“In This Here Place…”

Emilio Cruz. Figurative Composition #7, 1965, oil on canvas. Smithsonian American Art Museum. Gift of Mr. and Mrs. David K. Anderson, Martha Jackson Memorial Collection, 1980.137.21

We are nearing the end of discussion of Toni Morrison’s Beloved in one of my classes. My favorite part of the novel (and perhaps the reason I love it so much) is the sermon Baby Suggs, holy delivers in the Clearing. Instead of an actual Bible verse, love is her text. To those newly loosed [one way or another] from the chains and nightmare of slavery it is a reminder of their humanity and a call to release the atrocities of the past and imagine a new reality. After exorcising their demons through dance, laughter, and tears, Baby Suggs delivers a love letter to their beautiful souls. For me, this is the most powerful part of the book:

In this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don’t love your eyes; they’d just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face ’cause they don’t love that either. You got to love it, you! And no, they ain’t in love with your mouth. Yonder, out there, they will see it broken and break it again. What you say out of it they will not heed. What you scream from it they do not hear. What you put into it to nourish your body they will snatch away and give you leavins instead. No, they don’t love your mouth. You got to love it. This is flesh I’m talking about here. Flesh that needs to be loved. Feet that need to rest and to dance; backs that need support; shoulders that need arms, strong arms I’m telling you. And O my people, out yonder, hear me, they do not love your neck unnoosed and straight. So love your neck; put a hand on it, grace it, stroke it and hold it up. And all your inside parts that they’d just as soon slop for hogs, you got to love them. The dark, dark liver–love it, love it and the beat and beating heart, love that too. More than eyes or feet. More than lungs that have yet to draw free air. More than your life-holding womb and your life-giving private parts, hear me now, love your heart. For this is the prize.  –Toni Morrison, Beloved

I cannot locate a quality clip of Beah Richard’s phenomenal [understatement] performance of the second part [above] of Baby Sugg’s sermon, but here’s the first part.


About the Image: The artwork featured above is the work of Emilio Cruz, an African American artist of Cuban descent. You can see more of his work by clicking the link. It is one of the postcards in Paintings by African-Americans from the collection of the Smithsonian American Art Museum.

Unbought and Unbossed | Black Women Who Ran

You don’t make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas. —Shirley Chisholm (1924-2005).

Today is President’s Day, but I’m not thinking about the dead white men who are featured on U.S. currency; I’m thinking about the Black women who ran for President of the United States.

I drafted a lengthier [not published] post on this topic four [plus] years ago when Hillary Clinton was the Democratic presidential candidate. At the time, I was annoyed because in some media circles there was almost an erasure of the women who paved the way for Clinton. She did achieve some firsts–first to win a major party nomination by winning a majority of the delegates in the Democratic Party primaries and the first to win the popular vote–but obviously Clinton was not the first woman to run for president.

Among the many women who preceded Clinton’s first bid for the presidency in 2008 were more than a few African American women: Charlene Mitchell (1968); Margaret Wright (1976); Isabel Masters (1984, 1992, 1996, 2000, 2004); Lenora Fulani (1988); Monica Moorhead (1996, 2000, 2016); Joy Chavis Rocker (2000); Carolyn Moseley Braun (2004); Cynthia McKinney (2008).

Peta Lindsay (2012) and Kamala Harris (2019) followed.

Besides our current Vice President, perhaps, the most celebrated Black woman who ran for President of the United States is the “unbought and unbossed” Shirley Chisholm. Chisholm, who began her career as a teacher, became the first African American woman to be elected  to Congress. She served seven terms for her New York district. Four years into her service as Congresswoman, Chisholm became the first woman and African American to seek the nomination for President of the United States from one of the two major political parties (1972). You can read all about Chisholm’s bid for the presidency in the April 2016 Smithsonian Magazine article.

These women ran on various party tickets–the Communist Party, the People’s Party, the Green Party, Party for Socialism and Liberation, the Looking Back Party, the Workers World Party, the Independent Party, and of course, Republican and Democratic parties. Despite their diverse approaches, the platforms of these women were similar; they focused on education, social justice, and economic and racial equality.


About the Image: Like the image in last Monday’s microblog, this image is the work of artist Erin K. Robinson. It is part of a beautiful collection of postcards, Brave. Black. First. Celebrating 50 African American Women Who Changed the World, published by Clarkson/Potter Publisher, an imprint of Penguin Random House in collaboration with the Smithsonian’s National Museum of African American History and Culture.  Does the yellow and red remind you of anything? 😉

#ThursdayTreeLove | Le Flamboyant

“Le Flamboyant,” 2003, Enel Desir. Acrylic on Canvas.

Isn’t this a stunning work of art?

I pulled “Le Flamboyant,” the image above, from an old agenda that I can’t bring myself to toss because it is beautiful and educational. Though I love the rural scene depicted here, we all know I am drawn to this masterpiece because of the “flamboyant” or flame tree, which dominates this work of Haitian artist Enel Desir.

