Collaborative Renga
Jerome Berglund (italic)
Christina Chin (plain)
chalk outlines
never an artist
to applaud
round the bend
a Banksy graffiti
jewelweed
survival
as defiance
giant caterpillars
on the leafless plants
rainstorm
brewing tea after
an afternoon nap
ants jostling
for egg salad
mango tree
a bat clicks round
the darkness
he doesn’t think of
deer ticks ‘til later
rainy night
a sniffing snake
at the window
sometimes got to use
decorative towels
A Pair of Feet “Caring” for a Lawn
There exists a strange group of beings,
Whose brains are said to have been blown away by the wind,
Whose souls are said to have been eroded by the rain.
They have only a pair of eyes,
A pair of feet,
And a mouth that claims a “free spirit”.
They love stepping onto the lawn,
Then stare at each other,
And keep using their mouths to accuse the sky—
“Follow the sound of my voice and look at me,
I’m the one most deserving to exist.”
Take one of them, for example:
It saw a pair of feet among the others,
Trample a blossom,
And its mouth instantly cried out:
“The flower is innocent,
The flower is pitiful,
Let’s speak up for the flower!”
Then it kept wandering,
Saw another pair of feet crush a foxtail grass,
And its mouth again cried out:
“The foxtail grass is innocent,
The foxtail grass is pitiful,
Let’s speak up for the foxtail grass!”
A large tree reminded it:
“Hold on—before you care about the foxtail grass,
That flower hasn’t been helped back up yet.”
Its mouth immediately cried out:
“The flower’s issue is in the past,
The foxtail grass is today’s breaking news,
Stop moral coercion,
Be like me—call for truth, goodness, and beauty…”
The tree continued:
“It seems like your kind says things like this every day.”
Its mouth instantly cried out:
“I don’t know,
I didn’t hear it,
I am what I am,
And I love peace…”
The tree covered its face:
“Then what about the grass you yourself trampled in the lawn?”
Its mouth instantly cried out:
“I’m only ‘caring’ for the lawn with my feet,
I never harm,
The fallen grass is a setup, a malicious frame-up…”
The tree said:
“I’ve had enough.
Each of them paces the lawn every day,
Blaming each other, bragging about themselves,
All believing their behavior is original…
I’d rather rot at the roots,
Than stay here any longer…”
Independence
Be kind like a mother,
Your words are sweeter than the song of a nightingale,
My soul, Uzbekistan sings, your daughter,
May your fortune be great, dear Independence.
You are a mine of wealth, a dear place,
You are an endless opportunity that illuminates our path,
You are a patriot, and yet a child, May your fortune be great, dear Independence!
You are a pure-hearted believer, Motherland,
You are a precious mountain, sky, Motherland.
You are a land of gold, Motherland, Independence, blessed soul, Uzbekistan.
My great-grandfathers are my pride,
Navoi, Babur – he is Ogahi. Knowledge and faith are a flowing river, Independence, blessed soul, Uzbekistan.
May my Motherland flourish and live freely, My motherland, my sacrifice, my soul.
What have I done about you – Independence, blessed soul, Uzbekistan.
Zumrad Sobirova Tohir qizi was born on April 5, 2007 in the Altinkul neighborhood of Yangibazar district of Khorezm region. She graduated from secondary school No.12 in the district with a gold medal. In addition, she participated in various competitions and festivals and achieved several successes. She received 100% certificates in general education subjects in Mother Tongue and Literature, 77% in History, and B2 level certificates in Foreign Language. She took an honorable 3rd place in the Essay Competition at the regional stage. She took an honorable 1st place in the most beautiful calligraphy category at the “Uzbek Woman” festival. She also works in poetry and prose. Her poems are reflected in the books “Ilm va ijod bo’stoni” and “Ko’zgudagi men”. In her free time, she reads fiction books. I have set main goals for myself and work hard every day to achieve them. I believe that good intentions and relentless pursuit will lead me to my dreams!
Letter To The Unknown Poet
Dear Esther,
I saw the message you sent me about your friend who is interested to be guided as a new unpublished poet. I’m also honored that you take me as someone who would be able to guide someone else. I’m honored because I myself am also a new poet, and I’m willing to help in ways I can.
First of all, she has to see poetry as something that she does for herself first, before other people. I started writing poems just before the end of secondary school, and my poems came from sorrows and grief. I remember how we took Literature-In-English classes together and how we did so well in the arts department, and how we were among the best students. We were in the same debate club, we read together, laughed together, but it didn’t occur to me that anybody would read my works in the future and classify them as poetry. Or even classify them as anything. Yes, let me confess that I wasn’t confident. I did not have faith in my writing then. For many years I thought my writing was something that only I could enjoy, love and understand, and I was satisfied with that thought because sitting down every evening to write and pour my heart onto paper was the most glorious thing ever, something akin to prayer.
