Essay from Abdullayeva Sarvinoz Aktamjon kizi

Abdullayeva Sarvinoz Aktamjon kizi
Student of Samarkand State Institute of Foreign Languages, Samarqand, Uzbekistan.
Email: sarvinozabdullayeva5720@gmail.com

Excessive imitation of foreign culture by young people

In today’s era of globalization, the issue of youth becoming excessively absorbed in foreign culture is sparking intense discussions within society. While some consider this a sign of progress and an important step toward renewal and development, others express concern that national identity, traditions, and values are disappearing under the guise of modernity. So, which view is actually closer to the truth? In my opinion, there are valid aspects in both opinions.

The opinions of the supporters of the first view are supported by many positive arguments. Nowadays, modern technologies are making human life easier, allowing for time savings, quality education, and access to unlimited information sources. For example, through the Internet, one can learn foreign languages, listen to lectures from prestigious universities, or master modern professions. So the problem is not the innovation itself, but how we use it.

However, the concerns of the proponents of the second view are not unfounded. The blind imitation of foreign culture can lead young people to distance themselves from national values. If the younger generation forgets its history, native language, national clothing, customs, and spiritual heritage, globalization may turn into a threat that leads not to progress, but to cultural losses. Because the future of a nation that has lost its identity cannot be stable.

In my opinion, the solution to this problem lies not in choosing “novelty or tradition,” but in combining both. We must apply modern technologies, learn from world experience, and strive for development. At the same time, it is our duty to preserve our national identity, language, and values. After all, only a tree with deep roots grows tall. In conclusion, globalization is a requirement of today’s times, and it cannot be ignored. However, striving for progress does not mean renouncing national values.

Alex S. Johnson interviews Carol Queen

I recently spoke with Dr. Carol Queen on my YouTube show, The Kandy Fontaine Show. Carol is one of those rare figures whose voice shaped entire eras — sex‑positive culture, queer visibility, bi identity, erotic writing, community education. She’s someone whose work helped build the terrain so many of us walked on. Having her on the show felt like opening a door back into the world that raised me.

We started by talking about the 90s. Carol said, “The 90s and into the very beginnings of the 2000s were such a rich time for anthologies.” She paused, remembering. “Tiny presses that actually still had enough money to publish their books. And we both met so many interesting people that way, even if we never met them in the flesh. We all devoured those books when they came out. It was a wonderful community of writers doing different stuff and expressing different sexualities.”

She added, “Thanks for taking me on a backwards tour to that. Those were such great days.”

That was the ground we stood on. And from that ground, we drifted — naturally — into talking about artificial intelligence. Not as a tech topic, but as a cultural one. Carol said, “These days, if you see a riff, you’ve got to count the em dashes in it to find out if a human being even riffed it.” She wasn’t joking. She was naming the uncanny flattening happening in creative spaces.

I told her about something author/editor Thomas Roche said to me more than a decade ago — long before AI was in everyone’s pocket. I told him that all the 70s dystopian nightmare movies had warned us about this future. Carol nodded and said, “I don’t even pay attention to that. I don’t even know what they’re doing. I just know a lot of things are generated by the AI. They’re texts written by AI.”

I compared AI‑generated writing to Eggo waffles — food‑adjacent. Carol burst out laughing. “Food‑adjacent product,” she said. “Somebody somewhere is in a lab, and they think they’re doing creative practice in their space. Even though we didn’t ask for these products to emerge, we have every right to question the whole scenario around the product.”

Then she pivoted, the way only Carol can, from critique to lineage. “I want everybody who was raised by the algorithm to really look backwards,” she said. “Because we can’t look forward if we don’t do that.”

She talked about the counterculture we came from, agreeing with my sentiment that “there’s only 10 people in the counterculture.” I told her about Ken Goffman aka R.U. Sirius pointing out that the phrase “slutty detective” (a moniker for my Kandy Fontaine character) came from the Kathy Acker novel Empire of the Senseless: “We’re all slutty detectives in the city of mirrors.”

Queen took things one step further and listed the cities: “San Francisco, Los Angeles, New York, Paris.” Then she added, “We’re all standing, looking at history spool out, and we’ve all got a different point of view about how we need to talk about it.”

We talked about queer lineage and gay martyrs. Carol said, “Somebody had to suffer. Somebody had to push.” She talked about neurodivergence. “Great big overlap of the neurodivergence communities,” she said. “Oh yes.”

Then she told one of the most beautiful stories I’ve ever heard from her. “When I was ten,” she said, “I walked through a high school fair and picked up a flyer with a weird little bird drawn on it.” She paused. “What was it? It was a copy of The Realist that I, a 10‑year‑old, picked up and took home.” She sighed. “I wish I had that now. I would make a shrine. The future called to me via The Realist on that table. How did it get there? I will never know.”

