​President Joseph R. Biden, Jr., declared Juneteenth a  federal holiday in celebration of the official end of legalized slavery in the United States of America on June 18, 2021. More than a decade before that momentous event, the late author Robert T.S. Mickles, Sr. (1953-2021) published the novel Blood  Kin, A Savannah Story. Mickles’ novel takes readers inside the painful ambiguities of slavery as his ancestors, some of whom were slaves, and some of whom were slave traders, experienced them.  The following foreword from Blood Kin is the first of two statements scheduled to acknowledge Mickles’ enduing literary legacy, and, in observance of Juneteenth 2022.

As this book goes into publication (2007), the city of Savannah is involved in the process of reinterpreting the significance, artifacts, and impact of slavery that was practiced here during the 1700s and 1800s. This reinterpretation is not so much
about dredging up the pains and shames of an inglorious past as it is about setting straight the historical record of people who lived daily through “the peculiar institution of slavery.” As much as facts tell us about specific events and practices in history, they rarely give us the full story of the human hearts beating in the shadows of those events.

Blood Kin is a story of those human hearts as told by Robert T.S. Mickles, Sr.,
great-grandson of former slaves on his father’s side of his family and a descendant of Portuguese slave traders on his mother’s side. Born in Savannah, Georgia, in 1953, Mickles moved with his family to Washington D.C. just three years later. Growing up in Washington, he knew nothing about his deeper southern roots. That changed when he turned thirteen years old and his mother sent him back to Savannah to live with his father in the city’s historic community of Sandfly.
 
In Savannah, his grandmother, Mrs. Beulah Tremble, told him stories of what
life had been like for slaves in the region. Having been born in 1888, first-hand
accounts of slavery were typical subjects of conversation while she grew up herself. She kept and shared the knowledge passed on to her until her death at the age of 100 in 1988. Mickles recalls that many of her stories were about harsh
times, but a lot were about days of memorable joy. In addition to his grandmother, many others shared their stories with Mickles throughout his teen years, entrusting to him a rare treasury of valuable folk history.

With the legacy of his grandmother’s stories and his community’s history,
Mickles stepped behind Savannah’s fabled “moss curtain” to reveal an original literary vision of human beings discovering their deepest humanity in the midst of war, racial oppression, individual fear, and individual hope. 

Although Savannah for a period was a major location for the import and sale of slaves, Mickles shows how it was also a place where the line between those who were “free” and those who were enslaved was sometimes a bit more relaxed than in many rural areas of the South. This is not to say that the author excuses an institution ultimately responsible for the death of untold millions, or that he views slavery through proverbial rose-colored glasses. It is, however, to say that he is willing to examine the cracks and crevices of history in order to tell a story others might not be willing—or even able, for that matter—to tell. It is the story of how Blacks and Whites stumbled across the dividing lines of race and slavery only to discover that each was as flawed, needy, and human as the other.
 
Above all, Mickles provides us with an insightful novel of how our sense of
humanity preserves itself when assaulted with the degradation of denial, shame,
and physical brutality. His Blood Kin is a story that retrieves dignity from the
trash pile of disgrace and restores it to a place of honor and value. It is one with
which many can identify and which, quite possibly, all should embrace.

 
Reviewed by Sage Sweetwater
"Wings of centuries
flutter chaos through children’s
bones, dreams, screams, and blood."

The CHILDREN'S CRUSADE of 1212. The story is that an outburst of the old popular enthusiasm led a gathering of children in France and Germany, which Pope Innocent III interpreted as a reproof from heaven to their unworthy elders. None of the children actually reached the Holy Land; they were all sold as slaves, settled along the route to Jerusalem, or died of hunger during the journey.

