Poetry from Yongbo Ma

Afternoon

A person’s life is but a walk on an afternoon

from the louvered window where dark clouds roll

to the meadow where sunlight still shines bright

is equivalent to a sleep, dreaming oneself

Huge cloud symbols hang low as the hand of fortune

there is a kind of forgetting that cannot be foretold

its shadow crouches on the roof, panting

sunlight is bright, as if it will never fade

I once searched for pollen on the grass

a strong wind blew from the clouds. When I returned

I found the river under the door had long since gone

hanging beneath Mars

The afternoon, refusing to end, pushes away the setting sun

the house of a lifetime slips from the shoulders

all flowers on the grass have turned black

flesh escapes from the petals

a flower’s life shortens to a single kiss

The afternoon, delaying its upgrowth, tell me

who is it, at the speed of a tower’s shadow leaning

fading away in the act of walking

January 4, 1992

Sunset Glow

When the sunset glow unfurls the whole day

a pillar of unearthed radiance shoots up to the sky

you have a thousand reasons to step into coolness

like a horse, walking toward heaven’s feast

The sunset glow appeared early, first in the lungs

then spread to the face

if it burns, it’s a sick child

pouring out roses of imagination

Unfurl, brilliant sunset glow

you’ve burned for too long

that even the form you drag is rotting

yet link a child’s loneliness to a distant place

Now he lives only by his flaws

possessing more landscapes, but unable to hold any

just as the first sunset glow belongs to another land

allowing a white horse to return whiteness to transparency

January 8, 1992

The Black Tower

The first floor will house a woman of non-being

her long hair upsets flowing water

regaining a ghost in the vacancy of her body

The second floor houses a graceful emperor

who abandoned his throne and glory

to pursue a phantom, an echo

Stones thrown from the third floor

scatter across the snow

walking emptily, to gather on the moon

The spire raised toward eternity

occupies the cold

gathers light, the air grows sharp

In the basement, dogs are kept, and devils too

they crawl filthily on the steps, whimpering

pressure makes the darkness seem solid

January 15, 1992

The Setting Sun

The setting sun displaces the scenery in my heart

like a drowning man, searching for traces of his own passing

the setting sun, dividing dizziness evenly among the day’s clouds

An hour’s setting sun reflects into the living room

guests in feathered robes wear restless faces

their white seats roll down from on high

a winter freight train maintains a calm speed

after slopes and tunnels

the setting sun stretches boundless, a winter freight train

gobbling the distance, excreting

stations, snow-laden yards, the living room beneath clouds

a great fire reddens the clear nerve of a needle

If things transform, the setting sun will be the hinge

when summer’s light and shadow, from bread to book pages, enter humanity directly

