First, an announcement: published poet and contributor Tao Yucheng would like to host and judge a poetry contest open to all readers of Synchronized Chaos Magazine.
Synchronized Chaos Poetry Contest
We seek short, powerful, imaginative, and strange poetry. While we welcome all forms of free verse and subject matter, we prefer concise work that makes an impact.
Guidelines: Submit up to five poems per person to taoyucheng921129@proton.me. Each poem should not exceed one page (ideally half a page or less). All styles and themes welcome
Prizes: First Place: $50 Second Place: $10, payable via online transfer. One Honorable Mention. Selected finalists will be published in future issues of Synchronized Chaos
Now, for this month’s issue: The Stories We Tell Ourselves. We explore communication, relationships, myth, history, imagination – different ways of making meaning from life.
Dildora Abdullayeva considers the study of phrases as a part of human language and how phrases have changed over the years. Toychiyeva Madinaxon points out how young people are changing global language through Internet slang. Habibullayeva Lalyokhon Zarifjon kizi explores cultural and linguistic features of phrases in the Uzbek language. Rashidova Shohshanam speaks to the rapid changes in the Uzbek language and the challenges and opportunities that poses for educators. Noah Berlatsky reflects with humor on how our brains’ memory for language might shrink with modernity.
Dildora Qobilova suggests common student grammatical errors and ways to correct them in the classroom. Yarmamatova Sevinch Elyor qizi suggests ways to enhance young children’s speech fluency. Suyarova Gulsanam explicates finer points of Uzbek grammar for audiences speaking all languages. Abulqosimova Bahora highlights the intricacies of the phonetic system of the Uzbek language. Muqaddas Islomova highlights the role of multimedia digital technologies in helping language learners enhance their speech skills. Shamsiddinova Maftuna Hamidjon qizi gives an overview of academic studies into the structure and functions of different parts of speech. Adashaliyeva Durdona Akramjon qizi highlights the central role of linguistics in reinforcing the values of a socialist society. Rukhshona Kamolova Turayeva highlights the importance of studying the history and role of the English language to understanding effective communication. Sharifov Sirojiddin Shavkatovich underscores the critical importance of basic math literacy to social functioning. Satimboyeva Risolet outlines educational benefits of AI technologies in education.
Kucharov Bakhodir outlines principles of written and spoken professional communication. Dilnoza Bekmurodovna Navruzbekovna urges people to carefully consider what career would be right for them, and for schools to facilitate that deliberation. Aslidinova O’giloy highlights the potential of a digital economy and the need to prepare students for that world. Sarvar Eshpulatov also highlights the importance of digital literacy for success in today’s society. Niyozova Shakhnoza Farhod qizi elucidates the potential of digital technologies in education. Iroda Sobirova offers suggestions for fostering entrepreneurship in Central Asia and elsewhere. Choliyev Nurbek Rözimbek ogli highlights the importance of local banks in trusting in the creditworthiness of local entrepreneurs. Eshmurodova Sevinch Bahrom qizi outlines steps credit card bureaus can take to ensure consumer security. Urinova Robiyabonu discusses the use of psychology in professional management. Qarshiboyeva Mavluda Azizbek qizi analyzes the role of international assessment exams in world education. Abduvaliyeva Jasmina Jahongir qizi outlines some upsides and downsides of economic and cultural globalization.
Satimboyeva Rizolat discusses how to develop a social culture of reading and literary appreciation that goes beyond the classroom. Aziza Xasanova highlights the joy and creativity and history of the Uzbek mother tongue. Qudratova Nozima Bahromovna outlines the innovative narrative storytelling techniques of Uzbek author Tog’ay Murod.
Lakshmi Kant Mukul shares some of a people’s history of India through the lens of one architectural landmark, the Qutub Minar. Alan Catlin renders the historical, somnolent, stuck atmosphere of the American Rust Belt into poetry. Xudoyberdiyeva Mohiniso delves into the Islamic Turkish Kara-Khanid state, which reached its height in the 700s. Duane Vorhees traces a variety of Jewish mystical influences on Sigmund Freud. Chimezie Ihekuna relates how the modern Nigerian state came together as a result of colonial powers and bears little relation to cultural realities, causing a legacy of trouble. Jacques Fleury reviews Boston Lyric Stage’s production of a mashup of Sherlock Holmes and A Christmas Carol, providing two different lenses through which to interpret Victorian England. Qulliyeva Feruza Qosimova highlights the role of the Uzbek constitution in guiding contemporary society.