Angel of War outlines the fall of man which has existed for centuries. After the Christianization of the Vikings, Slavs, and Magyars, meant that there was an entire class of warriors who now had very little to do but fight amongst themselves and terrorise the peasant population and time hasn't changed it. The Church tried to stem this violence with the Peace and Truce of God movements, which was somewhat successful, but trained warriors always sought an outlet for their violence. The Crusades were every way a defensive war. The Church tried to stem this violence with the Peace and Truce of God movements, which was somewhat successful, but trained warriors always sought an outlet for their violence, a defensive reaction to an injury perpetrated by another. Angel of War has elements of the nine crusades, Aberjhani...would be nice if this could be a turning point write for countries to reunite in Peace, rebuild both structure and mankind, and reinstate pilgrimages.
Sage

Reviewed by Linda Luna (Reader)
Thank you for this excruciating howl - questions right on...painful reality expressed as always so well..you have put words to the confusion of why? Why do we continue to seek this 'angel' to save us when there is no forgiveness for what is done in war's game.
LL*

Reviewed by richard cederberg
A brilliantly executed, and scathing indictment against war, laced also with vivid images, and the regrettable onset of confusion that such calamity invariably brings to the psyche and heart.

Most comments below have added succinct realization and opinionism to the quandary of your biting construct Aberjhani. People are very passionate about this. Children are not the only innocents that become collateral damage in the madness of warfare.

"If missiles are faux dildos ... " I would suggest to you that anyone splattered by bombs, children or otherwise, are the diseased evil orgasms of the war-mongering, profit-mongering intelligentsia. There are no easy answers, and even reviewing these horrid realities ofttimes seems a moot point!
Richard Lloyd Cederberg

Reviewed by Jerry Bolton (Reader)
Dittoes Eileen. I am about aorn out trying to make sense of everything which is going on in our world these days. The only sense it makes is, if you believe in the Bible, it is prophecy. "There will be wars and rumors of wars." Maybe, in the long run, we have no choice in the matter. I DO know that some much of the blood shed these days come from religious teachings. I also know that some of the absolute worst man has done to man has been in the name of some damn godor other. Will we someday beat our swords into plowshears and study war no more? I haven't the foggest idea. I would sure as hell like to think so. The poem was your usual excellent write, Aberjhani, I am just to weary in my heart today to give it that much attention, except to say what I have.

Reviewed by Sandie Joyce
This poem is metaphoric! Yet, it speaks of the purposeless wars and the way it affects the nations. Aberjhani, you have spoken volume with this poem!
Sandie May Angel a.k.a. Sandie Angel :o)

Reviewed by Tinka Boukes
Masterfully done Aberhjani!!
Love Tinka

Reviewed by Andre Bendavi ben-YEHU
"Angel of War" bears the voice of a heart that pumps knowledge from the veins of intuition
and heedful obeservation of reality. Its words dance with intelligence in the cadence of life
and depicts the colective infifference of our days.

"Hear... oh, sailors furtune hunter of life’s voyage,
You can still dive to find an oyster bearing pearl;
Wear a diadem of flawless huge brilliant cut diamond,
And tear the web of scorn with a sharp sword of love!"
LXII – “The Humanity Of The Gods”

I Salute You, Poet.
Andre Emmanuel Bendavi ben-YEHU

Reviewed by Susan de Vegter
We may pass violets looking for roses. We may pass contentment looking for victory.
-Bern Williams

In this poem you call the shots. The power play of those making the moves on the great chessboard of our world forget one thing...they can be taken down one at a time when WE stand up and decide, universally, to stop being their pawns.

You are the master of words, thoughts and passion. Your deep thoughts are the inspiration we need for action.

Love, peace and a kiss for our Savannah Lady.
Susan

Reviewed by Karen Lynn Vidra, The Texas Tornado
WOW! That's all I can say, Aberjhani!
(((HUGS))) and much love, your friend in Tx., Karen Lynn. :D

Reviewed by E T Waldron

I agree with Peter, a masterful indictment of war!
To me war is anathema...But the nagging question that I can't answer, if someone attacked my family especially my children, could I let them continue to annihilate us all without any defense. When so many want to commit genocide on another nation, must they accept it withiout a fight? Where lie the answers? Heart breaking write Aberjhani!

Reviewed by Peter Paton
Aberjhani A symbolic and allegorical master class write that condemns the absurdities and machinations of mindless war and aggression..

