Announcing that contributor Michael Steffen has a new book out, I Saw My Life.

About I Saw My Life: From the saying “I saw my life flash before my eyes”, the book’s title announces thresholds, things and moments of arrest and luminosity, resplendent, but also shocking as a near-death experience might be, and fleeting as any flash may be. The stars in their constellations at night glimpsed up through leaves of a tree, the drama of a scull tipped in a powerful mid-river current, a woven shopping handbag, such objects in their places and handling evoke the weights and sensations revisiting the body in reflective memory, at the heart of poetry’s deeply personal yet widely shared and recognized expressions.

It’s available for review from Lily Poetry Review’s press.

This month’s issue rides high on a wave, surging towards us with a theme of Fluidity.

Some contributors literally speak of water. Eva Lianou Petropoulou personifies the creatures of the sea as she calls for an end to litter and pollution. Xoʻjyozova Dildora discusses environmental damage to the Aral Sea and efforts to restore the ecosystem. Elaine Murray celebrates the wonder of the ocean, wishing to become a mermaid. Brian Barbeito recollects being stung by a jellyfish, resting, and turning out okay in time, comforted by natural and literary beauty. Later, he celebrates the seafaring-inspired writing of Joseph Conrad.

Others address different aspects of life that can feel fluid, such as light and vast open landscapes. Juan Vadillo’s review describes Beatriz Saavedra Gastélum’s poetry collection, “Lucid Breath of Light,” as a journey exploring light in its various forms, memories, and transformations. Mesfakus Salahin immerses himself into nature and creativity. Stephen Jarrell Williams’ serene piece evokes a feeling of gentle tranquility. JoyAnne O’Donnell meditates on a pleasant afternoon outside in a meadow. Sheikha A.’s short, lyrical pieces use vivid imagery and concise language to evoke a range of natural and serene scenes. Sayani Mukherjee celebrates the beauty and splendor of an outdoor festival. Yee Leonsoo’s poems use extreme natural places (a salt desert and a deep-sea sinkhole) to explore identity, memory, and the feeling of in-between-ness. Mark Young’s geographies creatively mutate random regions of Australia into works of art.

We can also perceive time as more fluid than linear. Chuck Taylor explores the idea of the “now” and how it can be captured in words, considering the brief moments between perception and recording. Barbaros İrdelmen’s pieces intertwine ordinary images with themes of love and loss to explore how human connection, memory, and longing persist within and against time’s flow. Kareem Abdullah speaks of love, longing, and memory. Mustafa Abdulmalek Al-Sumaidi reminds us that we are all mortal. Abdel Iatif Moubarak renders up a tale of a singer’s faded glory still piercing the darkness of night.

One’s personality and attitudes also morph and shift over the years. Sevara Matnazarova outlines how her personality and outlook on life changed as she grew older. Susie Gharib’s work addresses authenticity, self-expression, and a desire for a more compassionate and peaceful existence. John Grey’s work explores vulnerability and resilience within the human (and natural) experience. Elisa Mascia’s pieces draw upon changeable natural phenomena such as wind and butterflies to dramatize introspective and emotive explorations of love, loss, and transformation. Yeon Myung-ji’s poem uses the act of shelling beans as a rich metaphor for introspection, resilience, and the quiet, often overlooked, processes of life and growth. Duane Vorhees’ poems explore themes of love, identity, and transformation, often blurring the lines between reality and fantasy. Nattie O’ Sheggzy delves into the complexities of simple things and searches for meaning, beauty, and authenticity in a chaotic and often dissonant world.

A whole set of poems by Niall McGrath explore themes of memory, identity, social commentary, and personal struggle, often set against the backdrop of Northern Ireland. Poet Michael Todd Steffen, interviewed by Cristina Deptula about his new book I Saw My Life, explores the intersection of personal and historical memories, identity, and mortality, aiming to inspire reflection, acceptance, and a deeper appreciation for the world around us. Lan Xin highlights how holding space for wonder and gratitude can enhance our daily lives. Kandy Fontaine’s piece mixes theater and prose, celebrating artist Tricia Warden and the intersection of art, literature, and identity, particularly in the context of feminist and queer perspectives.  Christopher Bernard kicks off the next installment of his children’s story Otherwise, a mixture of cultural thought, suspense and middle-grade energy. Tanja Vučićević describes a personal journey, both physically and emotionally, as they navigate through challenges and seek solace and salvation.