Mahbub Alam reflects with nostalgia on his high school days: friends, teachers, the school environment. Mesfakus Salahin revels in the wonder of childhood and memory. Sobirjonova Rayhona expresses gratitude to a dedicated teacher.
Olga Levadnaya speaks to the ‘halo effect’ of memory, where we remember the best parts of what happened to us. Dr. Jernail S. Anand considers his memories to be friends. Taghrid Bou Merhi holds onto the hazy and charming days of childhood and dreams. Mandy Diamantou Pistikou reminds us of the innocence and joyful curiosity of early childhood. Meanwhile, Luis Cuauhtemoc Berriozabal speaks to the feelings, thoughts, and sensations of middle age.
Taro Hokkyo brings to life a moment of deep soul recognition among two different people. Turkan Ergor wonders at the vast diversity of people’s life experiences, given our common humanity. Dr. Kang Byeong-Cheol reminds us of the ingredients of love: wisdom, compassion, and humility. Mrinal Kanti Ghosh reflects on a love that captures his soul and disrupts his consciousness.
Mohan Maharana also writes of compassion, speaking of his work as a healer and social worker coming alongside people living with mental illness. Juana Del Carmen Soria urges people to make wise and caring choices. Asmonur Rajabboyeva, in a piece translated into English by Shuxratova Nilufar, draws on a chamomile flower as a symbol for innocence and compassion. Eva Petropoulou Lianou puts out an urgent call for global peace. Dianne Reeves Angel looks beyond the commercialism of Christmas to seek out spiritual gifts of peace and love and hope. Brajesh Kumar Gupta affirms that goodness is so much stronger than evil. Zuhra Jumanazarova highlights the critical role of the Uzbek constitution in the country’s governance and respect for internationally recognized human rights. Eva Petropoulou Lianou laments the violence and selfishness of humanity, in poetry translated into Mandarin by Yongbo Ma. Pat Doyne mocks corruption in the United States’ federal government. Bill Tope argues against gambling from a social justice perspective. Yongbo Ma also translates a poem from Ahmed Farooq Baidoon on the weary quest of all too many people for justice. Brendan Dawson sketches some of society’s outsiders – immigrants and poets – and reflects on how society has become less welcoming.
Sayani Mukherjee wishes an old lover well with their new love during the holidays, while still acknowledging her sorrow. Abdulhafiz Iduoze speaks to the cycle of life and death in her imagistic poem. Kemal Berk yearns for a lost loved one through verse. Aisha Al-Maharabi evokes the pain of loss and longing in love. Graciela Noemi Villaverde mourns the loss of her husband of many years through poetry. Abigail George renders cautious and loving care for her father with cancer into thoughtful and slow poetry. Farzaneh Dorri pays tribute to a departed human rights lawyer.
Mirta Liliana Ramirez grieves the loss of someone who suffered much and had a difficult life. Sumaiyya Alessmael mourns the passing of her immortal, fanciful beloved. Milana Momcilovic evokes centuries of timeless longing for a lost love. Salimeh Mousavi probes probes a family’s grief to create a complex and layered character sketch and to mourn for parts of individual personhood severed by culture.
Kavi Nielsen poetically expresses a sense of unity and connection with nature and their loved one. Shawn Schooley celebrates the sensual attraction he feels for his lover. Jamal Garougar speaks to the submergence of egos and unity with a broader whole inherent in love.
Petros Kyriakou Veloudas depicts love, grief, and memory feeding into the artistic process. Ana Elisa Medina encourages someone close to her to sing and share his heart’s journey. Kandy Fontaine reflects on how Motorhead frontman Lemmy inspired her artistically and personally.
Dianne Reeves Angel celebrates the joy of intentional female connection and friendship over many years. Priyanka Neogi reminds women and girls to remember their insight and strength. Amirah al-Wassif’s surreal poetry speaks to womanhood and our relationship with our bodies and minds.
J.J. Campbell shrugs and finds himself in a place of dull resignation, even at the holiday season, and renders his feelings into poems. Alan Hardy speaks to the vulnerability of being alone, whether in the wild or in his own mind, and how he protects himself by letting go of regret. Santiago Burdon depicts some misadventures along the road of guiding an emerging writer towards greater originality.
Mark Young expresses fascination with arbitrary liminality, how we attempt to classify the world. Duane Vorhees reflects on natural and human moments of energy and transition, such as thunderstorms, from a comfortable distance that lets him think and react with wonder.