From your gifted pen, flows the innate wisdom of the ancients my friend.. 
Kudos and appreciation to you for championing the cause of the oppressed and suffering in humanity.. When will we ever learn ?..once sang Marlene Dietrich..

Shalom
Peter

My deepest gratitude to all of the poets above for sharing these comments and their own writings their much-needed wisdom and love for humanity.

And my sincere heartfelt prayers and good wishes for a peaceful resolution to the war crisis in Ukraine. It is never too late to #GivePeaceAChance.

Aberjhani
Author of The River of Winged Dreams
Creator of Original Silk-Featherbrush Artstyle

Relationship building, arguably, comprises the heart of Gartrell’s institutional success and the soul of his memoir’s emotional intelligence.

(If you missed part 1of this article you can click here to check it out.)

Connecting with the right people to help establish and staff his Wisdom21 schools presents a challenge repeatedly met in innovative ways. Often crucial in this regard are women. His relationships with the same––notably, per the text, repeatedly initiated by them––at times blur what would be considered in the U.S. as lines of professional propriety. You might even say they were completely erased in certain cases. Gartrell is not insensitive to the point and wrestles with its implications and potential consequences. 

In a chapter titled “Land of Ladies,” he theorizes that during his time in the country, Japanese women were “especially lonely and in desperate need of love.” This, despite having a reputation for making “the best marriage partners on earth” (p. 108). A variety of factors are cited as possible reasons for their loneliness and desperation but the dangerous end result was an apparent (at least to the author) acute vulnerability which made them easy prey for unscrupulous foreign tourists. As for the author:    

“…Back in the U.S., I led a fairly typical life and tended to shy away from romances not suitably cultivated, wholesome, or clean. In Japan, however, the rules of engagement were radically different. In many respects, there were no rules at all... As an aspiring businessman, community leader, and person of conscience, I felt it my duty to address…concerns as appropriately as I could…” (p. 110).

Given the radicalized and revolutionized factions of gender equality activists around the world in 2022, much more could be written about the author’s observations of and experiences with Japanese women. This writer would encourage exactly that for one important reason. A key component to surviving the transitions from homogenous cultural models which many have experienced in the past to more diverse communities currently forming  is this: a willingness to understand how members of different cultures experience that of “others.” Powerful examples are presented throughout the subject text. 

​A definitive example of the possible pitfalls and drawbacks of mixing private intimacies with business ambitions may be seen in what the author describes as a “paper marriage” convenient for legal purposes. In addition to proving herself an extremely competent business partner, his native-born wife Kazumi calmly overlooks her husband’s involvement with two mistresses (a practice widely documented as acceptable in Japan). However, just as the expanding Wisdom21 enterprise begins to spiral downward, her expertise and devotion both disappear.   

Something many will likely be surprised to learn about when reading 21 Years of Wisdom is the extensiveness of the Black presence in Japan. The discovery makes for a completely different scenario from the solitary status reported by James Baldwin in “Stranger in the Village”––or for that matter by explorer Matthew A. Henson as he planted a flag with Robert E. Peary at the North Pole in 1909––and thereby increases its value as a recent addition to the literature of Black expatriates. 

The nonprofit Japan African American Friendship Association had been established in the country some years before Gartrell’s arrival. His rapid rise in prominence, however, made him a suitable choice to lead it following the 1995 passing of the previous president, Harry Stevenson. He would hold that position for a decade.

​Interaction with one particular African-American from Atlanta proved exceptionally useful when the school founder clashed with the Yakuza (mob) over a dispute concerning a former employee’s dismissal. Before things could turn violent, his fellow expatriate handled the matter without the boss’s consent and informed him afterwards. Moreover, interestingly enough, it to a city with a more than 50 percent Black population that Gartrell returns at the conclusion of his Japanese odyssey. 

In the Author’s Note for 21 Years of Wisdom, readers are cautioned that people who identify with certain demographics may find some passages in his memoir offensive. He’s probably right. But many of those same individuals are likely to sidestep any sense of personal slight out of appreciation for the larger philosophical, geographical, and historical contexts in which the central story is embedded. They might also find Shannon Roxborough’s insightful foreword useful towards that end.