She told another story about lineage, this time about actress Olivia Wilde, inspired by our discussion of Oscar Wilde’s De Profundis: “I saw two Olivia Wilde movies in one night,” she said. “And apparently in high school she stole Oscar Wilde’s name to have as her own, to be an inspiration to her as she went forward into the world. That didn’t used to happen. But apparently once in a while it happens now, and that is very moving and excellent.”

She talked about Spectator magazine. “The way we got Spectator,” she said, “was that the Berkeley Barb was like, ‘Times are changing, we gotta shut down,’ and the people who did the sex section — which was a pull‑out section in the middle — were like, ‘Wait! Leave us the sex section. We still have work to do over here.’” She laughed. “Lane and Kat, bless their hearts. I am, in many ways, a writer because I picked up that flyer with The Realist information, but then they gave me a gig writing essays for Spectator, and I could write them anything I wanted.”

She talked about Paul Krassner. “I wrote for Paul a couple of times,” she said. “Loved that guy. I hope people keep Paul’s name alive. He spanned some scenes.” She laughed again. “Paul stepped in to edit Hustler for two minutes while Larry Flynt went to rehab. You kinda can’t get gigs like he managed to bounce from thing to thing. It’s not like that anymore.”

She talked about the algorithm again, circling back. “Somebody is there,” she said, “and this is their creative process. Okay. But I want everybody who was raised by the algorithm, and raised by the refrigerator case at the grocery store, to really look backwards.” She paused. “Because we can’t look forwards if we don’t do that.”

She talked about the need to remember. “We’ve got to remember what our backstory allowed us to explore and do,” she said. “That’s one of the things that’s so important to me. I’m so proud of having come into the writing world in the 90s.”

She talked about the young ones. “Our young one didn’t look just like this young one today,” she said. “But we’re all standing, looking at history spool out.”

She talked about the algorithm one more time, summing it up. “It’s the new wolves,” she said. “The new wolves.”

Our conversation lasted for three hours; I’ve just plucked out a few gems. It was packed full of fun, theory, jokes, laughter, a very beautiful meeting of minds. I felt something I hadn’t felt in a long time: the sense that the counterculture — our counterculture — isn’t gone. It’s just harder to find under the noise. But it’s still here. Carol is still here. I’m still here. And we’re still riffing.

Short story from Salimeh Mousavi

THE WOMAN IN THE CORNER

My heart had swollen until it seemed lodged in my throat.

I wouldn’t let her see the fear on my face.  

I dropped to my knees and dragged myself toward my little girl, gathering her into my arms.  My knees slid across the kitchen tiles. Heat coursed from the nape of my neck down my spine. By the time I held her against me, my fingers had begun to shake. I’d known fear before, but never like this—never as something that lived beneath my skin, coursing through my veins.

Over the past fifteen minutes, she’d asked the same question again and again.

“When will the lights come back, Mommy?”

Even though I knew my four-year-old had no real sense of time, every answer was the same.

“About another hour.”

That was what the electric company had said.

The moment the fading daylight withdrew from the window, her small fingers clutched the hem of my T-shirt, and she edged half a step backward. I brought her into the kitchen because it was the last room in the apartment to surrender to darkness. Her eyes went straight to the far corner. She settled beside my feet and absently stacked a few plastic bowls, falling quiet for a minute or two before asking again.

“When will the lights come back, Mommy?”

I clenched my teeth. Every so often, I drew a slow breath and let it out, because there was nothing else, I could do. In my mind I cursed the rotten trees, the storm, the city officials—anything that might be blamed.

“It might take another hour,” I said softly. “Don’t be scared. It isn’t even dark yet. What are you afraid of?”

She lifted one tiny finger and pointed to the opposite corner of the kitchen—the very place where she had been staring all along.

Her voice dropped to a whisper.

“I’m scared she’ll come closer.”

My face went cold.

For the first time, someone other than me could see her.

Every hair on my body stood on end as a cold terror slid down my spine.

She had always been here.

Lurking somewhere nearby.

I can’t remember when I first saw her. Maybe I’d never really been alone.

She was a young woman with long, filthy hair, sitting beyond the reach of what little light remained in the kitchen. Her eyes drifted back and forth between my daughter and me. She was painfully thin, her face hollow, her eyes were sunken deep into their sockets.

In the beginning, she only appeared among crowds.

To remember the first time, I saw the Ragged Woman, my mind drifted years into the past.