Writing can play a part in personal reflection and development. J.J. Campbell uses poetry to process his own experiences and emotions and to comment on the human condition. Yongbo Ma’s poems are reflective and introspective, exploring themes of isolation, disconnection, and the search for meaning. Manik Chakraborty wakes us up with the graceful hope of a new morning and continues to seek artistic inspiration despite abandonment from a muse. Ryan Quinn Flanagan probes ordinary life with a poet’s eye, considering the significance of even mundane objects. Jacques Fleury uses rich imagery and references to mythology and literature to highlight the owl’s dualistic nature, embodying both positive and foreboding qualities. Ananya Guha creates a place where a moment of fear and the stories told about it later blend together into a lasting personal myth, half memory, half ghost story. High school English student Reilley Andre expresses a mature perspective on life, pointing out how different people see matters from various points of view, expressing grief, and showing gratitude for his caring sister.

Some love can remain steady amid the flow of time. Gulsanam Mamasiddiqova offers up words of respect and love for her father. Mubina Botirova expresses her love and gratitude for her mother. Tursunova Mehrinoz Oybek qizi pays respect to her mother’s dedication and kindness. Gulchiroy Axmedova expresses tender sentiments of motherly care. Afrose S. celebrates childhood and urges people to protect children. Prasanna Kumar Dalai evokes the tenderness and fragility of early love. Anwer Ghani depicts a steady, tender, and elegant love. Anindya Paul speaks to a profound and intimate romantic devotion that lingers after death. Daniela Chourio-Soto expresses nostalgia through the means of scent. Yongbo Ma’s playful work also encompasses themes of love and human romantic connection.

Of course, not all love stories end happily, and loss is a part of the human condition. Leon Drake’s poems of heavy nostalgia mourn words left unspoken and relationships left unexplored. Donna Dallas speaks of trauma, monstrosity, addiction, and toxic relationships. Kassandra Aguilera’s fragmented poem explores the intoxicating and often painful dynamics of infatuation. On a broader scale, Milena Pčinjski laments the weight of a troubled world, all that could be and all that will never be. Yet, vulnerability is not necessarily weakness, but a prerequisite for change and growth.

Love and caring can also encompass more than one’s own inner circle. Several contributors discuss the fluid state of societal and international relations and advocate for peace and justice. Alan Catlin’s work highlights the human cost of war and its echoes in art and the human soul. Abigail George’s melancholic, reflective poems mourn destruction in Gaza and a personal loss. Shlok Pandey’s fictional story is a poignant portrayal of the human experience during wartime. David Kokoette describes age-old power dynamics and struggles. Mark Wyatt’s fragmented pattern poetry calls out the atrocities made possible by unquestioning obedience to religious and political dictates. Patricia Doyne mocks Donald Trump’s pursuit of grandeur as Bill Tope presents another satirical take on Trump’s proposed arch. Staci Modisette reminds us to protect ourselves while speaking up for peace and justice. Eva Lianou Petropoulou’s gentle words are set to ethereal vocals and a drifting background melody, with an encore here. Аshurоvа Dinоrа Аnvаrqul qizi outlines the role of Uzbekistan’s National Center for Human Rights.

Cultural and world history might seem static, but it can also be fluid in the sense that we remember it differently, or remember different aspects of it, over time. What and how we remember can have repercussions in the present. Lan Anh, a Vietnamese economics student in Germany, illustrates the intricate web of relationships between nations, economies, and people, highlighting the invisible boundaries that connect and impact lives in unseen ways. Muhammadyusuf Kozimjonov outlines the historical and cultural development of Uzbekistan. Joseph Ogbonna revels in the intriguing cultural and political history of the island of Corsica. Nozima Gofurova describes the cultural treasures she saw during her tour of Uzbekistan’s Center for Islamic Education. Jernail S. Anand encourages us to look to wise examples from history to create the world we would like to see.