We hope this issue brings wonder, new thoughts, and empathy to your life.
1st-year student, Department of Uzbek Language and Literature,
Denau Teacher Training Institute
Email: qudratovanozima@gmail.com
Annotation
This article explores the linguistic features present in the works of the renowned literary figure Tog‘ay Murod, distinguished for his profound narratives and unique style. Through a comprehensive analysis, the study highlights key linguistic elements that define Murod’s writing, offering insight into his literary techniques and contributions to the cultural and artistic landscape.
Tog‘ay Murod stands as a prominent figure in modern Uzbek literature, celebrated for his captivating storytelling and innovative narrative approach. His works have long fascinated both readers and critics, prompting scholarly interest in the linguistic elements that form the foundation of his distinctive literary voice. This article examines the recurrent linguistic features within Murod’s works, revealing the craftsmanship behind his style and illuminating the essence of his literary genius.
Murod’s literary corpus spans various genres—from prose to poetic narratives—each crafted with its own linguistic precision. His prose is characterized by rich imagery, metaphorical language, and nuanced character development, all of which create immersive storytelling experiences for the reader. Moreover, his use of symbolism, allegory, and intertextuality adds layers of depth, inviting readers to engage with multiple levels of interpretation.
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Linguistic Characteristics in Murod’s Works
Beyond his narrative mastery, Murod’s poetic works demonstrate exceptional linguistic rhythm and lyrical expression. By artistically arranging words and sounds, he captures the essence of emotion and human experience, creating a deep resonance with readers. His exploration of linguistic ambiguity and semantic complexity contributes to an intellectual dimension that encourages readers to reflect on the subtleties of language and meaning.
A systematic approach—combining close reading, stylistic analysis, and comparative research—was employed to examine Murod’s linguistic techniques. Works representing different periods of his creative activity and covering diverse themes were analyzed. Textual fragments were studied for recurring linguistic patterns, rhetorical devices, and stylistic choices, providing a comprehensive understanding of his unique writing style.
One of Murod’s most notable contributions lies in his transformation of the natural speech of ordinary people from the Surkhan region into a literary stylistic device. He was among the first to elevate this regional vernacular to the level of a refined artistic tool. Following in the footsteps of earlier creators, he developed his own perspective on literary style. Researcher M. Khidirova describes language as the foundation of literary structure, noting:
> “A literary work is like a tower. It has its own foundation. The lifespan of the work depends on this foundation. The foundation of a literary work is language. Life begins with language and ends with language.”
Thus, the linguistic worldview of Tog‘ay Murod embodies a philosophical understanding of language as both an artistic and spiritual necessity. His unique stylistic mastery continues to serve as a school of artistic skill for young writers, especially at a time when the Uzbek language is flourishing as a state language and its preservation and development are of great importance.
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Theoretical Perspectives on Style
Classical and contemporary scholars alike have offered insights into the formation of literary style. The eminent
scholar Abdurauf Fitrat emphasized that as a writer matures artistically, a distinctive style emerges:
> “As a poet or writer rises in artistic mastery, he begins to create a style peculiar to himself. When his imagination, thought, and understanding reach maturity, a unique style naturally appears.”
Literary critic O. Sharafiddinov likewise described style as an all-encompassing phenomenon permeating every aspect of a writer’s work:
> “A writer’s style is like air—we breathe it without noticing its components. Style is the spirit of creativity, the subtle fragrance present in every work.”
Accordingly, Tog‘ay Murod’s reflections on artistic language and style deserve special attention. Language, artistic vision, and literary technique interact harmoniously in his works, shaping an individual and unrepeatable style formed through philosophical perception, cultural identity, and narrative skill.
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Tog‘ay Murod’s Creative Language
Tog‘ay Murod is widely recognized for his original and vivid prose, which resembles poetic narrative in both rhythm and imagery. Even casual readers familiar with modern Uzbek literature can easily identify his works by their expressive, colorful, and deeply lyrical language. This distinctive quality sets him apart from other writers.
In works such as Otamdan qolgan dalalar (“Fields Left by My Father”) and Bu dunyoda o‘lib bo‘lmaydi (“One Cannot Die in This World”), Murod won the admiration of readers by portraying the sincere and humble people of the Surkhan region—their hardships, aspirations, and inner worlds. His language is deliberately simple, flowing, and deeply rooted in folk expression.