​
More than a few commenters have noted the stylish novel-like quality of Gartrell’s narrative. With that in mind: how interesting would it be to see a director such as Spike Lee, Steven McQueen, Regina King, or Quentin Tarantino produce a film adaptation of the book? Time will tell. For now, the following are 5 of what I consider to be important teachable take-aways from 21 Years of Wisdom: ​

Introductory Note
Many Americans may remain unfamiliar with the Nigerian-born author Ben Okri, who now makes his home in England, but his global reading audience continues to grow even as he continues to publish commanding works in different genres. It helps as well that newspapers like The Guardian are willing to make their platform available to him and a number of universities have elected to bestow honorable doctorates upon him.

As pointed out in Conversations with the World Ben Okri’s Existential Call to Creative Arms, this review of the author’s The Famished Road was previously published in the former Savannah College of Art and Design’s (SCAD) weekly newspaper known as The Georgia Guardian and in my former AXS African-American Cultural Arts column. It is presented now as part of my response to Okri’s statement regarding the construction of an “existential creativity” to combat climate change denial and inspire works of visionary transformation.

Readers began to track Okri’s literary oeuvre with the publication of his first novel, Flowers and Shadows in 1980, and he kept their attention after publishing The Landscapes Within in 1981. However, it was The Famished Road , published ten years later in 1991, that won Okri the much-coveted Booker Prize for Fiction and placed him on the same literary A-list as such world-class talents as Salman Rushdie, Toni Morrison , Alice Walker, and Cormac McCarthy. 

The Famished Road is exceptional in its treatment of fiction as a study of both history and prophecy. Through the eyes of Okri’s child-hero, Azaro (an abbreviation of Lazarus) readers enter an African community coming to terms with that crossroads known as change.

Azaro is an abiku, or “spirit-child” who has a keen eye for both the natural and the supernatural. Or, as the author put it: “The spirit-child is an unwilling adventurer into chaos and sunlight, into the dreams of the living and the dead… They all yearn to make of themselves a beautiful sacrifice, a difficult sacrifice, to bring transformation, and to die shedding light within this life… I was a spirit-child rebelling against the spirits, wanting to live the earth’s life and contradictions.”

Moreover, like another boy-hero in the famed Calvin san Hobbes comic strip, he’s prone to wandering roads of the imagination which constantly lead him in body, mind, and spirit away from the safety of his parents’ protection. Although a child, Azaro’s dilemma is one easily worthy of any of Shakespeare’s great characters. His struggle to resist the pull of spirits who would lead him back into their world is equal to his battle against the more material forces of poverty, disease, and corruption. Never-ending hunger (for food as well as peace), crooked politicians handing out poisoned milk, frozen-hearted landlords and old men prone to evil make Azaro’s grip on physical reality at best, tenuous. 

In his love for his mother, Azaro finds reason enough to remain in the material world, though it‘s often painful to witness and endure her laments: “A woman suffers, a woman sweats, with no rest, no happiness… This life is too much for me.”

His father is a fighter whose battles force him to the brink of death, but who ultimately triumphs in body and spirit.  He coaxes his son back from realms of death by singing to him visions of life: “I see great happiness in our future… I see gold in your eyes. Your flesh glitters with the dust of diamonds. I see your mother as the most beautiful woman in the world.”

History, mythology, and social realism blend in The Famished Road to create a very heady fictional brew. By providing a portrait of his homeland during an era when oil lamps were just beginning to give way to electricity and cars beginning to claim the road over bicycles, Okri created a parable on change relevant not only to Africa but to the world at large.

His work poses very serious questions for the twenty-first century. Among them: To what extent will we allow the indefinable dynamics of something called “destiny” to maintain grief and horror in the world? How hard are human beings willing to fight to achieve and sustain justice, equanimity, or joy? And should progress be called such when it devours what is best within the human spirit?