Tasneem Hossain celebrates the richness of the world’s heritage of dance. Federico Wardal highlights an upcoming star-studded event in Rome celebrating Dante Aligheri which will be attended by cinema and theater luminaries. Yatti Sadelli reviews Dr. Bashir Issa Al-Shirawi’s poetry, highlighting his theme of the inner strength and resilience of the world’s women. Emmanuel Chimezie, Nigerian poet and founder of Poets’ Workshop (Global), interviews Egyptian poet Abdel Latif Moubarak about how life in Cairo shapes poetry, delving into themes of darkness, inequality, and identity.

Language and literature are part of world culture as well as a bridge among various cultures. Nozimova Shukrona highlights the value and importance of reading as a way to learn and participate in global thought. Jernail S. Anand urges readers to nourish our minds as well as our bodies, with a well-chosen and varied diet. Tursunaliyeva Zilolaxon celebrates the value of books, literature and libraries. Joseph Nechvatal’s review of Rus Khomutoff’s poem “Kaos Karma” examines the work as an abstract machine that combines literature and chaos magick philosophy, exploring themes of multiplicity, singularity, and the relationship between poetry and passion. Yulduz Kurbоnоvа explores how courtesies embedded in the Uzbek language can get lost in translation to other tongues. Delo Isulfi pays tribute to Rohini Kumar Behera, reflecting on his poetry, highlighting Behera’s themes of peace, gratitude, and nature, and how they convey a sense of spirituality and universality.

Education serves as a vital site where tradition and innovation meet—a place where societies negotiate fluid continuity and change. Many contributors discuss best practices for teaching language and other subjects in school. Subanova Dilafruz discusses audio aids for young language learners. Charos Mansurova discusses the phenomenon of English “loan-words” in Korean. Azimova Nilufar Egamberdiyevna compares word structures in English and Uzbek. Pardayeva Yulduz outlines methods of English-Uzbek idiom translation. Abduraufova Nilufar Khurshidjon kizi highlights the need for parents and educators to work together to teach young children. Qurbana Mubinakhon Umidjon qizi discusses how parents and educators can cooperate to inculcate national values in Uzbek children. Usmonaliyeva Bahora Abduvali qizi explores the role of idioms in Uzbek literature. Ahadova Feruzakhon looks at ways to improve student vocabulary knowledge.

Abduhalilova Sevdora Xayrulla kizi asserts the importance of physical education in school. Isakova Mukhlisa Khusanboevna illuminates exercise as a stress reliever for students. Bakhromova Gulsanam discusses the importance of inclusive education for students with disabilities and practical ways to make that happen. Abdullajanova Shahnozals’hoqxon suggests ways to help shy language students feel more comfortable speaking up in class. Dildoraxon Turgunboyeva explores how to create nurturing and educational preschool environments. Abduhalilova Sevdora offers up a polylexical analysis of English language phraseology. Turdaliyeva Mohidil Baxtiyor qizi discusses classroom activities to enhance student vocabulary. Dildoraxon Turg’unboyeva highlights the value of dictionaries in education. Ahadova Feruzakhon suggests ways to work with vocabulary when teaching young students their native language. Shahnoza Amanboyeva points to 3D modeling and artificial intelligence as tools to enhance science classrooms.

One of education’s important social functions is to prepare students to join the workforce. The global economic landscape is continually in flux, as several contributors discuss. Satimboyeva Risolat Ilhomboy qizi outlines future prospects for job growth given emerging world technologies. Azamova Feruza Abduholiq qizi suggests ways to improve the service sector of Uzbekistan’s economy.

Turning to medicine, Mamadiyorova Durdona outlines the structure and function of the human placenta. Ashurova Parizoda explores the biological characteristics of the parasite Ascaris and its effects on the human body. Xamroyeva Shaxlo discusses the process of blood formation in the human body.

For a look at a widely discussed technology, Rahmonova Barno Kilich qizi probes the economic future of our world after the growth of artificial intelligence. Nurmatova Charosxon Pirnazar qizi also explores how artificial intelligence is reshaping education and the global economy. Toshbotirov Bekjaxon Asliddin o‘g‘li outlines useful roles for AI in the classroom. O’rinboyeva Ziynatjon Anvarbek qizi points to effects of artificial intelligence on society.

