“The most shocking moment in my life was when I was told that in two days I was leaving my country. It was a small moment in in which I felt that the world was falling on top of me.” ––English Learning High School Student (from the book Where the Rainbow Ends)

The purpose and value of Where the Rainbow Ends is spelled out clearly in the book’s preface by editors Jamie Hinds and Savanna Payne when they tell us: “Throughout the pandemic, our students have witnessed other historical events that took place in 2020. They have become witnesses to movements that are hearing silenced voices for the first time… They have become witnesses to change.”

The extraordinary significance of those words is demonstrated repeatedly in the collection of brief stories written by more than 90 anonymous English Learning Students in the Oklahoma City Public Schools system. These brave young authors range from fifth-graders to high-schoolers.
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Intense debates regarding the migration of populations around the world have been ongoing for the better part of a decade but the voices of youth whose lives are most impacted by those debates are, as indicated, rarely acknowledged. Within this volume, they come through loudly and understandably enough. The word ‘understandably’ is emphasized here because the editors have very wisely left speech patterns and vocabulary as originally penned. These are, after all, individuals who are slowly adjusting to new ways of comprehending, relating, and behaving on different levels. 

Those of us already proficient in the English language might wrinkle our brows when reading certain sentences with obviously faulty grammar. But we know what the authors mean and these sentences help us understand the gigantic challenge of uprooting oneself from a known cultural environment and reestablishing your life in a new unfamiliar locale. The most hard-hitting statements go beyond such considerations as syntax and brings to mind what the great Harlem Renaissance leader W.E.B. Du Bois called the worst blow which people of African descent suffered during slavery in America: the destruction of the Black Family.
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Human migrations forced by desperation in our modern times have resulted in similar devastation; however, in the pages of Where the Rainbow Ends we experience painful separations as well as healing reunions. So it is that one student recalls prior to leaving El Salvador: “My sister went to the USA when I turned 4 years old but she got a VISA to get here so I have no memories of her.” The opportunity to make new memories would not come easily but it would come. Another student from Honduras demonstrated the importance of such a prospect when declaring: “And I learned to love my dad after seven years I was separated from him.” 

Published by Project VOICE Industries, the 167 pages which make up this “collection of voices” represent a particularly important addition to discussions on immigration policies at a time when a new U.S. presidential administration has reversed executive decisions made by the previous one.  That reversal has prompted a new wave young people, many without parental supervision, to take their chances on entering the United States under dangerous and illegal conditions.

Hopefully, additional volumes or ones similar to Where the Rainbow Ends will present readers with the flip side of the immigration coin by sharing the voices of different Americans’ experiences of adapting to immigrants. That is something I attempted to do in the story “A Brazilian Thanksgiving in Savannah” published in Dreams of the Immortal City Savannah. For the time being, it’s good enough to know my quote at the beginning of Where the Rainbow Ends has played some small role in helping the student authors amplify their voices and educate the world about the realities of one of the most consequential concerns of our volatile historical times. 

Impaired as she was by lupus, O’Connor may not have been able to barrel ahead with the same level of prolific productivity as some of her contemporaries—such as James Baldwin for example-- but neither did she let it bring her career to a screeching halt between the time of her diagnosis and her death on August 3, 1964. 

She followed the novel Wise Blood with a collection of short stories, A Good Man is Hard to Find, in 1955; the novel The Violent Bear it Away in 1960; and the short story collection Everything That Rises Must Converge ––a book on which she worked virtually right up until her death–– published posthumously in 1965. In between the writing and the publishing, she marshaled her strength to travel (aided by crutches) and lecture, write articles for popular magazines (for which she was generally well paid), and write numerous letters to friends, supporters, and critics. 

(To read part 1 of this story please click here. For part 2 click this link.)
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The O’Connor readers and scholars now know would not have been possible without a tightly woven network of friends and family members who supported her work through belief in, and out of love for, her. After illness derailed her plans to live the life of a postmodern New York author, she famously surrounded herself with peacocks at Andalusia, her family’s farm, and allowed the world to come to her just as much as she continued to embrace it on the page and through speaking engagements. Fellow authors, theologians, aspiring writers, general admirers, and would-be lovers in the form of men as well as women often made their way to her front door.  