all evening, snow falls on the railroad ties

and our thoughts, mixed into the darkness

a life confined by the setting sun—who can still step outside

to see the setting sun without end, snow oozing tears under pressure

the living room collapses when glanced back at, flames blazing inside the body

Let a few summers ripen on our bodies, toil bitterly

we poets, grown wealthy, overflow in the living room

go lie beside the witch next door, then lie cold

easily ended by a single word

The setting suns overlap. Weaving hands never pause—

here we are, the stove warming our bodies, making them weak

when you tire of thought, we are silence

balancing your conversations

we are echoes, easily spoken

an hour’s beauty, reflected by the setting sun into the fire

In unusually calm air, the setting sun slices skin

pointing to griefs of early years

the man who’s been away from home five years returns from the dust

mouth holding tiny spring fish fry, crying like a bird

he lingers long before the door

until another spring, the pond fills once more

January 15, 1992

Butterfly

A butterfly is a sleep longer than a lifetime

it shakes off the material that clings to it

entering another dimension of existence

as brief as the radiance of summer

who is dreaming of the butterfly, never waking in whole lifetime

It makes me think of fallen leaves and snow, the early days of the foliage

of the brave mother beneath the tree

she opened the brass dressing case

waiting for someone’s whole life

Shifting ceaselessly in the mood, the butterfly

carries emptiness within its body

appearing in someone’s dream

it does not dream of anyone

whoever it touches vanishes in mid-flight

like a phantom reclaimed by the mirror

Brief, yet longer than our whole life

when it alights, the dark cry of dust surges up to our fingertips

when it flies along the long plane of a person

the dream it unfolds is darker and deeper than hope

January 15, 1992

Crescent Moon

Before the crescent moon rises, we are in darkness

wordless and awkward

souls are right beside us

yet we have not yet been born

The crescent moon rises, all things smaller and colder

behind the moonlight live some other kinds of petals

they lean down, crossing the boundary

like coffins unaware of which world they belong to

If the crescent moon rises

the flowing water will glimmer with silver light

whoever stores spring branches at this moment

their hope will come to nothing

With honey of many uses

anoint our parts

that graceful climate, the chatter of old age

in the dazzling air that records glory

recall the history of the soul

And on the moon, it is always snowing, snowing stones

ten thousand hectares of dust, not falling for a long time

The moon has risen

the moon regains ghosts in the hollows of the body

the world is darker; we once dwelt on the moon

now none of us survive

January 19, 1992

Word: Bees Fluttering

Bees, fluttering over early autumn grapes

at the fruit stall by the crossroads, like sailors in striped shirts

drunk and staggering, carrying a whole world

pointing out the sweetest cluster for you

As long as bees flutter, this world will never vanish

their frail bodies, storing pollen of the departed

they were once just bees, once seen

on window screens dented by the wind after rain

Stinging autumn’s increasingly transparent skin

childhood is shorter than a moment of pain

who secretly pinches the morning glory’s bell

listening to angry dark clouds roll inside

Who passes noon carrying a world no longer whole

and sees bees fluttering. “Buy some, brother

just picked fresh!” “How much to buy

that swarm of bees on your grapes…”

Bees fluttering. They were once a swarm of bees

later turned into a word, stored in the radio

a monotonous sound. Now it’s bees returning, not the word

but they bring more words: a poem

with nine “bees” inside

January 21, 1992

Ma Yongbo was born in 1964, Ph.D, representative of Chinese avant-garde poetry, and a leading scholar in Anglo-American poetry. He is the founder of polyphonic writing and objectified poetics. He is also the first translator to introduce British and American postmodern poetry into Chinese.

He has published over eighty original works and translations since 1986, including nine poetry collections. He focused on translating and teaching Anglo-American poetry and prose, including the work of Dickinson, Whitman, Stevens, Pound, Amy Lowell, Williams, Ashbery, and Rosanna Warren. He published a complete translation of Moby Dick, which has sold over 600,000 copies. He teaches at Nanjing University of Science and Technology. The Collected Poems of Ma Yongbo (four volumes, Eastern Publishing Centre, 2024) is composed of 1178 poems celebrating 40 years of writing poetry.

Poetry from Eva Petropoulou Lianou

Young European woman in a gold Greek style headdress and a white dress.

Forgiveness

A word that is coming out from the brave heart

I am not asking to forgive as a Human

I am asking to forgive as a God

As HE has the kindness and the generosity to see the human ‘s mistake.

I am asking to forgive not a as a man

But as An Angel that every day and night 

Is traveling from Earth to sky….

I don’t need any paper

Green or blue

I saw  your heart

You had it there in front of me…

I understand that silence

That silver silence

I am damned in sky and earth…

I am just a soul traveling alone..

Seeking for forgiveness

Broken 

We are broken from previous years

We are broken and weak

Do not come with gifts and close mind

We cannot believe words

Because was never said

We are broken

With several wounds

We try to fix ourselves

Love

Is a word

That nobody understad same way

Love

Give

Protect

Understand

Respect

Heal

Rebirth

We are broken

Not ready to move

In this life 

Don’t play with Human hearts

You,

That the face I did not see for years

You

U are the most amazing being

But cannot touch

You,

The beauty is hiding in  small pieces in your body and mind. 

You,

I can explain why

But i know my what

You

That one day u crossed my path

  Forces of love or passion touched me

Without reason

I am looking the east

U are looking the west

Miracles happens every day

You

A passion I can live in a privately moment

Love I give

Love will never be understood

You…

In another space of galaxy

You

My ideal

My secret Garden

You

The moments I never had.. 

You

The distance between  two countries

A bridge i will try to build to reach you.. 