Dildora Sultonova celebrates human intelligence, singing an ode to her resplendent and resilient dreams. Eva Petropoulou Lianou interviews poet Eldar Akhadov, highlighting his optimism and respect for the next generation.

A common thread in this entire issue is the persistence of human connection in the face of change. Each contributor grapples with how individuals and communities relate to each other, to history and culture, to the natural world. Smaller scale personal narratives and larger stories intertwine as overlapping dimensions of the human story. The blending of artistic forms and styles in several works evokes the complex flowing of ideas within the creative mind, a current that dissolves rigid boundaries among ideas and cultures.

The collection suggests that while much of our lives inevitably flows and shifts with the passage of time and with cultural and technological change, the underlying human impulses to connect, to understand, and to create meaning remain constant..

HEMATOPOIESIS: DEVELOPMENT AND SIGNIFICANCE

Abstract:

This thesis discusses the process of blood formation—hematopoiesis, its stages, main organs, and biological significance. Hematopoiesis ensures the continuous renewal of blood cells in the body.

Keywords: hematopoiesis, erythrocyte, leukocyte, platelet, bone marrow, stem cells

Introduction

Hematopoiesis is the process of formation and development of blood cells in the body. This process continues throughout human life and is essential for the normal functioning of the organism.

Main part

Stages of hematopoiesis

Hematopoiesis is divided into embryonic and postnatal periods. During the embryonic period, blood formation initially occurs in the yolk sac, then in the liver and spleen. After birth, the main hematopoietic organ is the red bone marrow.

Formation of blood cells

All blood cells develop from hematopoietic stem cells. They differentiate into the following main types:

Erythrocytes – responsible for oxygen transport

Leukocytes – involved in immune defense

Platelets – play an important role in blood clotting

Regulation of hematopoiesis

Hematopoiesis is regulated by hormones and biologically active substances. For example, erythropoietin stimulates the production of erythrocytes.

Clinical significance

Disorders of hematopoiesis can lead to various diseases, including anemia, leukemia, and other blood system disorders.

Conclusion:

Hematopoiesis is a vital biological process that ensures the continuous renewal of blood cells. Its normal functioning is essential for maintaining a healthy life.

Xamroyeva Shaxlo  Uzbekistan

Review of Rus Khomutoff’s Poem Kaos Karma

“Essentially an artist does one thing throughout his career, but over the years he discovers its various implications and expands upon and deepens aspects of what had been present in his work. Perhaps that’s the difference between a serious artist and an entertainer. The artist is constantly deepening a single, obsessive theme, rather than decorating a succession of topical themes.”

~Richard Foreman

Rus Khomutoff’s poem Kaos Karma suggests an encounter between a body of literary writing and a body of magickal/philosophical writing, thus crossing (nonstop) various thresholds of consistency. This despite the consistent all caps no punctuation of its form that positions it on brink of resembling Jenny Holzer’s Truisms (1978–87), though she did not center the text as Khomutoff usually does. 

So I read Kaos Karma as an abstract machine that consists of formed and unformed formal functions expressing the relationship of literature to a philosophy of cut-up chaos magick (and vice-versa). As such, Khomutoff offers a way of saying something about the philosophy of poetry that began with Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, but also of the philosophy that is claimed by and for, and sometimes of, chaos magick’s labyrinthine conception of multiplicity and singularity.

In Kaos Karma the reader is not linked by means of period, genre, nationality, style, theme or political ideology; for it has a relentless high-wire flow of exposition that exposes a conniving with transcendence. Especially when its apparently cut-up philosophical transactions (without transitions) are underway. It is with this privilege I am according to Kaos Karma the sign of art that can force thought. This, while at the same time, it is busy effectuating dispersal and fragmentation, rather than totalization.

Khomutoff, on an aesthetic plane, screams in all caps urgent questions that confronts the reader with phrases from different disciplines as the poem oscillates between manifesto and chance. Yet the jump-cuts encountered in Kaos Karma are an encounter between a poetic discipline which decrees a level of specificity and irreducibility. The poet has an immanent manner when he is considered on quite another terrain: that of literature ‘itself’. For, Kaos Karma is important for what it can do as an ABSTRACT MACHINE, rather than for what it might be said to mean. 

