I wanted the kind of power of insight and self-command that I experienced in the works of a Jean Paul Sartre, James Baldwin, or Margaret Walker. I wanted to make that kind of music that I heard in the poetry of a Langston Hughes or the stories of James Joyce. That combination of power and beauty more than anything else is probably what made me most want to become a writer. It wasn't until I became a journalist with the U.S. Air Force that I became more objective in my literary outlook and accepted that writing professionally included responsibilities to something other than my personal desires or needs.

Writing provided me as a teenager, first with a tool to navigate my way through a constantly humming nighttime swamp of inner traumas, and second with a means to comprehend and address the material world of race, poverty, and social backwardness that characterized my hometown at that time. Words, like music, gave themselves to me as companions and have always endowed my existence with a strength and resilience that otherwise I would not have.

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Part of the definition of guerrilla decontextualization is the attempt to intentionally misrepresent an individual’s character or intentions for purpose of decreasing any measure of influence or authority they might possess in either public or private circles. Hence: the popularity of such a technique among battling politicians.

Guerrilla decontextualization usually involves partial truths made to look complete. It goes beyond simple defamation of character or slander because it sustains an entire culture devoted to manipulating public perception for the sake of financial, political, or social gain.

Summer is the season when the sun reaches its zenith, its peak, when it burns the hottest and shines most golden for the longest days of the year… It embraces everything with its light, spreads a blanket of reassuring warmth, induces fertility and growth and regeneration, and even causes rainstorms to balance its own overwhelming power. Michael Jackson was very much like that with an abundance of creative spiritual energies that enriched, inspired, and empowered the lives of more human beings than anyone can accurately count.

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Because his living presence became such an uncommonly global one, that ministry [Jackson’s individual spiritual concerns] reflected universal ecumenical principles dressed up in ultra-modern dance grooves, love songs to nature, lyrical eulogies in the form of musical elegies, and sermons sung with passionate intensity and suffering eloquence.

Without unleashing the power of life-destroying missiles or forcing obedience to a particular law, rainbows dissolve preoccupation with the predictably ordinary and encourage belief in the extra-ordinary. Such belief, such inspiration, provides much more than passive hopefulness.

It is true that poems and stories generally have only a single name attached to them where authorship is concerned but in many ways they are born of much more than any single individual. They evolve out of meetings of minds, the collective heartbeats of communities, and the shared journeys of similar souls.

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A river is nearly the ultimate symbol for the very essence of change itself. It flows unceasing from one point of being to another, yet continuously occupies the same bed or pathway, and accommodates life’s endings with the same musical grace with which it accommodates life’s beginnings, along with all the muted and explosive moments that surface between the two extremes.