Hearts

Your heart tonight

Touch my heart

Like the first time…

My heart 

Close to your heart

They whisper

They talk like the know each other for years

Your heart tonight

Make love to my soul

A love full of passion

With care

Respect

Your heart tonight

Show to me

The magic moment

Exist

Your heart

Touch my heart

Like a child

Your heart

Has his own

Prophetical knowledge

You are a diamond

But i had to climb

The highest volcano

So i can find you…

Poetry from Jovana L.J. Milovanovic

Young Eastern European woman looking to the left with her eyes closed in a dark room. She's in a light colored blouse and has short dark hair.

BOUND BY GUILT

In front of the cage,

you stood with the key,

holding me still –

„Look what you’ve done to yourself“

you screamed.

You never stopped me from running –

just chained my wrists

with silence and guilt.

You never raised a hand,

yet I wore bruises

like a second skin.

You’d laugh and say,

„So clumsy, love –

you must have tripped again“.

Jovana Lj. Milovanović is a Serbian poet, born on December 10, 2000. She is a member of the Association of Young Artists of Culture. Her poetry collection In the Beginning There Was a Woman is currently in preparation.

Poetry from Jakhongir Nomozov

Central Asian middle-aged man seated at a desk in front of a window. He's wearing a blue sweater and holding a coffee cup.

LATE LOVE

I loved you—

to forgive,

yet found myself in a place

where forgiveness could not reach.

My hands were not for you,

they opened only in prayer

to stay in love.

I said, when I arrived,

“You will mend my wounds,”

but instead you opened my heart

and turned it into a vast

bleeding sore.

I waited for your balm,

yet you—named my illness:

“Separation,”

and with that name

you hurt me even more…

I saw my dreams in your eyes,

yet to forget them,

I looked at your lips.

First, you conquered my heart,

in the end, I became

a prisoner of your love.

I wept for you—

in every tear, a fragment of affection,

in every sigh, a great truth.

And now—

when I leave, saying,

“I’ll tend my own wounds,”

the hardest blow

is your

“too-late love.”

….

JUDGED MYSELF

I judged myself—

No witnesses,

no lawyer,

no accuser to show the indictment.

Only a mirror…

broken, silent.

I answered

to my innocent guilt—

my answers stretched endlessly.

I did not cry—yet within me

something cracked, shattering.

Words failed on my tongue,

tears ran down my face.

Before me stood I—

yet like a stranger…

Nowhere could I be truly myself.

Only in my own being,

I became everyone.

The questioning marks in my eyes

were wiped away by tears.

In my hand—a notebook,

even the words themselves

refused to write.

I did not write—

Words themselves refused to be penned.

This is no poetic gathering—

it is a trial.

Silence runs in my blood.

Beneath my nails, gathered envy—

gentle as silence,

sharp as pain.

I forgave myself.

I judged myself…

Jakhongir Nomozov is a young poet and journalist from Uzbekistan. He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

Poetry from Munisa Rustamova

Central Asian teen girl in a white collared top posing in a park with buildings behind her.

Mother, I’ve been deceived by this world,
By the feelings it so easily unfurls.
My heart is aching, heavy with pain —
Mother, today, I feel drained.

Let me rest upon your knee,
Sing to me a melody.
Today, dear Mother, I need to say,
So many words I’ve held at bay.

Your daughter never truly fell,
She only bowed, and wore it well.
They tried to break me — let them try
But breaking me became their cry

Still, deep within, I cracked apart
When friends betrayed my loyal heart
That day still haunts me, lingers on —
Why can’t I let it just be gone?

But hush, don’t worry, I’ll be fine
Though shadows fall, the sun will shine
So come, dear Mother, sit with me
Let’s talk with hearts, and just be free

I’m tired of the masks of faces,


the lies have begun, the truth has stopped. False pictures become interlocutors, and
now we live without seeing each other.
I’m leaving on the road with my destination unknown,
A friend walks beside me, a smile on his face.
I don’t know where he got this mask he’s wearing now.
Some face meets me, and
the face changes as soon as he leaves me.
Masks are so skillfully made,
even a wise eye can’t sell them.
When it’s not written, only masks,
expiration dates and dates.
Tell me too, where is that,
the workshop of the mask maker. 
I found it.
It’s an ownerless shop,
but there’s a sign on the facade that says: 
“Take the mask you want and use it, as long as you leave the original face as payment!”