Okri’s prose is sometimes indistinguishable from poetry and the fact that he strikes a masterful balance between the two for a full 500 pages is a small miracle of aesthetic creativity. Readers discovering his work for the first time are often astonished at the skill with which that poetic perspective flows between the material and the spiritual. In an interview for the Current Authors book series, Okri once explained that in Nigeria:

“This is just the way the world is seen… the ancestors are still part of the living community and there are innumerable gradations of reality, and so on. It’s quite simple and straightforward… a kind of realism, but a realism with many more dimensions.”

The Famished Road marked the beginning of a trilogy that continued with Songs of Enchantment in 1993 and concluded with Infinite Riches in 1998. The novel continues to stand out among reading audiences for reasons beyond the fact that it is an exceptionally good read. It also commands distinction because it represents a kind of inspired quality of literary fiction needed in the twenty-first century to help encourage members of different cultures to try to greet each other in the name of peace and civility rather than automatically attack one another in the name of war or terrorism.

In addition to the aforementioned Booker Prize, Okri has been the recipient of numerous other honors, including Italy’s Premio Palmi and the vice presidency of the English Centre of International PEN. He has also received, as of last count, some 7 Honorary Doctorates in recognition of his contributions to modern literature from such education institutions as England’s University of Essex and Nelson Mandela University in South Africa.

by Aberjhani
author of Songs of the Black Skylark zPed Music Player
and Greeting Flannery O’Connor at the Back Door of My Mind

EDITORIAL NOTE: The essay below was first published in 2007. Along with part 1 of this 2-part post, and a new art series dedicated to the children of Afghanistan, this updated text is presented as part of a series of reflections on the potential impact of Jelaluddin Rumi’s powerful legacy upon the region of his birth and those who have fled it. (If you missed part 1 you can read it by clicking here.) 

​I first fell in love with the poetry of Jelaluddin Rumi while working as a bookseller (as discussed in Greeting Flannery O’Connor at the Back Door of My Mind). That was when the unparalleled lyrical grace, philosophical brilliance, and spiritual daring of his work took me completely by surprise. The impact of its soulful beauty and the depth of its profound humanity were so intense they prompted me to spontaneously compose poetry without being aware I was doing so––until later reading the compositions in my notebook and wondering how they got there.
 
Writing without realizing I had been writing was no small matter to me, so I wrote Coleman Barks, one of the renowned translators/interpreters of Rumi’s work, to ask what he thought about it. Barks was kind enough to telephone me and said he was aware of many instances where people with a deep passion for Rumi’s work found themselves spontaneously composing, reciting, or singing poetry. 

​That knowledge, coming from the man whose celebrated “versions” of “Maulana’s” writings helped make Rumi a bestselling poet in the United States, made me feel better about my own experience. It also forever defined the sense of blessed enchantment I’ve come to associate with all things related to Rumi. Consequently, I couldn’t help expecting and yearning for some semblance of that enchantment as I read the novel A MOTH TO THE FLAME, THE LIFE OF THE SUFI POET RUMI, by Ph.D. Connie Zweig.

From the first page to the last, there is much to admire in Zweig’s amazing recreation of the places, people, and events that shaped the life and work of Rumi. The author skillfully brings to life the everyday colors, activities, and diverse religious customs of the Middle East in the thirteenth century. She also––having been for many years a student of Hinduism, Buddhism, and Sufism––proves more than a little adept at describing various states of psychological and spiritual consciousness.

A Moth to the Flame begins as Rumi’s father, the spiritual leader Bahaoddin Velad, is dying. The future author of the massive and now classic book of world literature, the Mathnawi (or Masnavi) is left to face life alone in Konya, where threats of war and invasion increase daily. As Rumi takes on the mantle of leadership and enters into marriage and fatherhood, Zweig exercises her privilege as author to make readers privy to his thoughts and most intimate moments. 

​Those who prefer their spiritual heroes presented in their basic humanity may nod approvingly at the portrayal of Rumi’s consummation of his two marriages while those who empower the grace of their own spirituality with that gleaned from his may feel differently (reviewers on different platforms since the book’s publication in 2006 have demonstrated as much). In one sense, these brief scenes––in which Rumi experiences both disappointment and erotic intoxication––appear crucial to illustrating the contrast between the nature of carnal desire and the elevated spiritual consciousness towards which Rumi was evolving. In another, they do not, and become even more questionable when the sexual focus is placed on his wife Kira’s fantasies regarding her mystically preoccupied husband.