​Her editor, Robert Giroux, believed enough in the corpus of her work that in 1971 he published The Complete Stories of Flannery O’Connor. A compilation of all her short fiction, The Complete Stories went on to win the National Book Award for Fiction in 1972, and in 2009—shortly after Brad Gooch’s biography was published–– was voted “The Best of the National Book Awards Fiction.” 

Of all those who shared their life’s energies to help endow Flannery O’Connor’s with enduring meaning possibly none were more crucial than her mother, Regina Cline O’Connor. The relationship between mother and daughter could alternate between a sensitive symbiosis and a barely-restrained combativeness. But: the fact is that despite her great intellectual prowess Flannery O’Connor was made an invalid by her disease and it could not have been any easier for her mother to watch her daughter’s slow agonizing physical decline any more than it had been to watch her husband’s. She nevertheless bore the “cross” of the affliction which defined so much of her own life’s story.

As such, she did the kinds of things caregivers tend to do when committed to ensuring as high a quality of life as they can for someone they love: setting aside a thermos of hot coffee at night to share with Flannery in the morning, running a farm to secure an income, tolerating the droppings and cries of beautiful but annoying peacocks, traveling abroad with her daughter even when she herself was ill, and standing guard at her hospital room door to ensure a chance at rest and possible recovery. 

Regina Cline is very much present in the pages of Flannery but a section or two presented within the context of her struggles to assist her daughter might have made this powerful biography even more compelling. She outlived the writer by almost thirty-one years, dying on May 8, 1995, at the age of ninety-nine. 

In the acknowledgments section of his biography on the author, Brad Gooch informs readers that he “first stepped into the world of Flannery O’Connor in the late 1970s.” Thoroughly smitten by what he found in that world, he respectfully wrote her close friend Sally Fitzgerald, editor of The Habit of Being, Letters of Flannery O’Connor, to obtain her blessings for his hope to write a biography. Fitzgerald advised him in 1980 against such an undertaking because she was already in the process of writing a literary biography of her friend. Consequently, Gooch held off and waited, even beyond Fitzgerald’s death in 2000, for a book that never appeared.
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Then, approached by an editor in 2003 about a biography on O’Connor, it clearly was not an offer he could refuse. A dream which had been deferred for more than two decades finally saw the light of day in 2009 and by most accounts it was very much worth the wait.

If you missed part 1 of this post and want to check it out please click here. Part 2 begins now: 

McNaughton's nods to the late "Imaginary Man of Las Cruces," poet Nicanor Parra, in the poems "¿ENTONCES QUÉ?" and "(COLIN CHRISTOPHER" (open parentheses per original) should not surprise anyone. Given the company his pen has kept over the decades, it would be too much of a stretch to say he and Parra share the same antipoetic approach to their craft. There nevertheless are similarities which reveal a kinship between their aesthetic instincts. The humor employed by both poets at times oscillates between comic hilarity and nightmare darkness. It can assume the form of thinly-disguised self-deprecation or more overtly-poised social and political satire.

If Parra's is a poetry of anguished laughter and mournful tears as some have suggested, then it may be McNaughton's is an equally intense but more restrained verse of amused hopeful smiles and astonished frowns.  Both employ a minimum of embellishments to achieve maximum provocation. Both balance ironic incongruities with subtle personal resolve in a manner similar to the way jazz musicians utilize highly-charged counter-rhythms to produce captivating performances. Both, as Parra put it, incorporate "the hideousness and the beauty of the world" (Marie-Lise Gazarian Gautier, Interviews with Latin American Writers, 1989). Therefore, naked pain and uncertain joy play crucial roles in rendering disturbing truths aimed at disrupting, or reclaiming, different kinds of power.
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The narrator of "CHILDHOOD + YOUTH" laments, via "figures of speech," wars of different kinds which have never ended, and, numerous bridges burned while waging them. He finds his understanding of these interior and exterior traumas challenged by doubt, but then reaffirmed by an authoritative witness who knows what it means to survive unnerving cycles of destruction and rebirth. Taking a trip "to David Highsmith's furniture store," he buys a copy of Hector France's Musk, Hashish and Blood:

​Such healing, empowering, and time-bending solidarity can only come with dedicated practices of remembrance and recognition, among the hallmarks of McNaughton's extensive oeuvre. As the late writer Benjamin Hollander put it in "The Pants of Time," his definitive review of TINY WINDOWS, "McNaughton’s work achieves a testament of personal observation embedded in a trans-historical tendance of the imagination." Moreover: "He discovers history for himself anew..." (Boston Review, June 5, 2015).