I didn’t know that I was writing poetry because even though I did literature, I wasn’t very sure if what I was writing qualified as poetry. So I would write for myself for many years as a form of therapy. Poetry helped me to heal of my emotional pain. I wrote poems to see myself, to find myself. I read other poets as sources of comfort. I was deeply introverted, and because I was very hurt in my spirit, poetry helped me to stay alive. I wrote to myself without being sure if I was doing it in the right way, without knowing what I was doing, until many years later when I got an opportunity to be published.
I’m emphasizing on writing poetry for yourself first because poetry wouldn’t make you automatically richer than you are, but it can open doors for you. It can connect you to people or your readers whom you wouldn’t have met outside your writing space. Many publications do not pay you when they publish your poems. You will be paid or earn something only when you win poetry contests, or when a publication that pays their contributors pick you up. So I want her to approach poetry as something that she does for herself first, not as something that can fetch something else.
I want her to approach poetry with humility. I want her to be kind to herself. I want her to be truthful to herself. I want her to be truly herself. Let her see poetry as something she must do, something she has to do, if she is really a poet. If she is a poet, I want her to be proud of being a poet. Let her listen more to her literary spirit. I want her to be happy. Any day she decides to send her work out to any publication, I want her to know that rejections are normal. Many publications will reject her, but she shouldn’t be discouraged. The more she is rejected the more she should write.
The Nigerian writer Chimamanda Ngozi Adichie says she writes because she has to write. In interviews, she says that even if she didn’t have the wonderful opportunities she has today to be read widely and deeply appreciated, that she would still be somewhere writing, unknown, but still, she would be writing, and this is true for every genuine and unpretentious writer. Being a published writer is a secondary aspect of being a writer. I think the first aspect is more important than the second. First of all, you have to write, and the writing has to be for yourself first, before moving into the world. You will have to love and believe in the work first, before looking for a publisher, or a publication.
If your friend the poet is Nigerian, or African, I will advise her to read Chimamanda Ngozi Adichie’s books. If she’s not interested in big books, then she might be interested in her smaller pieces. She might follow her on her social media handles. She might also be interested in watching her interviews on YouTube. Or her popular Ted Talks, The Danger Of The Single Story, and We Should All Be Feminists.
I wish her everything good.
From Isaac Dominion Aju
Isaac Dominion Aju has appeared in different literary publications in the United States, including Poetry X Hunger, Flapper Press, and New York City’s Writers’ Journal. He will be a featured writer in Cajun Mutt Press in the US by November. He lives in Nigeria where he works as a fashion designer and writes in his free time.
The Joint-Stock Company Navoi Mining and Metallurgical Combine (NMMC) is one of the largest industrial enterprises in Uzbekistan, operating in the mining and metallurgical sectors. The efficient use of water resources at such large-scale industrial facilities is extremely important for both environmental sustainability and production efficiency.
In the developing world, including Uzbekistan, the rational use of water supply has become a pressing issue. As one of the largest industrial enterprises in Uzbekistan, NMMC must pay special attention to optimizing water use while maintaining environmental balance.
I believe it is reasonable to study successful strategies that have undoubtedly been implemented for conducting scientific research on this topic.
In particular, when examining the practical strategic projects of Vladimir Kvint—a prominent expert in the theory and methodology of strategy and the founder of the Russian school of strategy, Doctor of Economics, and academician—who has implemented water resource strategies in several countries including Uzbekistan, I consider the water resource management strategy of the Kuzbass region to be the best guideline in this field.
Considering the above, the following should be taken into account when managing water resources at NMMC:
In general, the implementation of such measures—including recycling systems aimed at the rational use of water in industrial activities, modernization of water supply systems, adoption of low-water-use technologies, and continuous monitoring through environmental systems—is one of the most urgent tasks today.
To conclude, water use in the operations of NMMC is one of the most important factors. Effective management of technological processes, cooling systems, and water resources for drinking and domestic needs ensures the sustainable and environmentally safe operation of the plant. In the future, it is crucial to widely introduce innovative approaches and water-saving technologies in this field.
THE MOTHER OF GOD
I want to gaze upon your gentle, smiling face,
as you quietly wrap your child in linen and cotton cloth.
His smile tells you
that a heavenly gift rests in your arms.
And then — a scream.
Your scream, for they are taking your Son to be killed.
I return in thought to the cradle.
You hold Him close to your chest,
singing softly as He drifts into sleep.
The next moment —
your inconsolable heart beneath the cross,
among wicked men
casting lots for the clothes He wore.
Two scenes intertwine:
life and death,
an image bearing the Son of God,
a body made into a temple.
And now… all carries the scent of death.
You loved Him with your whole being,
wished Him only good,
yet evil spun its snares
through the servants of darkness.
Only a tear of joy remains
as you lay Him in a wooden cradle:
“Good night, my son.”
And a tear of sorrow
as you embrace His lifeless body:
“Please, call me to meet You soon.
Without You, this life has no meaning.”
It plays out endlessly,
like a film that never ends:
death, tears, salvation —
telling us: the death of the body is a beginning.
Mother of God,
Suffering One,
there is no greater pain than yours,
but no deeper comfort
than your eternal embrace.