He skillfully incorporates proverbs, idioms, synonyms, archaic words, and dialectal expressions, enriching the artistic imagery of his narrative. Folk speech enhances the authenticity and emotional connection of his works. For example, dialectal words such as baycha, jigit, bova, iyarmoq, angnib yotmoq, and yonashtirmoq vividly illustrate the regional character of his narratives:
> “I told the boys to lie down by the river and keep watch.”
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Discussion
The linguistic features identified throughout Murod’s works emphasize his innovative approach to storytelling and his profound connection to language as a tool of artistic expression. By blending imagery, metaphor, symbolism, and intertextual references, he creates multilayered narratives that resonate deeply with readers.
Moreover, his linguistic versatility allows him to traverse different genres and thematic landscapes, demonstrating the breadth and depth of his creative vision.
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Conclusion and Recommendations
In conclusion, the study of Tog‘ay Murod’s linguistic features reveals a writer of exceptional talent and intellectual depth whose works continue to captivate and inspire audiences worldwide. Future research may further explore specific aspects of his linguistic style—such as dialect usage, narrative voice, or linguistic innovation. Comparative analyses with other literary traditions may also offer valuable insights into the evolution of literary language and expression.
Ultimately, the linguistic richness of Tog‘ay Murod’s works serves as a testament to the enduring power of language to illuminate human experience and provoke thought. As readers engage with his texts, they embark on a journey of linguistic discovery, uncovering layers of meaning and developing a deeper appreciation for the art of storytelling.
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References
1. Oydinda yurgan odamlar. G‘. G‘ulom Literature and Art Publishing House, Tashkent, 1985.
2. U. Jo‘raqulov. Nazariy poetika masalalari: Muallif, Janr, Xronotop. G‘. G‘ulom Publishing, Tashkent, 2015, pp. 148–150.
3. U. Faulkner. Qora musiqa. Yangi Asr Avlodi Publishing, Tashkent, 2018.
4. A. Fitrat. Adabiyot qoidalari. Tashkent: O‘qituvchi, 1995.
5. O. Sharafiddinov. Iste’dod jilolari. Tashkent.
Qudratova Nozima Bahrom qizi. 2006.11.12.
Surxondaryo viloyati Shurchi tumani Oynako’l mahallasi Amir Temur ko’chasi 160 uy.
+998 90 071 06 11.
Denov Tadbirkorlik va pedagogika instituti 1 kurs talabasi. Filologiya fakulteti o’zbek tili va adabiyoti guruhi.
An Immigrant’s Letter Home: They Say I’m the Problem
Fresh off the boat Plank splinters sticking in my bottom Foreign words coating my throat Accented with spices smuggled in my breath
I am here by mule train and burnt gasoline Aero plane and broken shoestrings Paid for everything by commercializing My entire life into round metal beads Covered in ghost heads and iconic scenes I’ve not yet had the chance to see The way they haunt my pockets
Exchanging, “for an excellent rate,” he says to me An Uzi armed sentry stamps my history Of entry in passport holograms The picture shivers between two sheets of paper While I wait on a bench to claim a meal voucher waiver For my wife and two Because where I come from, that’s just what we do If there’s enough left over, I might eat too
We spend most of our time here in a whole-way shelter Rust-stained gate and chain-linked containers Thankful we’ve earned this destination Instead of the alternative Where we can cash out our dream banks for the hopes of better gold Even though we’re not sure of the accounts we’ve been sold
Everyone here sleeps, eyes clinched into folds But awake in mind sweat Soaking in the nightmares of regret When barreled crabs said, “you all won’t get past” And, “you’ll never last” And, “we’ll be seeing you when you come crawling back”
But this was never intended to be a round trip We have a new home here even though We’re not aware where exactly here is Or if it’s built real in stick or brick But in the hope of the memories We haven’t started remembering yet
So, I try not to be a burden At nine o’clock, I walk across the parking lot To start the job that I’ve created Washing windshields for tips And trotting across traffic to get Another car clean to cover business expenses Incorporating my skills from an era gone by Of staying organized To capitalize my homeland’s handouts Before they were demoralized
At eleven o’clock, I beat down the tracks To bus restaurant tables and bust my back Below minimum wage reimbursement Where it’s a fact that taxes get held back In snide murmurs and slant glances Carving contempt on my appearances I absorb this as a symbol of respect As I did before, our towers were wrecked.