Munisa Rustamova is a 16-year-old creative mind from Yangiariq district, Khorezm region, Uzbekistan. She has a deep interest in both creativity and self-expression. Through poetry she gives voice to her inner feelings, emotions, and personal experiences. Her verses reflect a sincere and powerful connection to the human soul.

Essay from Alex S. Johnson and Kandy Fontaine

Topping From the Bottom and the Top by Kandy Fontaine (Alex S. Johnson)

I’ve spent decades in the velvet trenches of kinky erotica, writing alongside and in tribute to masters like Kate Bornstein, Thomas S. Roche, Thea Hillman, Patrick Califia, Edo van Belkom, Lucy Taylor, and Maxim Jakubowski. My work is a ritual of rupture, a glitter bomb of desire, a scream stitched in leather and lace. And if there’s one thing I’ve learned from living, loving, and leaking in this world—it’s that power is never simple. It’s never static. It’s never one-directional.

I’m a dominant. I’m genderqueer. I’m neurospicy. And I love to mix it up.

Being Queer is a high. A sacred intoxication. It’s the kind of pleasure that makes the strongest alcohol taste like ginger beer. But let’s be clear: BDSM is not unhealthy. Quite the opposite. It’s one of the most psychologically and emotionally grounded ways to explore intimacy, power, and trust.

In fact, studies have shown that BDSM practitioners tend to be healthier than the general population. A 2013 study published in the Journal of Sexual Medicine found that BDSM participants scored better on measures of psychological well-being, including lower neuroticism and higher levels of secure attachment. Another study published in the Journal of Homosexuality in 2025 replicated these findings, showing that BDSM practitioners exhibit higher emotional resilience, lower rejection sensitivity, and greater overall well-being.

So let’s kill the myth. BDSM is not abuse. It’s not pathology. It’s not a symptom. It’s a circuit. It’s a ritual. It’s a scream that listens.

What turns me on the most? Imagining a circuit where I am both the bottom and the top—not alternately, but intensely and simultaneously. I want to dominate while surrendering. I want to control while being undone. I want to bring a partner off—be they male, female, or some glorious new gender I haven’t yet encountered—and feel their climax as my own. That’s not just sex. That’s communion.

The great leaders are servants. The master is a slave to his slave. And you don’t need to read Hegel to understand it.

Responsibility and trust are essential. This is never about anger. Never about abuse. Never about taking your emotions out on someone else.

Those people? They’re not kinky. They’re criminals.

BDSM is about consent, communication, and care. It’s about knowing your partner’s boundaries better than your own. It’s about listening with your whole body. It’s about crafting a scene that’s not just erotic—but sacred.

If you want to experience pleasure so intense it makes the strongest drug seem like ginger beer, look into BDSM and D/s. Discover your own circuits. Read the ones who’ve paved the way:

  • Kate Bornstein – gender outlaw, ritualist of identity
  • Patrick Califia – fierce, fearless, and foundational
  • Thea Hillman – poet of the body and its contradictions
  • Carol Queen – sex-positive priestess of the written word
  • Susie Bright – the original voice of erotic intelligence
  • And yes, me—Kandy Fontaine, velvet insurgent, archivist of the obscene

You’re welcome. Love and 40 lashes, Alex S. Johnson / Kandy Fontaine

Sources:

  • Psychological Characteristics of BDSM Practitioners – Journal of Sexual Medicine
  • BDSM Practitioners Exhibit Higher Secure Attachment and Lower Neuroticism – Journal of Homosexuality

1bing.com2www.psypost.org

Essay from Jakhongir Nomozov

Older Central Asian man with black hair in a burgundy jacket. He's outside in a park with leaves on the ground.
Rustam Bekhrudi
Young middle aged Central Asian man seated in a blue sweater with a coffee cup.
Jakhongir Nomozov

“POETRY – BOTH PAIN AND REMEDY”

Our guest today is— a prominent representative of contemporary Azerbaijani poetry, a poet and publicist whose works are renowned in the Turkish world, often centered on themes of Turkism, national identity, and freedom; recipient of the Mahmud al- Kashgari Medal, laureate of the Gold Prize at the International Poetry Festival of the Turkish World, and honorary professor at the International Academy of Turkish Studies, Rustam Bekhrudi.

In your poems, one feels the “suffering of the nation’s soul” and the breath of history. How does a poet’s heart reflect the pain of the homeland?

