Art from and Inspired by Dreams of the Immortal City Savannah
Previous announcements concerning a book including art by Aberjhani stated it would be one of art and poetry titled "Incandescent Wonder," so the news regarding "Dreams of the Immortal City Savannah" took some by surprise.
"The inclusion of my art and photography in Dreams of the Immortal City Savannah surprised me as well," said the artist-author, "but I've been working on the narrative part of this title for a decade and have been posting updates about it on Facebook and my primary website for the past two years. The art and photography help complete the book in a lot of ways I never expected. I'm glad for the inspiration that prompted me to include it."
The recently-posted art titled "Historic Triumph of Dr. Abigail Jordan" corresponds with the 2019 update of the story in DREAMS titled "The Bridge and the Monument: A Tale of Two Legacies." Aberjhani was in the process of completing edits for the book when he learned Dr. Jordan, who for a decade led efforts to erect the famous African-American Family Monument on River Street in Savannah, had passed in January. She is one of three people to whom the new book is dedicated.
"Learning about Abigail Jordan's passing was quite a shock because so little upon her death was done to publicly acknowledge this great woman whose devotion to eradicating racism and promoting cultural literacy in Savannah has blessed the city so much. The unveiling of the monument in 2002 made headlines around the world. How media in the city neglected to properly acknowledge Jordan's passing is somewhat mystifying but hopefully we will correct that by adding her name more prominently to the monument itself in the form of a plaque or historical marker."
Pre-sales for the first limited edition of "Dreams of the Immortal City Savannah," due out May 1, 2019, are currently available for ordering here:
Pre-Order Dreams of the Immortal City Savannah Now
--Bright Skylark News Notes
The word accountable has a friendlier ring to it when applied to someone other than oneself. Used in a statement such as, “Today I will hold myself accountable for making a positive difference in the world,” it feels more nakedly ominous than courageous or inspiring.
Simply put, it means acceptance of responsibility for a specific action or desired outcome. That can be a good or bad thing depending on motives and results involved. In the example at hand, the motive is pursuit of social justice and the desired result is a long-sought correction of history.
400 Girl Scouts and House Resolution 1054
The concept of accountability has my full attention at present because of the admirable way some 400 Girl Scouts made their way to the Georgia State capital to urge lawmakers to remove the late white supremacist Eugene Talmadge’s name from the impressive bridge spanning the Savannah River between the city and Hutchison Island, and replace it with that of their founder: Juliette Gordon Low. With the scouts symbolically and strategically at this side, Rep. Ron Stephens (R-GA) on February 6, 2018, introduced House Resolution 1054: “A RESOLUTION honoring the life of Ms. Juliette Gordon Low and dedicating a bridge in her memory; and for other purposes.”
Joining Stephens, a republican, on the bill’s sponsorship were five democrats: Rep. Gloria Frazier, Rep. Carl Gilliard, Rep. Mickey Stephens, Rep. Al Williams, and Rep. Teri Anulewicz.
The Girl Scouts’ highly-commendable move won them much applause across the nation. It also prompted questions concerning why African-American leaders and community members in Savannah and throughout Georgia have done so little to protest the current name of the bridge or have it changed. Why, for example, in a city famous for its majority-black population, was the African-American presence in the audience at the historic Symposium to Rename the Talmadge Bridge held at the Savannah Theater on September 5, 2017, so overwhelmingly under-represented? As in clearly, visibly, a lot less than half the attendees?