At night, you shone like stars that brightly glide,
Your love — my strength, my soul’s most precious right.
You taught me patience with each passing day,
And bore life’s burdens with unshaken grace.
Within your eyes, I found my secret place —
I’ll never forget your love’s endless ray.
When the world pressed hard upon my soul,
You opened your arms, absorbing my pain.
Though you were burning, you’d never let it show —
For me, you lived, enduring in silence again.
Oh Mother, no words could ever define,
Your love — a river that knows no end.
In my life and soul, you eternally shine,
The only true light my heart can send.
Without you, what’s left in this heart of mine?
Cold nights would burn it with silent cries.
In every storm, your prayer is enough —
Your every word, a star in my skies.
The older I grew, the more I could see:
Each breath you took was a silent sacrifice.
If now I shine like a star in the sky,
Know — my light is just your love in disguise.
Life’s trials were sharp as a sword’s cruel blade,
But you walked beside me like a gentle shade.
In heavy moments, you carried hope’s flame,
Never once saying, “Poor me,” — never in shame.
Now I stand as someone my homeland needs,
Your lessons — the foundation of my soul.
Each of my triumphs, each noble deed,
Is a gift to you, who made me whole.
You are my quiet muse in every day,
The light of truth shines deep in your gaze.
Even in dreams, may you still softly pray —
With you, life blossoms in beautiful ways.
Though fate may pave my path with stone,
The strength I bear is from your heart alone.
In my soul lives a word beyond compare —
Each work I begin starts with “Mother” there.
Turayeva Sadoqat Kahramonovna was born on March 26, 2005 in Gurlan district, Khorezm region. After graduating from school No. 23 in Gurlan district, she studied at the Academic Lyceum of Urgench State University between 2021 and 2023. Currently, she is a 2nd year student at the Faculty of Philology and Arts of Urgench State University named after Abu Rayhon Beruni.
(Young Central Asian woman in a black coat with buttons on the sleeves and a white frilly blouse, seated in a cafeteria with yellow chairs).
A NEW DAY
Dewdrops dance on leaves, in gardens nestled so deep, Softly drifting, clouds above sing lullabies in sleep. Like the scent of a tulip, sorrow lifts from the soul, While grandmas pray for peace and health, making the people whole.
Grass blades greet us warmly, heads risen in delight, Listening to the cranes returning, crying through their flight. In emerald green that charms the eyes, they reach toward the skies, Sunlight glimmers on each bud like gold in children’s eyes.
Some have lived to see these days, and some have not, it’s true, But spring still whispers words of joy that gently pass on through. From parents’ heartfelt blessings bloom joy and inner grace, And on the sky of fate we see youth’s star take its place.
With spring anew, a brand new day, forget the shadows past, Let pure intentions simmer like sumalak in the pot at last. Let kites that soar in skyward flight sweep grief from every heart, And let us share the blooms of love, together, never apart.
Welcome back, O Spring, to my land! You’ve brought such dazzling cheer, For the sixteenth time I face you, smiling with eyes so clear. How many times we’ll meet again, I do not truly know, But angels built a palace in my soul for you to glow.
Gulmira Ravshonbekova, daughter of Ruslonbek,was born on August 29, 2005, in Khiva city, Khorezm region.Currently, she is a second-year student at Urgench State University named after Abu Rayhan Beruni. She is a recipient of the “Ogahiy Scholarship” and the “Governor’s Scholarship”. Her first collection of poetry and prose, titled “Love for Enchanting Words”, has been published.She is a winner of several international, national, and regional Olympiads and competitions. Gulmira is also a member and certificate holder of the “Kyrgyz Poets and Writers Fund” of the Kyrgyz Republic. Additionally, she represents Uzbekistan in the international organization “National Human Rights and Humanitary Federation”.Her academic and literary works have been published in journals and anthologies in countries such as Germany, the USA, Turkey, Canada, India, Poland, and others.
First of all, we’re sharing the new project of young leader Muslima Olimova. The online platform Muslima Academy is a secular youth-led educational initiative empowering students with digital skills, international opportunities, and career readiness. More information here.
