Greeting Flannery O'Connor at the Back Door of My Mind - Aberjhani
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How does anyone greet an iconic author--like Flannery O'Connor, James Alan McPherson, or John Berendt--at the back door of his or her mind? Is such a thing even possible? Maybe it is when the voice of such an author no longer restricts itself to a printed page. Instead, adopting the form of searches for answers to troubling questions, longings for more engaged connections, or the sudden manifestation of an unexpected dialogue, it takes up residence in a particular life. For more than one demographic of America's diverse populations, back doors were once synonymous with emblems of racial,…mehr

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How does anyone greet an iconic author--like Flannery O'Connor, James Alan McPherson, or John Berendt--at the back door of his or her mind? Is such a thing even possible? Maybe it is when the voice of such an author no longer restricts itself to a printed page. Instead, adopting the form of searches for answers to troubling questions, longings for more engaged connections, or the sudden manifestation of an unexpected dialogue, it takes up residence in a particular life. For more than one demographic of America's diverse populations, back doors were once synonymous with emblems of racial, economic, and political oppression in their most cutting conspicuous forms. They stood alongside crosses burning with flames of hatred as opposed to crosses gleaming with messages of love or redemption, with "Whites Only" and "Coloreds" signs attached to public restrooms and water fountains, seats at the backs of buses and trains or up in balconies of theaters, segregated beaches, pamphlets on eugenics, and "strange fruit" (as Billie Holiday sang of lynched bodies) hanging from southern trees. The back door as it is approached, entered, and exited in the pages of Greeting Flannery O'Connor at the Back Door of My Mind represents points in time, places in space, and regions of spirit where sensibilities of an uncanny nature either collide or converge. The results are the kind which continue to increase literature's indispensable value as it pertains to specific communities and the world at large, providing solace and shelter during the best of times and the worst.
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Autorenporträt
A noted historian, poet, journalist, editor, visual artist, and veteran of the U.S. Air Force, Aberjhani was born in Savannah, Georgia. He has won recognition for his commitment to fostering camaraderie among creative artists on a global scale and for advocating human rights and the strategic practice of compassion among community and world leaders. His acclaimed groundbreaking works include: Dreams of the Immortal City Savannah, Encyclopedia of the Harlem Renaissance and ELEMENTAL, the Power of Illuminated Love (featuring art by Luther E. Vann). He is the owner of Bright Skylark Literary Productions and content contributor to the Charter for Compassion blogsite. For more please visit: www.greeting-flannery-oconnor.com . ALSO BY ABERJHANI Fiction & Poetry I Made My Boy Out of Poetry (1997) Visions of a Skylark Dressed in Black (2006) The Bridge of Silver Wings (2007) Christmas When Music Almost Killed the World (2007) ELEMENTAL: The Power of Illuminated Love (with Luther E. Vann) (2008) The River of Winged Dreams (2010) Songs from the Black Skylark zPed Music Player (2019) Nonfiction Encyclopedia of the Harlem Renaissance (with Sandra L. West) (2003/2019) The Wisdom of W. E. B. Du Bois (2003/2016) The Harlem Renaissance Way Down South (2007) The American Poet Who Went Home Again (2008) Dreams of the Immortal City Savannah (2019) As Editor or Co-Editor Savannah Literary Journal (1994-2000) Civil War Savannah Book I: The Immortal City (2011) Civil War Savannah Book II: Brokers, Bankers, and Bay Lane - Inside the Slave Trade (2012)