— In my poems, the people’s pain is not just words—it is breath. The wound of the homeland beats in the poet’s heart like blood; in every verse, there is a trace of the nation’s tears. That pain resonates within me like music—it is both melody and cry.

— You have touched many hearts with your work. Yet, have you ever faced injustice or denial along this path?

— Injustice has been my companion. Whoever speaks the truth will see a wall before them. I have seen it too. Yet I have not feared being denied—because the truth finds its way to hearts, and walls crumble one day.

 — In terms of life and creative progress, what does “patience” mean to you?

— Patience for me is a silent cry. Patience is the silence that holds rebellion within. Without that silence, words would hold no power.

— What tendencies in contemporary Turkish literature both delight and worry you?

 — What delights me is the search for identity and return to roots in contemporary Turkish literature. What worries me is vulgarity and soullessness. When literature becomes a marketplace, the poet loses their spirit.

— What does the phrase “literature is the heart of society” mean to you?

— “Literature is the heart of society” means that wherever the people’s blood flows, the poet’s words must flow there too. If there is no literature, the heart of society has stopped.

 — In the context of national identity, the spirit of the people, and Turkish unity, how can literature spiritually unite Turkic-speaking peoples?

— Literature can unite Turkic-speaking peoples through God’s same breath, through the power of language, through the power of the spirit. For the great unity of the Turks will not be forged by the sword, but by words.

 — Your poems are letters not only to the past but also to the future. For what future do you write?

— I write my poems for a future generation that will be free and never forget its identity. So that the Turkish children of the future may find their roots within my verses.

— In your view, is poetry the expression of pain, or a means to overcome it?

Answer: — Poetry is giving voice to pain, but in such a way that the one who shares it feels relief.

Poetry is both pain and remedy.

— In Sufism, the stage of “annihilation” (fana) leads to “eternal existence” (baqa). As a poet, how have you experienced this spiritual stage?

— For me, “fana” is to turn away from this world; “baqa” is to exist through words. A poet dies many times and is born many times in life. In each of my poems, I both disappear a little and exist a little.

— What is the form of resilience? Which harsh days of your life shaped you into the person you are today, Rustam Bekhrudi?

 — Resilience is standing up even after being broken. The harsh days of my life—imprisonment, persecution—did not break me; instead, they nurtured the poet within me.

 — In your opinion, what new awakenings does the Turkish world need today?

— The Turkish world needs a new awakening—to return to its roots, to protect its language, history, and culture, and carry them forward. Without this awakening, a nation will lose itself.

— Sometimes a poet challenges their heart to the hearts of others. How do inspiration and creative suffering influence each other in you?

 — Inspiration is God’s breath for me. Yet, when that breath comes, suffering also rises within my heart. Creative suffering and inspiration complete one another—without one, the other cannot exist.

 — Among the images you create—“Soullessness,” “Tear,” “Wound,” “Memory”—which have you

lived most fully?

— I have lived most in the “Wound.” Because wounds do not heal; they bleed throughout a poet’s life. “Memory” and “Tear” are there too, but “Wound” has defined me most.

— The word “nation” in your mind signifies not only love for the homeland, but also memory, suffering, and honor.

How do you think young people perceive this feeling today?

— For me, “nation” is memory before land. Some young people today understand the nation only through flags and anthems. But a nation is suffering, blood memory, a burden of honor.

To grasp this depth, one needs words, one needs literature.

— What dreams occupy your mind currently?

What are you engaged in?

 — From the window of the “Acı Badem” hospital, I watch plane trees whose leaves have just begun to turn in pain… People are like trees! There is no place to run, no refuge here… I once said: “Man is born alone, lives alone, and dies alone.” Now, what is meant to happen, happens! I was born one autumn morning when wolves howled; when the wolves arrive, everything will end! God had given me a mission—to light the path from Turkish lands to Mount God, to read the poems of nameless heroes along that road, to convey the light of the “Golden Apple”! Have I succeeded? I do not know! Such is the life I have lived!

                          Awake, my soul, why dream so deep?

                         Another dawn may never keep.

                        A call resounds from God’s high height—

                        Rise, let us seek the “Red Apple’s” light!

Jakhongir Nomozov is a young poet and journalist from Uzbekistan. He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.