Disabled contributor, lyric essayist, and ALS activist Katrina Byrd suffered hurricane damage to her home and seeks support to rebuild and make ends meet while she’s getting ready to move. Whatever folks can contribute will make a real difference.
South African poet and essayist Abigail George, whom we’ve published many times, shares the fundraiser her book’s press has created for her. She’s seeking contributions for office supplies and resources to be able to serve as a speaker and advocate for others who have experienced trauma or deal with mental health issues.
Also, the Educational Bookshop in Jerusalem, a store that has the mission of peaceful dialogue and education, invites readers to donate new or gently used books (all genres) that have been meaningful to them, with a note enclosed for future readers about why the books were meaningful. (The books don’t have to be about peace or social justice or the Mideast, although they can be). Please send books here. US-based Interlink Publishing has also started a GoFundMe for the store.
Next, we have a group of young early-career UC Davis academics who hope to attend an important conference in the field of climate science, but need to privately raise cash to replace grant funds that were removed due to changing conditions in the U.S. They’ve been hosting bake sales to make up the difference.
We’re spreading the word about Claire Jones and Amaranthia Sepia and their work through Sista Creatives Rising, creating accessible virtual shows, spotlighting and giving small grants to women of color to pursue their creative dreams. They’ll host a new show this fall, tickets will be available soon, and are inviting people to donate to celebrate Juneteenth! Any donations we receive will help us support our team, speakers and tech needs such as Adobe, Xfinity Emergency Storm Wi-Fi, editing & captioning apps, accessibility support, and more!
Also, we encourage people to consider supporting the Sun Gallery, which is one of the venues hosting the Hayward (California) Lit Hop festival, co-sponsored each year by Synchronized Chaos Magazine. They’re struggling due to the loss of some important grants and facing possible closure, and we would like to give back to the places that have supported us.
Finally, we’re helping out one of the founders of the Secret Spot,a grassroots performance and visual arts collective launched by low-income artists early in their careers. The Secret Spot is temporarily taking a break while she recovers from injuries sustained in a car accident.
Now, for July’s first issue: Hold This World Loosely. These words of St. Paul from two millennia ago remind us that while there is much to embrace in the world, all is impermanent and we can only protect ourselves from suffering by holding on with a loose grasp. However, this flexibility also frees us to appreciate and create positive change.
Eva Petropoulou Lianou describes the freedom found in holding onto life with a loose hand. Yucheng Tao crafts poetry of fleeting moments, consciousness, grief, and beauty. Dustin Pickering expresses his desire to float away with his love, even down to shadows and the abyss. Jason Ryberg’s poetry evokes dreams, memory, and timelessness. Lilian Dipasupil Kunimasa writes of gales of wind and emotion and the cultural wisdom embedded in a Native American dream catcher. Graciela Noemi Villaverde writes elegantly of a summer train adventure and the need to let go of some of the past to embrace the future.
Welcoming personal and societal change and growth can be a positive thing. Qobulova Gulzoda honors the forward-thinking Jadid leaders in Uzbekistan’s heritage who promoted education, science, and literacy. Gulshoda Jorabekovna Baxtiyorova offers up patriotic praise for Uzbekistan’s current presidential administration and its efforts to promote education, science, women’s rights, and athletics. Xoliqulova Husniabonu reflects on the bravery and dedication of her nation’s historical heroes. Priyanka Neogi urges people to achieve personal greatness by working hard to develop their talents and growing in their character and respect for others.
As an example of scientific research, Davlatyorova Iqbol outlines the medical causes of and treatments for hyperglycemia. Anorov Sirojiddin outlines approaches to treating urological diseases. Turning to the arts, Federico Wardal points out two films, flautist Andrea Ceccomori’s “Anita” and Joe Mantegna’s “Kamilah the Miracle Filly,” which have crossed national borders to be featured in San Francisco, Los Angeles, and Italy.