This evaluative enterprise involves an assessment of the degree of affect produced by Khomutoff’s dramatic work as an impure intercourse between literature and manifesto. But Kaos Karma has a very particular slant deriving from two distinct (but intimately related) bodies of work, Beat literature on the one hand, and the rhizomatic philosophy of Gilles Deleuze and Félix Guattari on the other, as it gestures towards the preposition of its title. 

Of course rhizomatic philosophy is itself already subjected to particular encounters with connectivity in our poetic thinking, but the liaisons found in Kaos Karma reads as if the writer is pushing the reader to be impatient and to get on to the next phrase without pause. There is a privileging of a certain speed-flow of words here that merges the possibility that some of Kaos Karma is inscribe or prescribe with a heavy dose of something irrational.

While I would not wish to stress this view, what emerged out of reading Kaos Karma a number of times, is a fact that certain words used here (more than others) gravitate comprehensively towards specific mysteries around passion through the text’s emphasis on being and judgement.

It might be objected that the encounters with passion I found in Kaos Karma are arbitrary (validated by a mere coincidence). But each poem page, to a greater or lesser extent, bears the imprint of a coincidence of this sort. 

To identify a specific philosophical passion or problem in each of the pages of Kaos Karma would be reductive and subject the poet’s word-flows to the demands of rationality, instead of feeling. My point, however, is quite to the contrary, even though Kaos Karma read the third time through illuminated through these encounters with passion the philosophical tradition of Deleuze and Guattari for me. Particularly, their critique of interpretation which they together launched in The Anti-Oedipus. In that sense, Kaos Karma may assist the reader in the unlearning of romantic word-image-thoughts which have dominated the poetic discipline. 

This is only in part explained by the frequent recourse which Khomutoff makes in his work to ecstatic celebration. The uniqueness of the pertinence of the colorist Dionysian non-space he creates as a form of modulation questions the relationship of poetry to passion to the extent to which the magickal chaotic philosophy of Austin Osman Spare pervades his practice. 

Transfiguration forms the corpus of Khomutoff’s writing in this dramatic poetry. But the reader does not encounter a programmatic statement which might be applied by one attempting to write about literature and philosophy in the manner of, or after Kaos Karma. This singular body of work enters the bloodstream of this reader at a rate quite distinct but similar to William S. Burroughs’s Beat poetic transfusions. And yet there is a noncorrosive quality in these Kaos Karma poetic interventions which renders any attempt at a general theory of literature decadent. An intellectual-artistic enterprise doomed in advance. 

For me, the reading of Kaos Karma required an exploration of my memories of the work of Antonin Artaud, James Joyce, Henry Miller, José Saramago, Maurice Blanchot, Comte de Lautréamont, Samuel Backett, Jack Kerouac, André Breton, F. Scott Fitzgerald and the stream of consciousness writing that originated with Surrealism and the works of psychologist William James; even as the poem invents unknown or unrecognized affects and brings them to light. For Kaos Karma outlines a plane of consistency which enables, activates or prolongs mental fluxes and becomings as it unfolds a possible world of declaration which secretes and promotes incommensurability, heterogeneity and multiplicity. Such an encounter with such a world entails the crossing of a threshold of becoming, a displacement which scrambles positions of psychoanalytic or karmic interpretation. It consists of a stream of semiology which is anti-psychoanalysis. 

This banging bit of poetic writing is precisely an affair of becoming, but it is important to note that becoming in Deleuzeian terms does not entail the attainment of form by means of identification, imitation, or mimesis; but finding, rather, the zone of indiscernibility such that it is not possible to identify or distinguish this or that specific thing. It is a process, that is, a passage which traverses the livable and the lived inseparable from becoming. 

~Joseph Nechvatal

joseph@nechvatal.net 

Joseph Nechvatal is the author of Venus Voluptuous in the Loins of the Last God, available here.

A Letter to My Mother

If one day this fragile heart should cease,

My soul will hold just one last wish in peace:

In that last breath, that final fleeting hour,

Mother, to see you once more is my power.

My gentle one, so loving, warm, and kind,

Around your children, tears you often bind.