He also increases its capacity for simultaneously preserving autobiographical identity and expanding notions of community to accommodate kindred spirits occupying physical and non-physical forms. Thus the poem "AS EFFECT AN ECHO" is less an elegy in which McNaughton bids farewell to Hollander than it is the written continuation of a relationship:

​The stars in the heart comprise the sweet substance of enduring friendships, or alliances, and even less-binding associations, which take on a kind of sacredness for the way they inform and sustain each other’s' personalities. They reject the insanity proposed by stars as symbols of genocide sewn onto the clothes of Hollander's ancestors in Nazi concentration camps as they do all restrictions placed on basic human freedoms and civility.   

Nowhere in the pages of SOMEWHERE IN THE STREAM is the consecrated nature of authentic friendships, especially as forged by shared dedications to poetry, more intensely realized than in "(COLIN CHRISTOPHER [Stuart]" and "OLD SOCKS." Within the former he describes the synthesization of a poet's work and person as "twins.' McNaughton then offers this observation: "...Whatever The World's suppositions of/ poetry and of what a poet ought to be, whenever those/ 'twins' descend and ascend, below and above, to the/ disturbance of truth on behalf of trust, then we are in the/ dimension of 'The Imaginary Man,'..."

In "OLD SOCKS" our narrator confronts the reality of mortality and what it has meant within the context of life lived up to this point. While wrestling with "my very own tangle/ of being," the poet reflects on successions of wars which have threatened the innate integrity of that being. In contrast, friendship has helped guard against the threat by reinforcing the front lines of self:

​Whether writing autobiographically or assuming the voice of another seems less important than the invitation to celebrate shared histories, friendships, lives, knowledge, acts of compassion, or acts of remembrance. These endow life with a quality of being which--despite media glamorizations of artificial presences in a world where such creations too often diminish capacities for actual thinking or organic human interaction--seem to lose more value by the day. Likewise, different literary strategies may have their irrefutable uses and powers, but in the end they too are floating along with everything else Somewhere in the Stream of discoveries and encounters as we navigate shifting currents, or dodge the increasing fury of hurricanes, and hold on for the sake of poetry and each other. 

Yang Jisheng's Tombstone, the Great Chinese Famine 1958-1962,  is not the kind of book I could rate based on nothing more than how much I did or did not like it. The subject matter is much too deep for that and the dangers the author endured to write this phenomenal work far too real.

Jisheng's account as presented to us in the English-language edition of Tombstone is a single-volume 629-page condensed version of the original Chinese-language 1,200-page 2-volume set first published in Hong Kong a decade ago. There's no need to question what may or may not have been lost in translation because Jisheng provided so much fact-based data with which to work in the original publication.

Moreover, Tombstone is much more than just a triumph of historical writing. It represents in many ways the triumph of a movement to shed light on "the worst famine in human history." As an integral part of that movement: "Yang got people who experienced the famine to describe it in their own words. He found local journalists who'd witnessed and reported on murders and starvation and got them to write their memoirs. He located and interviewed local implementers of the fatal policies. He got surviving resisters to recount their experiences" (pp. X-XI). 

​It took a while for me to adjust my brain to magnitude of the fact that the horror described actually occurred less than 70 years ago. In that hellish avoidable atrocity an estimated 30 to 45 million people died within a four-year period basically because of authoritarian arrogance and a total disregard for the freedom of individuals. Yet my shocked incredulity as a reader is nothing compared to the painful awakening Jisheng experienced as a member of the Communist Youth League proudly committed to promoting the policies of Mao Zedong's "Great Leap Forward" initiative only to discover those very policies in 1959 caused his father's death. 

Ironically, it was while working in the late 1960s as an official journalist that he learned "how 'news' was manufactured, and how news organs served as the mouthpiece of political power." (Very different dynamics from what U.S. President Donald Trump's so often proclaims as "fake news.") However, it was not until the late 1970s that the awful deadly scope of the great famine became apparent:

"Now we knew that it was a man-made disaster that had caused tens of millions of people to starve to death... In my effort to shake off deception, I came to understand the social background of my father's death and to reflect more profoundly on his life..." (pp. 11-12).

That "deception" has remained hard for a lot of Chinese to shake off in part because of many official's refusal to acknowledge the famine for what it was and insist on referring to it in such euphemistic terms as "the three years of natural disaster," or "the years of difficulties." Another seems to be to avoid the appearance of discrediting the legacy of People's Republic of China founder Zedong.