Oyatillo Jabboraliev highlights the value of student exchange programs for helping young people learn life skills as well as cultural literacy. Mamatova Diyora explores ways to help students stay motivated to learn foreign languages they don’t frequently hear. Munisa Asimova reflects on the work of a caring teacher who helped her achieve her writing dreams, and Sobirjonova Rayhona also offers up a poetic tribute to a dedicated teacher. Rakhmonova Diyorakhon discusses the importance of experiential and participatory education for young people. Muslima Olimova announces the launch of her online startup which aims to help young people around the world learn the skills that will prepare them for work and also outlines the advantages of different backend programming languages.
Ibodullayeva Dilnura analyzes the effects of combining online and in-person education. Surayo Nosirova relates her experience with an environmental education project involving young people in solving today’s challenges. Odina Bahodirova highlights the role of environmental education in promoting future sustainability.
Rushana Raupova celebrates the wonder and joy children can bring to the world and her dedication to benefiting them with her life. Aytuvova Khurshida outlines the importance of integrating the latest psychology findings into children’s education.
Mario Loprete renders urban style into the gallery with concrete tributes to rap and culture. Sabina G’iyosiddinova builds upon and expands traditional Uzbek art styles in her abstract work.
Dr. Jernail S. Anand suggests a positive role for artificial intelligence in enhancing human life and promoting pro-social behavior. Tursunova Ismigul suggests strategies, including technology-based platforms, to improve access to healthcare in rural communities.
Speaking of traditional rural villages, Manik Chakraborty revels in gentle, sunny village life. Holding onto the world with a light touch does not mean giving up one’s love for one’s world, heritage or past. Maftuna Rustamova honors the creative legacy of Uzbek poet Zulfiya Khanim. Dilnura Khahhorova affirms the importance of celebrating the traditional culture of Uzbekistan while Bektosh Kenjayev honors the self-sacrificing military heroism of historical tribal leader Shiroq. Iskandarova Dilnoza affirms her Uzbek history and culture in poetry. Mickey Corrigan reflects on the complex and intriguing life of James Bond actor Ian Fleming. John Dorsey speaks in his poetry to American culture, memory, and reflection.
David Sapp expresses thoughtful wonderment and fascination for art and the natural world. Irma Kurti speaks to excitement, love, grief, the sky’s various moods, and summer breezes. John Thomas Allen offers a mystical ode to the esoteric arts. Alan Catlin probes the uncanny side of nature in his surreal poems. Joseph Ogbonna describes a road trip where tension among fellow travelers arose, then dissipated as everyone explored the calm and quiet Nigerian countryside. Saiprakash Kuntamukkala listens to an elegant rainfall. Mahbub Alam reflects on patience and how nature blooms on its own timescale. Christina Chin and Jerome Berglund exchange tan-renga lines about mowing the lawn, ants crawling, film noir, and many other topics.
Mary Bone remembers outdoor winter celebrations with friends and family. Brian Barbeito reflects on escaping a garish urban landscape by taking refuge by the sea. Don Bormon speaks to the vast natural renewal each year after the monsoon rains.
Sometimes remembrance is tinged with sorrow. Poet Hassane Ajbouh carries forth an ecstatic spiritual love through writing of his departed beloved. Mesfakus Salahin’s poetry evokes the pain of separation from a loved one amid the hot monsoon rains. Duane Vorhees writes figuratively, yet sensually, of romantic pairings of opposites and of people left longing or bereft after someone leaves. Greg Hill sends up images of fall, loss, and departure, contrasted with a lively preteen sleepover.
Paul Murgatroyd evokes death, decay, and the persistent memory of youth. J.J. Campbell speaks to aging, disillusionment, loneliness, frustration, and despair. Taylor Dibbert’s narrator reflects on the long shadow of his beloved dog’s memory. Leslie Lisbona mourns a friendship of many years that went awry after her friend’s move and some off-base comments. Mirta Liliana Ramirez remembers a person she lost by the sea they both loved. Stephanie Elendu’s short story presents three different characters grieving the deaths of school children in a Nigerian truck accident from three different perspectives.