I was sitting in a mathematics class while the teacher shouted at me, threats and insults striking harder than the lesson itself. Instead of answering back, I held my breath. When I finally exhaled, a woman’s shape slipped from the mist of my breath and crept into the corner of the room.

The kitchen pulled me back.

Darkness had climbed over her head now, swallowing most of her face. I couldn’t make out her features anymore, but I kept my eyes fixed on her. I didn’t dare look away.

Then another memory broke through.

A history professor paced across the lecture hall, flinging his grand speeches at the students. Before he finished his sentence, tangled hair rose slowly into view behind him, climbing past the window frame. Eyes that looked freshly unearthed from a grave locked onto his throat.

By then she was no longer a ghost. She had become something pale and flesh-bound—something that occupied space.

After that she emerged from the shadows little by little.

She sat quietly in the corner during annual reunions with my university friends. While everyone traded polished smiles and rehearsed stories, she looked only at me.

For one impossible moment, I thought she pitied me.

I smiled back.

Her mouth stretched from ear to ear.

It wasn’t a smile. It was an imitation of one.

Her eyes flicked between me and the others, as though she were studying how human beings belonged together.

That was the day my hands first began to shake.

Just as they are shaking now.

A tiny hand settled over mine.

I looked down at my daughter’s soft fingers before lifting my eyes again.

The Ragged Woman had not moved.

Darkness had swallowed her from the waist down.

Though I could no longer see her face, I knew exactly what waited there.

The same impossible grin.

It never changed.

She always sat in some forgotten corner, watching me with that monstrous smile and those wide, unblinking eyes.

On my wedding day, I searched every corner of the reception hall.

For the first time…

…she wasn’t there.

Years later she returned in a dream.

She climbed onto my chest with that same stretched smile, her eyes impossibly wide, and wrapped her hands around my throat.

I tried to scream.

I reached for my husband, who was watching football in the living room, but no sound would come.

When I finally woke, I screamed for real.

He was beside me almost instantly.

But the image remained.

Had I been dreaming?

Or had I opened my eyes too soon?

After that, she returned to the corners.

At first, she only watched.

Then she began to speak.

Just a few words.

“It’s your fault.”

“Nobody cares.”

“You’re crazy.”

“You don’t have the strength anymore.”

She stood on the other side of the divide.

The side everyone else seemed to belong to.

The day the nurse placed my daughter in my arms, wrapped tightly in a hospital blanket, I believed something in my life was about to change.

It did.

Just not for the better.

I came home carrying fresh stitches, the smell of dried blood, and the sharp sting of antiseptic.

In the small bathroom mirror, I barely recognized myself.

I looked years older.

My hair had become a nest.

Dark hollows had settled beneath my eyes.

I still hadn’t figured out how to exist in the world myself, and now another human being depended on me to teach her how.

At night, after she fell asleep, I cried.

Most of the time she slept against my chest.

I was terrified that I would die and leave her alone with her.

Whenever the Ragged Woman made the slightest movement, I met her with a fury I didn’t know I possessed. She would shrink back into her corner again.

Even while I doubted my own mind, I never laid my daughter anywhere near the place where she sat.

I stayed awake, keeping watch over her, until sleep ambushed me without warning.

Time dissolved.

Sometimes I caught myself whispering into the dark,

“When did night fall?”

The Ragged Woman would sit in the corner of our bedroom and whisper for hours.

“Imagine what would happen if you simply left.”

“One morning you wake up… and you keep walking.”

“Just walk.”

“As far as your feet can carry you.”

“Don’t stop.”

“Disappear.”

“Never let anyone find you.”

Sometimes I shouted back.

“Shut up!”

For a little while, the silence returned.

But after I yelled those words in public a few times, everything changed.

Some people quietly drifted away.

Others stared, uncertain what to make of me.

Worst of all were the ones who mistook me for someone desperate for attention—or tried to force their neat little psychological theories down my throat.

None of them knew she existed.

My world grew smaller.

The circle of people around me shrank until, before long, either they had abandoned me…

or I had abandoned them.

Just like the daylight abandoning us now.

Darkness had swallowed half the kitchen.

My daughter buried her face against my chest.

From inside the darkness, the Ragged Woman’s fingers began to emerge.

Even I had spent years convincing myself she wasn’t real.

Yet here, in this dark little kitchen, my daughter had seen her too.

I was terrified.

And yet, somehow, I had never felt closer to my child.

I looked toward the corner.

The Ragged Woman leaned forward and whispered,

“That isn’t your daughter.”

I refuse to believe her.

I tighten my arms around the little girl and wait for my husband to come home.