Tombstone is not easy reading by any means. Where Jisheng narrates the actions leading up to the abuses of power, and fear of the same, which led up to the famine, he is straightforward and factually dense. That is a quality hardcore historians relish but average readers might find less entertaining. And in a way that is the point.
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Jisheng's objective as a journalist is to share awareness of an event which it would seem impossible for the entire world not to know about already, but which it appears relatively few actually do. As a human being and the son of foster-parents who gave all they had to raise him and support his education goals, he is determined to honor those parents and the dozens of millions who lost their lives to the famine. Therefore, the title selected for the book: "A tombstone is a memory made concrete." (p. 3)

The result his investigative labors is indispensible documentation of officials' motives for allowing the tragedy to occur; and, how many hypocritically gorged themselves on the good life while entire villages literally starved to death. Yet such documentation is balanced with reports difficult to read for a very different reason. In short, Jisheng does not censor the stories of people describing acts of cannibalism which they either witnessed or committed themselves.

We learn about: people in villages who wait for strangers to come along so they can kill and eat them, an adolescent sister who kills and eats her younger brother after their parents have died, people who wait a few hours after funerals so they can dig up corpses and consume them. These and other actions seem too extreme to believe they really occurred in a civilized nation. But we are aware now that they did. Some people even describe which parts of the human body they found most delectable.
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If you're a fan of the movie Bone Tomahawk, starring Kurt Russell, Lili Simmons, and Patrick Wilson, and you did not flinch watching the scene where "Troglodytes" split a man in half to eat him, then the above accounts of cannibalism might not bother you too much. Anyone who did flinch, throw up, scream, or faint, can empathize to some meaningful degree with those who survived the horror of the Great Famine and with Jisheng's determination to tell their collective story.

The importance of the history provided in Tombstone is evident enough in its own right, or at least it should be. "Human memory," the author tells us, "is the ladder on which a country and a people advance. We must remember not only the good things, but also the bad; the bright spots, but also the darkness" (p. 3). 

The record of this particular memory is a significant indicator of the dangers that can befall populations which opt for authoritarian rule by a single individual, or small group of individuals, versus government by a robust engaged citizenry exercising some form of democracy. Even more than pitting one political ideology against another, it is about accepting some share of communal responsibility that automatically comes with living in any society hoping to make great strides forward, or just to maintain for its citizens peace, security, and decently-stocked refrigerators. 

Aberjhani
author of Dreams of the Immortal City Savannah
co-author of Encyclopedia of the Harlem Renaissance

To fully appreciate reading former Savannah mayor Otis S. Johnson's From 'N Word' to Mr. Mayor, Experiencing the American Dream, you might want to note some important clues he shares at the book's beginning. The first is his identification of himself as a "scholar activist." Take that for exactly what it sounds like: he has long been devoted to the cultivation of knowledge within himself and others, as well as to the reversal of heinous social and political injustices.
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A second shared hint is his struggle over whether to spell out the word "nigger" in this book's title or employ the more politically-accepted abbreviation. Following his publisher's suggestion, he chose the latter but felt the original more "symbolic of my struggle as a black male in American society." With that in mind, the book in general, he states, "documents my struggle to achieve the American Dream while having to confront the vicissitudes of being black in a racist society" (p. 11) 

The above words may sound, to some, like little more than sensationalistic jargon employed to grab attention. It would be more accurate to describe them as precise when considering Johnson was born in 1942 and, from the beginning until the present era, his experience of the American dream has unfolded along a timeline of powerful history-shaping events on personal, national, and international levels.

For its precisely-balanced combination of social history and personal memoir, Johnson's book under any title is one of the most valuable written in recent years by an African-American man, and one of the most important for any time by a native of Savannah, Georgia. Being the former dean of Savannah State University's College of Liberal Arts and Social Sciences, and current Scholar in Residence and Professor Emeritus that he is, Dr. Johnson's text often reflects the language of his intellectual leanings. That allows him to place his life and his times within an analytical context similar to important works by some of his scholarly heroes, like Harlem Renaissance strategist W.E.B. Du Bois and political scientist Hanes Walton Jr. 
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Yet, at the same time, he is a very down-to-earth writer who engages readers with stories of his family's Gullah culture heritage, what it meant to lose his father at an early age, learning about racism for the first time, falling in love and getting his heart broken, discovering the world as a young sailor, and confronting the challenges of leadership within a demographically-evolving community. 