Mykyta Ryzhykh speaks to love, physical passion, death, the extreme trauma of wartime, and the psychological violence of having to hide a big part of himself. Palestinian poet Ahmed Miqdad looks to death as a release from the extreme suffering he sees in Gaza and Eva Petropoulou Lianou interviews himabout his writing and his hopes for peace and human rights in the region. Abdulrasheed Yakubu Ladan also speaks to the human suffering in Gaza and the people’s determination to survive. Patricia Doyne lampoons Donald Trump and the state of American politics and the possibility of war. Noah Berlatsky grieves the loss of a loved one to social violence at the hands of laws and lawmakers who said they didn’t belong, reminding us of the human cost of policies.
Yuldasheva Oyshakhon reminds us to cherish our parents while we have them. Bill Tope remembers the unspoken rejection he felt after losing his father. Maja Milojkovic recollects the ways her deceased father made an impact on her life. Dan Flore writes of the lingering effects of divorce on now-adult children. Abigail George reflects on her loneliness and depression when her own mother forgot her birthday, and how she found comfort from looking to writers and the human experience.
Sayani Mukherjee speaks to feeling part of nature’s family, one of the plethora of creatures in a continually changing universe. Mohidil Sultanova evokes the joy, wonder, and community of a vibrant Uzbek street market, where she can feel the pulse of humanity interacting. Mahmudova Sevara uses cuisine as a lens to explore points of intersection between Uzbek and Korean culture. Bazarbaeva Inabat analyzes business connections between Thailand’s media and tourism industries.
Images c/o Mohidil Sultanova
Several students cover themes of cultural exchange within the field of linguistics. Hafizullayeva Kamolaxon outlines the influence of Turkish on the Uzbek language. Nigora Abdurazzakova explores cognitive development in children bilingual in Russian and Uzbek. Tojimurodova Latofat discusses ways to help speakers of Russian, Uzbek, and English remember words. Aliasqarova Muslima discusses attitudes towards regional and country dialects in the Uzbek language. Baxtiyorova Feruza’s essay deals with the role of common nouns and verbs in Uzbek and English speech. Berdiyorova Nargiza compares idiomatic expressions in English and Uzbek. Jo’rayeva Aziza explores multimodal teaching methodologies for Uzbek as a foreign language. Odilova Diyora looks into how translation strategies impact the interpretation of culturally specific terms in Uzbek. Sa’dullayeva Dilshoda highlights the role of language preservation in claiming and reclaiming culture and identity. Nasirova Xurshedabonu looks into ways to help students gain confidence in speaking foreign languages.
Sometimes we experience life as if it’s been mistranslated, as if we aren’t sure exactly what’s happening and what to make of our circumstances and senses. Mark Young writes of off-kilter scenes from daily life, observed from a distance. Iduoze Abdulhafiz escorts us through a holographic world of surreal prose. Yongbo Ma recollects a hazy dream about attempting to repair a muddy road, then adding to the confusion.
Christopher Bernard reflects on what it means to age when one never quite fit with one’s own generation.
Ben Nardolilli explores possibility and reality, human minds and our role in the universe, and suggests that we belong here. Wansoo Kim urges us to pull out of selfishness and despair and follow our consciences as guides. Nasir Aijaz perseveres in his life despite society’s many ills. Jasmina Ergasheva expresses resilience and hope for her future. Murodillayeva Mohinur reflects on her determination to rise towards her dreams even amidst obstacles.
Vo Thi Nhu Mai contributes a gentle, tender love story where a young man finally gets up the courage to embrace his first beloved. Isaac Aju crafts a hopeful, second-chance romance. Sushant Thapa’s piece celebrates friendship and art’s power to encourage the soul.
Peter Cherches contributes a humorous poem making a bold claim to its own existence. Svetlana Rostova highlights the power of words and ventures to rewrite her own story. We hope that this issue inspires and frees you to do the same in your own words and media.
Even if it’s just in my mind, I’ll reach my dream.
If there was a way, I would find a way,
My hope would save my heart from breaking
May the sky embrace my aching heart,
May the clouds fill my heart.
Even if it’s just in my mind, I’ll reach my dream,
Even if it’s just in my mind, I’ll embrace the sky.