Over the years I have doubted my own mind more times than I can count.

But I have never doubted him.

Because he is real.

Only real people tell you they love you.

And every single day…

he does.

Salimeh Mousavi, Maragheh, Iran

Poetry from Hong Ngoc Chau

A RESTLESS NIGHT

1
The rain falls incessantly in the late autumn night,
As if tapping out the rhythm of time in the night
From the depths, a tide of memories surges now
Affairs of the heart, hard to voice amid life’s flow.
2
Through many ups and downs, sad tears fall,
Hidden sadness in the silent night; it’s all
The gains and losses, the joys and sorrows, reality
In this mortal life, let go of every sadness and anxiety
3
Life is fraught with hardship; my heart heavy as stone
In the night, I listen to the house gecko click its tongue
This night of deep introspection isn’t the end, really
A golden moon hangs far away in the vast expanse; I see
4
A pale moon casts its light dreams of longing; in the night
Ask the full moon, then the crescent moon, in the vast night
Touching the soul like an icy chill, winter coming
The rain murmurs a lament to the moon, full of feeling
5
Falling into the heart of a desolate, sorrowful night,
Let us bring this long, stormy day to a close at night
Let my heart bury dreaming of worldly illusions,
Return to peace, to the gentle night’s emotion

THE SUNSET TRAIN
The Creator operates according to natural laws;
Life remains a cycle of ups and downs. Oh! Lord!
The four seasons- spring, summer, autumn, winter alternate
In life, one cannot force things to be otherwise, so accurate
2
The union, separation, the workings of all things right
Days pass, nights fall, the months and years flow by.
The night fades as the radiant dawn breaks,
Life force surges, filling all creation. No break
3
Understanding humans, reflecting on life,
Listening to and understanding oneself in life
The source of happiness lies within the mind;
The train of life journeys on in silence. I’m fine
4
The crimson sunset fades into deep violet hues, falling
Amidst the bustling docks, heartfelt bonds are gathering
Does the traveler still carry lingering sentiments? Reality
Is it a place where meetings and partings play out endlessly?
5
Preparing one’s mindset for life’s journey, truly
Striding through every hardship, steadfastly
Living with loyalty, truth, and goodness, I think
Reaching a haven of peace, with love overflowing.


MELLOW NOSTALGIA

1
Love of autumn gradually comes to a stop
Autumn Soul is cold by a down dew drop
The autumn sky shines red on the earth
Leaving my heart cold for days on earth
2
Autumn, I see off father, and mother in winter
The purple spinach hedge is so sad like ever
Just as my cold heart sobs with love and miss
Just as the parents’ eyes were warm to miss
3
My parents taught me the morals to live
The most precious life in peace is to live
As I know true love much, I always preserve it
I’m always grateful to worldly parents, indeed
4
Dad held my hand when I stumbled
Give me the courage of mind peace
Success and failure are the lessons
I need to know how ways of option
5
I ignite my faith in my dreams of hope
I seem always to live well with my love
Parents always teach their children lessons
Be careful with life, don’t take any risks on
6
The nostalgia for love still exists in life
There are things that add colors to life
I can know how to act as an added
Morality in life can’t be eliminated

Poetry from Yeon Myung-ji

The Taste of My Aunt

​Yeon Myung-ji

​My aunt, who loved farming and sowing seeds in the field,

gave birth to seven children and created a myth in a small village.

She loved the dancing light while wearing her shimmering black hair tied in a bun.

​She, who preferred soju to the smell of flesh, had wrists thinner than a single butterfly in the thicket.

​Even at an age approaching a hundred, her knees collapsed while she boomed orders over a bottle of soju, and at the family’s words to just get treated for a moment and come out, suddenly, she ended up trapped in the womb of a nursing home.

​On a day when the order of words ruled the night of the nursing home,

a tiny itch mite dug a burrow into her skin, making her suffer from itchiness every night; she had to yield her shriveled heart as food for ghosts.

​To her, whose sleep was terribly itchy, sedatives had no effect.

Even as she scratched her whole body and cried out, the voice of salvation could not cross the night.

Trapped helplessly in scabies, my aunt died.

​In the nursing home where she only meant to rest for a moment because her knees hurt, her love stopped.

Irresponsible words sat on empty chairs, saying that her advanced age was the only pure truth,

shaking her extremely rare death.

​A hellish space lying upon pain, even now the itch mite must be crawling around like a returning triumphant general.

​It was a June where my aunt’s clear, ringing voice—saying she would not grow old—stained the dining table very briefly, yet lengthily.