Enel Desir was born in Cavaillon, a small town in southwest Haiti, and began painting at a very young age. While attending the lycée [high school], he worked various jobs–as a photographer-reporter, a calligrapher, and an illustrator. Under the supervision of a French art teacher, Desir studied the work of such great masters as Velasquez, Renoir, and Rembrandt, which had tremendous influence on his early style.

One of his favorite subjects is the Haitian market scene, which he interprets through his colorful depictions of merchants selling flowers, and his still lifes of local fruits and vegetables. The colors Desir uses–soft green, red, orange, light blue, and yellow–enhance the appearance of the black skin of the human figures in his paintings. In 1991, the art critic Ed McCormack compared Desir with the great Mexican muralist Siqueiros. “Desir,” McCormack said, “creates sophisticated pictorials.”

Desir has participated in numerous worldwide exhibitions; his paintings have always been well received, particularly in the International Exhibition of Seville, Spain (1992) and in South Africa. Very much in demand, his works have been featured on television and in museums, books, magazines, and newspapers around the world. He was a featured artist at the Organization of American States’ exhibit in Haiti, held in Washington, DC, where he resides and paints. –from 365 Days of Black History, IOKTS Productions, published by Pomegranate.

I have had little success with finding more of Desir’s art via the internet. One brief biography of the artist pointed out that though he is a prolific artist compelled to create art, his work is scarce in the marketplace. I did manage to find one other image at the Galerie d’Art Nader of Haiti.

For actual photos of the beautiful flamboyant tree, click here.


I am joining Parul Thakur for #ThursdayTreeLove every second and fourth Thursday of the month. If you would like to play along, post a picture of a tree on your blog and link it back to her latest #treelove post.

Love of Freedom

In every human Breast, God has implanted a Principle, which we call love of Freedom; it is impatient of Oppression, and pants for Deliverance.

–18th century poet, Phillis Wheatley (1753-1784), in a letter to Native American ordained Presbyterian minister, Samson Occom (1723-1792)


About the Image: The gorgeous portrait of Phillis Wheatley is the work of artist Erin K. Robinson. It is part of a beautiful collection of postcards, Brave. Black. First. Celebrating 50 African American Women Who Changed the World, published by Clarkson/Potter Publisher, an imprint of Penguin Random House in collaboration with the Smithsonian’s National Museum of African American History and Culture. I received the collection as a gift from my hubby. Thankfully, the box includes two sets of the postcards–I send 50 out into the world and keep 50 for myself! 😉

Tired like Langston

“Langston,” Lynita Solomon. Used by Permission of the Artist

Yesterday, I read a Facebook post by a woman who denigrated Vice President Kamala Harris for no good reason. The woman asserted that Harris is not a role model and no one should have their daughters look up to her.

The post and responses were hateful and extremely disrespectful. I can’t figure out how people can stir up so much hatred for a person they don’t know just because they don’t agree with the person’s policies or positions on certain issues.

Beyond this illogic, some made lewd remarks and [like the original poster] claimed Harris did “anything” to reach the VP position. The whole thing was disturbing. And to make matters worse, the post was “liked” thousands of times and shared more than 17,000 times!

The comments played into the hypersexualized view of Black women that was written into the narrative of American history to cover the multitude of white men’s violations against Black women’s bodies and personhood. The narrative is hurtful and just as dangerous as the one that gets Black men and women shot for just breathing.

Like the speaker in Langston Hughes’s poem, I’m so tired.

Tired
Langston Hughes

I am so tired of waiting.

Aren’t you,
for the world to become good
and beautiful and kind?
Let us take a knife
and cut the world in two —
and see what worms are eating
at the rind.

About the Image: The art above is the work of graphic illustrator, Lynita “Elle” Solomon. She posted the image on Instagram in honor of the day Langston Hughes was born, 119 years ago. Lynita has an amazing way of presenting her subjects “without faces,” but we know exactly who they are anyway. You can see more of her work by clicking the image above.

A Detour and a Christmas Treat

Detours seem inconvenient, but sometimes they lead us to beautiful destinations. Such was the case yesterday when the guys and I were on our way to my aunts’ homes to do drive-by Christmas visits. A stopped train and a long line of traffic compelled us to take another route.

We worked our way around through Church Street in the historic part of Madison, Alabama and found it transformed to Christmas Card Lane. Each home had on display a giant “card” [created by local artists] in recognition of the holiday season. Some cards were traditional, some were whimsical, and, of course, some were biblical . Some even featured local themes.

The whole block celebrated the festive spirit of the season and boosted the holiday cheer.

I captured 26 “cards” as we drove slowly down the street. Here are our favorites:

My son’s favorite:

“Merry Christmas in Sweet Home Alabama”

My hubby’s favorite:

Christmas in the style of the Roadrunner and Wile E. Coyote

My favorite favorite is above, but here’s another favorite.