At the other eleven o’clock, I slip through the cracks Of the shelter’s back door slats And immerse my mind In language and cultural contexts Of the people and places I didn’t know existed In this new condition set
I often wonder why we worried and hesitated And held our expectations on presidential level aspirations Instead of holding ourselves as the democratic inspiration In the nation our ancestors created We eroded through horror and hatred Where we poked one another’s eyes Bled ourselves to death then painted Our remnants onto dust bound, thin air
At night, I don’t sleep much at all Remembering what we had before the fall The collapse of the systems Freedom and prosperity Jester dancing in the world’s mockery Wrapped in tricolor liberty wings
But now, it all seems like a distant dream I, go sleepless, knowing it isn’t a thing No more grain waves or sea shines The Mother of Exiles sank in the shoreline As another empire lost on its way to find The cause that made it an envious emblem
Now, they say I’m the problem
Urban Cowboys
this is where we sleep against tonight paper pallets lining the underpass tomorrow we follow the sun’s tail pulling the needle in our compass towards another city’s concrete stable wind whisking the stray cat’s mane from left to right and North to West without hay filling our bellies our Coke bottle canteens collect dust as we close our eyes around headlight fires resting our feet on empty bed rolls and wonder, “When will we ever be home?”
With Backs to the Rules
navigating life in a series of legends meandering across the foreign out there most people travel by grasping for the rules
some reach to rules to know where to stand other lean into rules for strength the greedy want rules to get ahead the rebels want rules to overthrow
but instead, there are poets poets travel with their backs to the rules in an eternal commission banished outside Plato’s republic
with one foot on the frontier of the knowable and the other foot hovering over the faith filled infinite white-knuckling enough courage to speak of sins wrestle written love ciphers for translating fringes in fragments onto the next poet
in messages urging us to leave safety and step outside and in time, return to spread the possibility of how poets travel,
with backs to the rules
The New Colossus
(*Note: A series of four blackout poems repeated from, The New Colossus, by Emma Lazarus as written on the base of the U.S. Statue of Liberty.)
Brendan Dawson is an American-born poet and writer based in Italy. Brendan writes from his experiences while living, working, and traveling abroad. Currently, he is compiling a collection of poetry and short stories from his time serving in the military and journey as an expat.
Semantic analysis of the use of gerund and infinitive
Suyarova Gulsanam Sherzod qizi Student of CSPU Department English language and theory The group of 22/5 suyarovagulsanam6@gmail.com
Annotation In this article, the features of using the tense forms of the to-infinitive and the gerund, the verbs after which one of them is used, as well as the verbs that can be followed by both the infinitive and the gerund, and their semantic differences are analyzed. Key words: verbs, infinitive, gerund, features
Annotatsiya Ushbu maqolada to-infinitive va gerundning zamon shakllarini qo‘llash xususiyatlari, ayrim fe’llardan keyin ulardan qaysi biri ishlatilishi, shuningdek, o’zidan keyin ham infinitive, ham gerund talab qiladigan fe’llar hamda ularning ma’nodagi farqlari tahlil qilinadi. Kalit so’zlar: fe’llar, infinitiv, gerundiy, xususiyatlar Аннотация В данной статье анализируются особенности употребления временных форм инфинитива с частицей to и герундия, глаголы, после которых используется один из них, а также глаголы, после которых могут употребляться как инфинитив, так и герундий, и различия в их значении. Ключевые слова: особенности, глаголы, инфинитив, герундий.
In the grammatical system of the English language, verb forms hold a particularly significant position. A verb not only conveys an action or a state but also functions as the central grammatical element of the sentence. Categories such as tense, person, number, and continuity of action are expressed through verbs. Therefore, the accurate use of verbs is vital for learners. In English, verbs have various non-finite forms such as the infinitive, gerund, and participle. These forms enrich speech by adding semantic nuances such as cause, result, condition, or continuity. In Uzbek, non-finite verb forms correspond to verbal nouns and also possess their own tense distinctions.
The Tense Forms of the Gerund 1.Simple Gerund (V+ing): expresses a present or general action. Example: She advised going to the party yesterday.
Perfect Gerund (having + past participle): denotes an action completed before another. Example: Can you remember writing a letter to me for the first time?
The Tense Forms of the Infinitive
Simple Infinitive (to + verb): action simultaneous with or following the main verb. Example: It seems to rain.
Continuous Infinitive (to be + V-ing): expresses an ongoing action at the same time as the main verb. Example: My brother pretended to be listening to music.