The city of Savannah and the state of Georgia as Johnson experienced them while growing into maturity during the 1960s were much like America at that time as a whole.  African Americans with many White Americans alongside them were calling for an end to Jim Crow apartheid and battling against the system by staging public sit-ins, conducting protest marches, and targeting racial barriers ripe for breaking.
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Of his position in this history, Johnson writes, "My life has been full of being in places where I shocked non-blacks with my presence" (p. 88). One such place was on the campus of Armstrong State College (now Atlantic University) where in 1963 he famously became the first African American to enroll in the school. Another was the campus of the University of Georgia, Athens, where he was the first Black from Savannah to attend that institution. At UGA, he walked out of one class after a white professor discussing the U.S. Supreme Court's landmark Brown vs. Board of Education decision proclaimed the only reason African-Americans wanted to integrate schools in Georgia was to marry white women. 

Most of the kind of anti-racism activism Johnson chronicles is to be expected given the time-frame. In his chronicling, however, he provides important snapshots of black leaders in Savannah, like Wesley Wallace "W.W." Law and Hosea Williams, in political action. But his reportage goes beyond the dynamics of blackness clashing with whiteness.
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Through his account of how segregation laws prevented Whites from attending the historically black Savannah State College, founded some 45 years prior to the establishment of Armstrong (as a junior college) in 1935, he demonstrates how racism has caused grievous injury on both sides of the color line. It has also been extremely absurd when considering that in order for him to become the first African-American to integrate Armstrong in 1963 for sake of racial progress in the name of democracy, he had to switch from Savannah State's senior college program curriculum to Armstrong's junior college curriculum.  

Early in From 'N Word' to Mr. Mayor (2016, Donning Company Publishers) Johnson discusses three types of black leadership attributed to sociologist Daniel C. Thompson (author of Sociology of the Black Experience) and with which many readers of African-American literature are familiar: "...the Uncle Tom...racial diplomat...and race advocate" (p. 48). He places himself closer to the third category but more as a "human rights advocate" who believes the following: "'We are all God's children,' but I live in an institutional and structural racist society. 'Self-preservation is the first law of nature'" (p. 49).
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By the time Dr. Johnson took office in 2004 as the sixty-fourth mayor of Savannah, and its second consecutive black mayor (after the late Floyd Adams), the city was well on its way to navigating major changes in its multicultural and economic make-up. His determination to meet that challenge at every level resulted in 2006 in a major heart attack experienced while attending the National Conference of Black Mayors in Memphis, Tennessee. Consequently, he writes, "How I approached the job of being mayor during the period before and the period after my heart attack were two very different periods" (p. 291).

As it pertained to his labors as mayor, Johnson's professed sense of racial "self-preservation" took a back seat to his role as a servant leader committed to advocating "for improving conditions that impact people of all races and classes" (p. 261). In the wake of the Great Recession that would create chaos in American cities during his second term, he worked with city council members to help Savannah avoid the kind of disastrous lay-offs and cancellation of services which occurred in cities like Atlanta and Camden. As he points out:

"In 2011, we were still in the greatest economic downturn since the Great Depression. We had to find a way to continue providing all of the services to citizens with about $8 million less than we had in 2010...while the 2011 budget was extremely difficult, it was balanced with minimal impact to our citizens and without an increase in property taxes. That was due to strong leadership, clear priorities, and tough resolve by this council, which chose not to spend wildly when times were good" (p. 325).

Candidates lining up for the 2020 presidential race in America could take a few helpful lessons from this former mayor's playbook. One might be committing to running a campaign based on proven abilities and a strategic comprehensive vision rather than one based on negative personal attacks. In fact, though he won his first election to mayor before former U.S. President Barack H. Obama won his first election to the White House, their campaign styles bore striking similarities. (The president and mayor met when Mr. Obama visited Savannah in 2010.)   

At times, From 'N Word' to Mr. Mayor reads a bit too much like a college paper, or lecture, as Johnson parenthetically informs readers where he will continue the thread of a particular subject or on which page he has already discussed it. This is easy enough to overlook, and even smile about, when remembering these pages are coming to us from a master scholar at whose literary feet we are fortunate indeed to sit and learn as much as possible. 
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Aberjhani
Author of Dreams of the Immortal City Savannah