“No Place Like Gnome for the Holidays”

I’m running low on WordPress space, but you can see all 26 cards in my Flickr album: Christmas Card Lane.

I hope the holiday spirit is still with you!

Keep Dreaming

Art by Karen B.

Love Noters are an amazing group of people. They’re certainly my kind of people–artists and dreamers who love music, books, nature, paper, and ink. Thanks to my growing group of letter sisters, I have enough art to fill an art gallery and keep my heart full.

Today’s post features the abstracts created by Karen B, my partner for Love Notes 31, and “Dreams,” a short poem by Langston Hughes.

Hold fast to dreams
For if dreams die
Life is a broken-winged bird
That cannot fly.

Art by Karen B.

Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.

Art by Karen B.

Karen’s art is beautifully understated with a bit of whimsy and seriousness at once. I’ve paired her work with Langston Hughes’s “Dream” because, like his, her work seems effortless but holds a world of complexity.

Until next time, hold fast to your dreams…

Scraps of Poetry and Madness

My creative energy has been extremely high the last few days, but since  I’m working feverishly to meet a deadline for work, there’s been little time to benefit from that energy. I felt a little like Virginia Woolf this weekend, so late Friday night just before slipping into dream land, I took a moment to make doodle art in her honor.

One of these will become a postcard. The only problem is I don’t know which one I like best, so you get to choose.

Vote below!

Thanks for voting! Be sure to take some time to doodle this week!

Coping with the Madness of 2020: Create!

“Flowers in Bloom” by Rae L.

When my anxiety or stress levels heighten they are met with an equally strong desire to create. During the “lockdown phase” of the pandemic–March through July–I wrote poetry (almost daily), participated in seminars and workshops, tried new vegan recipes, painted, sang, doodled, and experimented with creative photography.

“Flowers in Bloom” by Rae L.

Since I returned to work in this pandemic season, the drive to create to combat the stress of this moment has been so intense that I had to add micro-creation sessions to my day.

“Flowers in Bloom” by Rae L.

I find a moment to doodle while thinking through a solution or while listening to a podcast or webinar. I fiddle with the lines of a poem I’ve already drafted in the wee morning hours. I transform a photo. I create inspirational Instagram posts.* I cut and tear pages from beautiful magazines and use them in art journal pages. I even do little things to create order out of the chaos of my desks [at home and at work].

“Flowers in Bloom” by Rae L.

Like journaling, there are many, many health benefits of creativity. These small, though intentional, acts of creativity allow me to tune out the chaotic noise of the world and find order within.


About the images: The set of floral art in this post is the work of Rae L, one of my Love Notes friends. She sent the envelope full of cheerful flowers a month or so ago. This is how she’s coping with the madness. Aren’t they lovely?

*A few weeks ago, my desire to create order spilled over to my Instagram page. I wiped my IG clean, changed my name, and created a uniform look for my page. If you have a moment, check it out. Maybe, you’ll be inspired: iamchandralynn.

To Autumn, or, Little Girls with Apples

It dawned on me this morning as I opened an envelope from Fran B, one of my Love Notes pals, that we are nearly a month into the season, and I have not done any “odes to autumn” on the blog. Shocker, right?

I assure you, I have been soaking up the goodness of early autumn as much as I can–the milder temperatures, the gentle breezes, the random highlights [bright oranges, yellows, and reds] in the trees. Academic life during COVID-19 is a level of busy I have never, ever experienced, so it’s been a bit of a struggle getting to the blog, especially since I’m typically screen-weary to the point of tears–or madness.

The artwork featured on the card Fran sent is worth my risking my sanity.

“Cider Mill” (1880) by John George Brown. Oil on Canvas. Daniel J. Terra Collection.

Cider Mill by John George Brown (1831-1913) features five little girls feasting on scrumptious apples they’ve just picked outside a cider mill. It speaks volumes about girlhood, apples, and autumn. The art is part of the Daniel J. Terra Collection of the Terra Foundation for the Arts. [Click the links to learn more about the artist and the masterpiece].

This is a delightful piece of art, but it grabbed my heart because the intensity of and seriousness in the eyes of the little girl with the red bow remind me of my baby niece, Lu, whom you’ve seen on the blog before.

Don’t you think she would fit right in?

Oh, and there’s a bonus–the first stanza of John Keats’ “To Autumn” was beautifully imprinted on the back of the card! If you’ve been keeping up, you know that he’s my favorite British Romantic poet:

Season of mists and mellow fruitfulness,
   Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
   With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
   And fill all fruit with ripeness to the core;
      To swell the gourd, and plump the hazel shells
   With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
      For summer has o’er-brimm’d their clammy cells.

Oh, there was even more autumn goodness inside the envelope, but you’ll have to wait for that. 😉