Perfect Infinitive (to have + past participle): action occurring before the main verb. Example: He refused to have stolen the money.
Perfect Continuous Infinitive (to have been + V-ing): continuous action prior to the main verb. Example: She seems to have been learning English for two years. Verb Usage
Infinitive is used to express purpose, after adjectives (happy, eager), after nouns/pronouns (something, someone), after too/enough, and in structures like it + be + adjective. Example: I always do my homework to achieve good results.
Gerund functions as a noun, is used after certain verbs (enjoy, avoid, consider), after expressions (be busy, can’t help, have difficulty), and after prepositions. Example: Reading is useful for us.
Change of Meaning with Gerund and Infinitive Some verbs allow both forms but change meaning depending on which is used:
Remember: remember to do = not forget / remember doing = recall
Stop: stop to do = pause for another action / stop doing = quit
Try: try to do = attempt / try doing = experiment
Regret: regret to do = be sorry / regret doing = feel sorry about
Mean: mean to do = intend / mean doing = involve
Forget: forget to do = not remember / forget doing = not recall
The correct use of gerund and infinitive is essential for learners of English. These forms influence not only grammatical accuracy but also the semantic content of speech. A clear understanding of their forms, functions, and meaning differences allows learners to express themselves more fluently and precisely. The main difference between gerunds and to-infinitives in terms of temporal meaning lies in the fact that the gerund generally expresses the action as a process or a factual event, while the to-infinitive conveys purpose, intention, or result. Perfect forms highlight actions that have already occurred, whereas passive forms indicate actions performed upon the subject or actions that are required to be performed. Consequently, the correct use of gerund and to-infinitive forms is a crucial means of accurately expressing temporal meanings in English.
References
Quirk, R., Greenbaum, S., Leech, G., & Svartvik, J. A Comprehensive Grammar of the English Language. London: Longman, 1985.
Murphy, R. English Grammar in Use. Cambridge University Press, 2019.
Huddleston, R., & Pullum, G. K. The Cambridge Grammar of the English Language. Cambridge University Press, 2002.
Eastwood, J. Oxford Guide to English Grammar. Oxford University Press, 1994.
Swan, M. Practical English Usage. Oxford University Press, 2005.
I always remember your eyes Green with hope That hope that slipped through your fingers That hope that in your youth swept you away…
Those eyes that life dragged away with the current of despair trying to extinguish them…
Your eyes that light up at the simplest things and fight to keep the light of life alive…
That life that wasn’t easy that was an eruption of incomprehensible situations…
Your eyes still hold the flame Of hope That hope that so often was lost along life’s path.
Mirta Ramírez- Chaco- Argentina
Mirta Liliana Ramírez has been a poet and writer since she was 12 years old. She has been a Cultural Manager for more than 35 years. Creator and Director of the Groups of Writers and Artists: Together for the Letters, Artescritores, MultiArt, JPL world youth, Together for the letters Uzbekistan 1 and 2. She firmly defends that culture is the key to unite all the countries of the world. She works only with his own, free and integrating projects at a world cultural level. She has created the Cultural Movement with Rastrillaje Cultural and Forming the New Cultural Belts at the local level and also from Argentina to the world.
Nietzsche was that Poet which Cried blood, sweat and tears Walking that Germanic harmattan Which the consensus wicked weep Wavering, colluding bracks and waters
To launch out a pile And brushes to rinse mouths Which scent gelatinous fragrances that Dance out the heart and purity And wish breathing into mapped
Malactivity. Modes insist the bridals Breed out love and care, And hope and understanding. Were there those chlorophyll breeds, Heart hearth would have been
Sublime, earth beards washed clean And the intestine pushed off To the brim, nirvana? Scanners Collude to yet convey hunger, To match the matchless sticks
And to wish and growl, And to hold those penniless Veins those abstract arbitrations Achieved within timely intonations Miraculous, missive, ringing mass
The graves gravid and gowned, Numerous necessities numbering Knead needle nook shapes Cushioning cachets, thrown off Sachets in the life of being.
One is not part and parcel, One is not a negative To hope to be without Waste, without fetching figures Wiring woe wills walking wean
But to pursue out lack, Contentment must stably stare The face of the heart To garner and to pounce Minutiae unravel gravel gaunt.
Verily, life itself spells spook Personalities, tint the bottling Beards bead connote uphold To show and to muster Minutes, seconds, searching.