Through every trial life placed upon your way,

You stood unbroken, strong in every day.

My angel here on earth, my shining sun,

Your smile can brighten all when day is done.

When your bright eyes so full of light I see,

This world feels whole and perfect just for me.

Now I confess the truth I could not say:

A selfish child—I’ve been along the way.

To such a mother, pure and full of grace,

I’ll never be deserving of your place.

At times I spoke with words both sharp and cold,

An ignorant heart, a soul not yet grown old.

Though years have passed and I have aged in time,

I’m still that foolish child in this strange life of mine.

Are all mothers like you—I wonder so,

Who never blame when children hurt them so?

One question lives inside my restless heart:

From where does such deep endless love all start?

My dearest mother, patient through it all,

My life, my hope, the one who lifts me tall.

It’s true I’m not the child you hoped I’d be,

But you’re the greatest mother there could be.

My name is Tursunova Mehrinoz Oybek qizi. I was born on February 28, 2005, in Andijan region. Currently, I am a third-year student at Andijan State Pedagogical Institute. I chose primary education because I enjoy working with children.

My favorite activities are reading books and learning languages. At the moment, I work as a Turkish language teacher. In my free time, I enjoy writing poems.

The Ticking of Death

Tomorrow you will not be the one

who bestrode the world like a Colossus,

the predator you thought yourself to be

in a world once yours,

becomes merely a deferred biological feast,

in a plot of land measured to your body.

The dust will show no favour,

whether you were an emperor,

or a mere non-entity,

rather, to it you shall return, return—

just as you were first molded.

Your grandeur is spurious… ephemeral,

your self-idol, sanctified by your vain desires,

will crumble before the might of your last agony,

You will see the sun of your lungs sink into dusk,

To firmly believe your hubris will rise no more;

the terminal bubris—a solemn funeral…

so solemn, had been a masterful hypocrite,

but if your folly was too crude for such art,

you will be consigned to the grave in haste

In both cases, you are a tasteless joke

that dust narrates to itself

within a fresh grave.

Parade your shadow no longer;

one day, you’ll heed death’s steady tick,

as it unfastens the buttons of your fleshy shirt

to liberate the soul from your world’s cage—

the very world by which you were beguiled.

Then you’ll be rammed into a narrowed grave,

taught by the clay how you must bow,

so think not so, O Man

that marble will immortalize your name,

or the gold you hoarded will bring you grace

Far-fetched…

Neither shall you be immortalized,

nor the hubris you raised

with untruth endures.

Mustafa Abdulmalek Al-Sumaidi| Yemen

Lucid Breathing of Light by the Mexican poet Beatriz Saavedra Gastélum, reviewed by Juan Vadillo

Lucid Breath of Light

    Juan Vadillo

This book opens like a halo of light.

In a travelogue, light breathes and takes shape as it draws form.

The theme of this collection of poems is the journey of light, its memory, its becoming, its breath. In these verses, light, captured in an instant, is freed from its essence to create the shadow that—paradoxically—is also its root. Between shadow and light—as in Genesis—a single verb creates the world; hence, the book abounds in monostics, verses of a single word, where—among the multiple possibilities of reading—punctuation, what precedes it, and what follows are irrelevant; what matters is the fact that the verse stands alone, with all its connotative power. When a verse is shorter, it tells us more. This is especially evident in the monostic “deaf” of the poem “Silent Light,” which not only expresses the balance between light and silence, but also the kinship—in a Brahmanic sense—between silence and shadow. Everything arises from silence and everything returns to silence.

Between shadow and light, a single word creates the world.

These brief verses by Beatriz Saavedra tell us that a single word is more real than reality itself, because reality was born from a single word. In that very instant, light was born, the delirium of form, the evocation of contour, the imagination of color.

In this book, light appears in all its senses, in all its directions, in all its seeds, in all its voices: the light that filters into dreams, the light that expands in the air, brushing against the skin, the light that unfolds like a fan. The most lucid light in the sculpture of Apollo, but also in the hallucination of Dionysus.

Intoxicating light that blurs the contours in an Impressionist painting, light that draws the contours in a Renaissance portrait. Light of delirium and reason. Light as a metaphor for days and nights, light as a metaphor that reconnects the world as it scatters it. Light that erases itself, that escapes from itself in order to be light.