For no suffering
is greater
than yours.
Maja Milojković was born in Zaječar and divides her life between Serbia and Denmark. In Serbia, she serves as the deputy editor-in-chief at the publishing house Sfairos in Belgrade. She is also the founder and vice president of the Rtanj and Mesečev Poets’ Circle, which counts 800 members, and the editor-in-chief of the international e-magazine Area Felix, a bilingual Serbian-English publication. She writes literary reviews, and as a poet, she is represented in numerous domestic and international literary magazines, anthologies, and electronic media. Some of her poems are also available on the YouTube platform. Maja Milojković has won many international awards. She is an active member of various associations and organizations advocating for peace in the world, animal protection, and the fight against racism. She is the author of two books: Mesečev krug (Moon Circle) and Drveće Želje (Trees of Desire). She is one of the founders of the first mixed-gender club Area Felix from Zaječar, Serbia, and is currently a member of the same club. She is a member of the literary club Zlatno Pero from Knjaževac, and the association of writers and artists Gorski Vidici from Podgorica, Montenegro.
DEVELOPING CREATIVE QUALITIES IN LITERARY EDUCATION
Namangan State Pedagogical Institute
Uzbek Language and Literature Department, 1st-Year Master’s Student
Muattar Tursunboyeva
Abstract:
This article discusses the development of creative thinking, independent reasoning, and innovative approaches in students through literary education. It analyzes modern teaching methods, interactive techniques, and tasks aimed at enhancing creativity in literature classes. The article also outlines ways to foster creative competencies through text analysis, character interpretation, and understanding the author’s message. Furthermore, it references advanced international practices.
Keywords: literary education, creativity, creative approach, character, interactive methods, text analysis, competence.
1. Purpose and Objectives of Literary Education
In today’s globalized world, one of the main goals of education is to form individuals who can think creatively and independently. Literary education plays a crucial role in this process. Literature classes not only cultivate aesthetic taste but also deepen thinking, foster imagination, and encourage creative approaches. Each teaching term has its specific goals and objectives.
The main goal of literary education is to develop students’ skills in analyzing literary texts, understanding the author’s ideas through characters, and providing aesthetic evaluation. The teacher plays a vital role in this by broadening the student’s thinking through methodological approaches.
2. What is Creativity and How is it Formed?
Creativity is the ability to approach issues in new ways, solve problems unconventionally, and think innovatively. In literary education, the following methods can be used to foster these qualities:
Analyzing metaphors and symbolic expressions;
Dialogic reading;
Role-play exercises;
Written creativity tasks (essays, stories, excerpts).
3. Interactive Methods and Creative Approaches
Nowadays, teachers enrich their practice with interactive methods such as:
“Fishbone Diagram”,
“Modern Editor”,
“Discussion-Based Presentation”,
“Conceptual Mapping”.
These techniques enhance students’ engagement with knowledge and promote a creative attitude toward literary texts.
4. Criteria for Assessing Creativity
When evaluating students’ creative work, the following aspects are considered:
Novelty of ideas;
Expression of characters;
Richness of language;
Ability to draw independent conclusions.
5. International Experience and Innovative Approaches
Programs such as PISA and PIRLS emphasize literary literacy and creative thinking as important criteria. In countries like Finland, South Korea, and Japan, special attention is given to shaping students’ worldview through literary works.
In literature lessons, the teacher selects methods based on the topic. For instance, the “Brainstorming” method, also referred to as the “Mental Attack” method in the second part of the 2022 publication Methodology of Teaching Literature, is widely used. Synonymy also plays an important role in literary education.
Conclusion
Fostering creativity in literary education not only increases the effectiveness of learning but also contributes to the student’s personal development. These qualities help young people grow into independent, creative, and thoughtful individuals. Therefore, every teacher should incorporate innovative and creative methods in their practice.
REFERENCES
1. A. Hasanov, Foundations of Creative Thinking, 2020. Bukhara: Zamon Press. p.118.
2. D. Xoliqova, Innovative Technologies in Education, 2021. Samarkand: Ilm-Ziyo. p.132.
3. Q. Husonboyeva & R. Niyozmetova, Methodology of Teaching Literature, Tashkent: Inavatsiya Ziyo. p.159.
4. S. Nazarova, Literary Theoretical Thinking and Figurative Reflection, 2023. Tashkent: Fan va Texnologiya. p.153.
5. Z. Abdullayeva, Creative Approach in Literature Lessons, 2022. Tashkent: O‘qituvchi. p.145.
Muattar Ikromjon qizi Tursunboyeva was born on August 6, 2000, in the Toraqo‘rg‘on district of Namangan region. She graduated from Specialized State Boarding School No. 18 in Namangan city and later completed her studies in the Uzbek language program at Namangan State University. Currently, she is a first-year master’s student at Namangan State Pedagogical Institute. From a young age, Muattar has been passionate about poetry and literature. Her poems and articles on various topics are regularly published in the media. Muattar’s goal is to become a highly qualified specialist in her field and to share the beneficial knowledge she gains with future generations.