I am Yeon Myung-ji, a poet from South Korea. I began my literary career in 2013 with the poetry journal <Gasibi>. I have published the poetry collections <Sitting Like an Apple> and <Where Is the House of the Word “I’m Sorry”>, the e-book< Seventeen Marco Polo Sheep>, and the travel essay< Step by Step, Walking the Camino de Santiago>. I have received the Tolstoy Literary Award, Homi Literary Award, Cheongsong Gaekju Literary Award, Aviation Literary Award, and the Bronze Prize in Poetry at the 2025 Literature Asia Awards. My poems have appeared in literary journals and magazines across Asia, Europe, and the Middle East. I continue to write with passion, exploring life, memory, travel, and the human spirit.

Essay from Dilnura Qurolova

Why Uzbek Literature Deserves a Global Audience

Literature is one of the most meaningful ways a nation preserves its history, expresses its values, and shares its imagination with the world. Through poetry, stories, and philosophical writing, generations pass their experiences to those who come after them. Uzbek literature is an important part of this cultural heritage and deserves to be explored by a wider international audience.

One of the most celebrated figures in Uzbek literary history is Alisher Navoi. His poetry and writings contributed greatly to the development of Chagatai Turkic literature. His works explored themes such as love, justice, knowledge, morality, and the responsibilities of human beings. These subjects remain meaningful because they concern questions that people continue to consider today.

Another important figure is Zahiriddin Muhammad Babur, known as a ruler, poet, and the author of the Baburnama. His memoir provides valuable observations about people, places, nature, and historical events. Beyond its historical importance, the work offers readers a personal perspective on the experiences of an individual living during a period of significant political change.

These literary figures represent only part of the region’s rich intellectual history. Uzbek literature also includes oral traditions, folk tales, epic narratives, and works by modern writers who explore the challenges and possibilities of contemporary life.

Introducing Uzbek literature to international readers requires more than translating individual words. Translators must also consider cultural references, historical contexts, poetic rhythms, and the meanings carried by traditional expressions. A successful translation helps readers appreciate a work without losing sight of its cultural origins.

Young writers can contribute to this process by writing about their cultural experiences, studying their literary heritage, and exploring connections between local and global themes. They can introduce international audiences to familiar human questions through perspectives shaped by their own language and traditions.

At the same time, cultural exchange should be a conversation rather than a one-sided presentation. Uzbek literature can become better known internationally while its readers continue learning from the literary traditions of other countries.

A literary heritage remains alive when new generations read it, question it, interpret it, and find new ways to share it. Preserving the past does not mean refusing change. It means carrying valuable ideas into the future.

Uzbek literature deserves a global audience not simply because it belongs to a particular nation, but because it contributes to the broader story of humanity.

Every culture has something meaningful to share. Through translation, education, and creative exchange, the voices of Uzbek writers can travel beyond borders and reach readers who are ready to discover them.

Dilnura Qurolova was born in the Khorezm region of Uzbekistan. She is a young, talented individual who has achieved numerous accomplishments at the international level. Her creative works have been published in international collections, and she has participated in various international projects. She is passionate about literature and creative writing and aspires to promote Uzbek literature on the international stage.

Poetry from Dr. Fernando Martinez Alderete

Child’s Play

They run free as the wind,

laughter carried on the breeze,

in every corner of the world

their joy awakens.

No clocks, no sorrows,

just the sun and hope,

with stones, palms, and dreams

they build their hearts.

They play, they jump, they hug each other;

the world is their big toy,

and in that sincere laughter

the sweetest life lives on.

Dr. Fernando Josè Martinez Alderete

Mexico

Hope to Sprout

A child is not a vessel to be filled,

but a seed that must be nurtured,

with the water of patience, the sunshine of love,

and the soil of hope to sprout.

Don’t just teach them letters and numbers;

teach them to see, to feel, to dream,

to respect others, to love life,

to know how to fall and start over.

Be their guide, not their owner,

be their refuge, never their prison,

let them fly, but let them know

that they always have a home to return to.

To educate is to plant without seeing the fruit,

it is to give wings and also roots,

it is to trust that, tomorrow,

this child will make the world a happier place.

Because what you give them today with love

is not lost, it never goes away:

it grows in their soul, shines on their path,

and illuminates those who will come after them.

Dr. Fernando Josè Martinez Alderete, Mexico

Dr. Fernando Martinez Alderete is a writer, poet, theater actor, radio producer. Born in Leon Guanajato, Mexico, on April 21, 1977, President of Mil Mentes Por México in Guanajuato. Dr. HC, global leadership and literature. His poems were published in more than 200 anthologies in fifteen countries around the world and he is the author of ten books of poetry, short stories and novels.