The book contains 18 poems, each one (except for three of them, “Fugitive Gravity of the Instant,” “Immense Form of Light,” and “Natural Impulse”) includes its respective sections numbered with Arabic numerals. We are struck by the ample spacing between both the lines and the stanzas. In general, the stanzas are very brief, like brushstrokes of light. In most of the eighteen poems, light is the protagonist, appearing in its various facets of synesthesia and kinesthesia, as well as in its mythical and evocative possibilities.

In the poem “Lucid Nakedness,” the wound of light unfolds, converging with lyricism. The formula is: light, beauty, pain for beauty, lament, song, voice with a crack, strumming, light of delirium, all immersed in silence.

In this poem, light is a simile that builds bridges between objects; it is a metaphor that creates identity between the most dissimilar beings, connecting all forms, so that we feel that we are all touched by a single light, that we are all wounded by touching each other, even though we are distantly separated. “All matter of light / exposes its analogies,” read two verses by Beatriz that complement this idea.

In the poem “Invocation,” light is a question that has no answer; we think of Cernuda’s desire (“Because desire is a question whose answer no one knows”), of Ives’s symphonic work (the unanswered question).

In its mystery, light asks us what color is, what form is. The entire poem also feels like a question: why does light become another light once it touches us, while remaining constantly the same? This paradox is one of the central themes of the collection. From this paradoxical thought, many questions arise: “From what light does form hastily spring forth? / Into what cistern is your thought reintegrated?” two lines of the poem tell us. Here, the still water of the cistern bridges the mystery of light and thought. Let us recall that *Lucid Breath of Light* is the title of the collection. The light that breathes in the mystery illuminates thought, gives it vigor, but in turn, the clearer the thought becomes, the more it hides in the shadow at the bottom of the cistern.

The interplay between silence-shadow and the word light unfolds not only in this poem but also throughout the entire collection.

“An atom contains the universe,” Beatriz tells us with a cadence that reveals the infinite and eternal essence of every tiny thing that exists.

If everything contains the universe, the body also contains it; the body, wounded by light, extends beyond the word, which is also body.

In this collection of poems, paradoxical thought invites us to navigate between dream, wakefulness, and the state of semi-sleep. These three forms of experience are traversed by the translucent word, which, fleeting, finds everything only to lose everything. We lose ourselves in all its essences, on the well-trodden paths of light. Light unfolds to infinity on a horizon full of nuances; for an instant, we discover the mystery in the deepest spark of darkness. Light reaches itself when it reaches the most intimate night. It has the virtue of being all forms and none. At the same time that it divides, it also unites.

This collection of poems presents all the diversity of light and momentarily reveals its mystical qualities. Light is flesh because it is also the word that creates flesh; light is the beginning of everything because it is also its end, beginning and end in a snap, beginning and end like a lament for the expulsion from paradise; when the woman bites the fruit, the light begins to wound our skin.

These are the coordinates of a collection of poems that is infinite in each of its words, because in each syllable it evokes the universe that manifests itself in light.

The diaphanous light, the light refracted through a poetic prism, the light found in the darkest depths. Inner light, light that we imagine and that imagines us; light that illuminates an illusory world.

Lucid breath of light, a paranomasia that links the light of thought with the light of wakefulness and sleep, with the light of half-sleep and inner light, with the light of the poem.

Juan Vadillo

He was born in Mexico City in 1970. In 1995, he earned a diploma in jazz composition from Berklee College of Music in Boston. In 1996, he received a grant from the National Fund for Culture and the Arts (FONCA) to pursue postgraduate studies in contemporary improvisation at the New England Conservatory under the direction of Ran Blake. He taught guitar at the Escuela de Música Creativa in Madrid.

In 2020, Bonilla Artigas Editores and the Humanities Coordination of the National Autonomous University of Mexico (UNAM) published his book of literary criticism, *El romancero gitano, de la tradición a las vanguardias* (The Gypsy Ballads: From Tradition to the Avant-Gardes). In 2023, Bonilla Artigas Editores published his second book of poetry, *Tu cuerpo es un jardín de mil instantes* (Your Body Is a Garden of a Thousand Moments). Since January 2020, he has been a Level 1 National Researcher in the National System of Researchers. He currently teaches literature at the Faculty of Philosophy and Letters of UNAM, where he has been a professor for eight years.