​It is difficult sometimes to determine whether A Moth to the Flame is intended as a celebration of Rumi’s life, as a feminist critique of it, or simply a balanced account presented in the form of fiction. Much of the book’s substance is a matter of historical record while much of it is a matter of interpretation of that record.
 
By nearly every account, the Rumi now famed for his boundless defense and espousal of life as a manifestation of divine love would be unknown to the world had it not been for a spiritual transformation triggered by his meeting, and subsequent friendship with, the wandering dervish known as Shams of Tabriz. That fact is a dominant theme in A Moth to the Flame as well. But it is often difficult to understand exactly why or how this is so when the overwhelming impression of both Rumi and Shams in these pages is that of two men whose esoteric obsessions caused devastating––even fatal––psychological harm to those who loved them, particularly the women in their lives.

​Consequently, we note with stunned sorrow the forced marriage of Rumi’s young daughter Kimiya to the much older Shams; and the painful desire-filled loneliness that Rumi’s wife Kira suffers while her husband engages, seemingly to the exclusion of everything else, in sacred conversations with Shams. Readers even find themselves empathizing with Rumi’s son Aloeddin’s stinging sense of rejection when his relationship with his father appears to be obliterated by the presence of Shams in their lives. Eventually that rejection leads to Shams’ murder.

​As plausible as these scenarios may be, they leave the reader wondering about the majesty of that Shams who was described as “one of the poles of the age,” and who was not only resented and feared as he is in A Moth to the Flame, but who was adored for his love and knowledge of God. Likewise, the novel gives us a true enough account of Shams’ initial departure from Konya after first meeting Rumi, but says nothing of the legendary celebration during which people in the streets spontaneously recited and sang poetry upon his return. We learn instead about guards who are executed because they lied about having killed Shams. The degree to which Zweig’s work as a Jungian therapist and an explorer of “the shadow side of spiritual and religious life” influenced the substance of her narrative is worth readers’ consideration.

Possibly the most inspiring scene in A Moth to the Flame comes at the end when, once again, Mongols and crusaders threaten to conquer Konya. Rumi, after a lifetime of devotion and sacrifice, experiences this revelation: “I am a lover of God, and those who follow me, Muslims, Christians, or Jews, we are a nation of lovers. Our religions divide us, but our yearning for God, our himma, unites us, whether we are Muslims longing to join Allah, Christians longing to be embraced by Christ, or Jews yearning for the Messiah.”
 
He decides to “make jihad in my own way,” which means standing, like Moses, rooted unshakably in his faith and watching as Divinity literally fights and wins his battles for him. One does not need to be a U.N. ambassador or professor of religious studies to note the importance of Rumi’s understanding and application of the concept of jihad. For him, it meant battling the “nafs,” or weaker worldly qualities within oneself in order to achieve a greater sense of unity and co-creativity with Divinity as opposed to launching a supposed “holy war” against those who do not share one’s religious beliefs.

​Despite any criticisms offered above, just as it states on the book’s back cover, A Moth to the Flame is clearly presented “in the tradition of Siddhartha and The Last Temptation of Christ” as “a mythic story of the human soul.” This distinction is necessary because while the book is categorized as fiction, the subtitle reads “The Life of the Sufi Poet Rumi,” which could lead some to interpret it as historical biography. The more accomplished volume along those lines remains Franklin D. Lewis’ Rumi, Past and Present, East and West, the Life, Teachings and Poetry of Jalâl al-Din Rumi (though Brad Gooch’s Rumi’s Secret: The Life of the Sufi Poet of Love is a popular volume some readers consider more accessible).
 
A Moth to the Flame does contain a very useful appendix timeline of events pertaining to Rumi’s life. Moreover, translations of Rumi’s poetry by Jonathan Star and Shahram Shiva, utilized throughout, help make the novel as a whole an exceptional work of literary art well worth reading and cherishing.