Beatriz Saavedra Gastélum

A Mexican, she is a writer, academic, researcher, journalist, lecturer, and poet. She holds two master’s degrees from Spain and has been awarded four honorary doctorates. To date, she has published more than 30 books in Mexico and abroad, and her work has been translated into more than 10 languages. She is a columnist for the Diario de Madrid, Diario Siglo XXI in Spain, and the newspaper El Capitalino. Among her most recent awards are the Pavlovich Korolev Medal in Russia 2023, the Alejandra Pizarnik International Literature Prize in Spain 2024, the Il Canto di Dafne Prize in Italy 2024, the Mexico Journalism Prize in 2024 and 2025, the Anaïs Nin International Erotic Literature Prize in Spain 2025, and the “Aristotle” Essay Prize in Spain 2025. She is the Director of the Center for Women’s Studies and the International Festival “Women in Letters” at the National Academy of History. Geography UNAM and President of the Mexico chapter in the North American Academy of Modern Literature.

Future Professions: Which Fields Will Develop?

Annotation

This article analyzes professions and fields that are expected to develop in the future. In particular, it highlights the importance of information technology, artificial intelligence, medicine, ecology, and creative industries. It also discusses the skills required to succeed in the modern labor market.

Introduction

Today, technology is developing rapidly and is entering all areas of human life. This process has a significant impact on the labor market. While some professions are disappearing, new ones are emerging. Therefore, it is important for young people to understand which professions will be in demand in the future.

Main Part

1. Information Technology (IT)

The IT sector is one of the fastest-growing fields today. Programmers, web developers, mobile application developers, and cybersecurity specialists are in high demand. As digitalization continues, the need for these professions will increase even more.

2. Artificial Intelligence and Robotics

Artificial intelligence and robots are automating many tasks. In the future, they will be widely used in industry, healthcare, and services. Therefore, specialists in these fields will play an important role.

3. Medicine and Biotechnology

Due to population growth and the emergence of new diseases, the medical field remains highly important. Specialists in biotechnology, genetic engineering, and modern diagnostic methods will play a key role in the future.

4. Ecology and Green Technologies

Environmental problems are becoming more serious. As a result, professions related to environmental protection, renewable energy, and waste recycling will continue to develop.

5. Education and Creative Fields

As technology advances, human creativity and critical thinking remain essential. Teachers, psychologists, designers, and content creators will continue to be in demand because creativity cannot be fully replaced by machines.

Conclusion

In conclusion, future professions will mainly be related to technology, science, and creativity. Every individual should choose a profession based on their interests and abilities and continuously work on self-development. Only in this way can they find their place in modern society.

I am Satimboyeva Risolat Ilhomboy qizi. I was born on February 16, 2007, in the Hazorasp district of the Khorezm region. I am currently a first-year student at the Tashkent International University of Financial Management and Technologies in Tashkent.

I studied at School No. 12 in the Hazorasp district of the Khorezm region, where I actively participated in numerous academic olympiads and achieved honorable 1st and 2nd places.

I hold several international certificates in Russian and Turkish languages. I have also worked as a tutor, teaching Russian to students, and I can speak both Russian and Turkish fluently. During my school years, I actively participated in reading competitions and was repeatedly awarded certificates in the “Best Reader” and “Exemplary Student” nominations.

I also took part in intellectual competitions such as “Zakovat,” where I advanced to the regional level. My photos were displayed at school as one of the most exemplary young readers and role-model students. I am the holder of many certificates and frequently participate in literary anthologies.

In addition, many of my articles have been indexed on Google, which I consider one of my greatest achievements, as not everyone’s work is recognized and published online. My poems have also been published in Turkey, which is another important milestone in my creative journey. In my free time, I write poetry and continue to develop my creative skills. One of my books has already been published.

Reaching this level at the age of 18 has been largely possible thanks to the support of my parents and grandmother, whose encouragement has played a significant role in my achievements.