There are no opportunities to make a dream come true,
There are no people who give me opportunities.
Murodillayeva Mohinur was born in 2008 in Kashkadarya region and is an 11th grade student of secondary school No. 44 of Guzar district of Kashkadarya region.
The Historical Development of Turkic Loanwords in Modern Uzbek
Hafizullayeva Kamolaxon Ismatilla qizi
Uzbekistan State World Languages University
English First Faculty
Abstract: This article explores the historical trajectory and linguistic integration of Turkic loanwords in the Modern Uzbek language, tracing their evolution from early Turkic influences to contemporary usage. The Uzbek language, with its southeastern Turkic roots, has absorbed vocabulary from Kipchak, Karluk, and Oghuz branches due to centuries of migration, political consolidation, and cultural interconnectivity in Central Asia. These loanwords, though often from genetically related languages, represent dynamic borrowings reflecting regional, functional, and social developments. Drawing upon historical texts, etymological studies, and modern Uzbek corpora, the article identifies prevalent semantic fields such as kinship, governance, warfare, and daily communication where these loanwords dominate. It also examines their phonological adaptations and morphological integration into Uzbek’s agglutinative grammar. The study highlights the cultural continuity and identity-building role of these words, showing how they persist in standard and dialectal Uzbek speech. This research contributes to broader discussions on language contact, internal borrowing, and Turkic linguistic heritage.
Keywords: Uzbek language, Turkic loanwords, historical linguistics, Central Asia, Chagatai, lexical borrowing, language evolution
The Uzbek language, a principal representative of the southeastern (Karluk) branch of the Turkic language family, demonstrates a rich amalgamation of linguistic features inherited from various periods of cultural and political transformation in Central Asia. While Modern Uzbek is often viewed through the lens of Soviet-era reforms and Persian-Arabic-Russian influences, a critical yet underexamined layer of its vocabulary consists of Turkic loanwords—lexical items borrowed or adapted from sister languages within the Turkic family. Unlike borrowings from unrelated languages, Turkic-to-Turkic lexical transfers occur within a shared typological and genetic framework, often blurring the line between inheritance and borrowing.
This paper investigates the historical development, integration, and contemporary function of Turkic loanwords in Uzbek. It provides a diachronic analysis by considering the socio-historical contexts that facilitated these borrowings, ranging from nomadic confederations to sedentary empires. Through semantic, phonological, and morphological analysis, the study aims to highlight how Turkic loanwords reflect broader historical and identity-forming processes in Uzbek linguistic culture.
The formation of the Uzbek language cannot be separated from the broader historical landscape of Central Asia—a region long inhabited and ruled by Turkic-speaking peoples. From the 6th century onward, the Turkic migrations, notably under the Göktürks, Uighurs, and later the Karluks, laid the foundation for a Turkic-speaking continuum across the steppe and settled regions. The Karluks, in particular, played a central role in establishing what would become the Chagatai literary tradition, a precursor to modern Uzbek.
During the Timurid Renaissance (14th–15th centuries), Chagatai Turkic flourished as a lingua franca and literary language, incorporating elements from both Karluk and Kipchak dialects. Later, during the Shaybanid and Ashtarkhanid periods, the influence of Kipchak Turkic grew stronger due to political realignments and migration. With the rise of national languages in the 20th century and Soviet standardization, Modern Uzbek emerged as a distinct codified language, retaining many archaic and regional Turkic words despite increased Persian, Arabic, and Russian influence.
These historical layers created a complex linguistic ecosystem in which Turkic loanwords were not just retained but actively maintained across dialects, literature, and oral traditions. Today, these words serve as linguistic fossils, offering insights into historical interactions, tribal affiliations, and the sociopolitical dynamics of Turkic-speaking societies.
Turkic loanwords in Uzbek are particularly prevalent in the following areas:
Kinship and Social Relations: Words like ota (father), aka (older brother), tog’a (maternal uncle), and jiyan (nephew/niece) are of Turkic origin. These terms are crucial in expressing familial hierarchy and social roles in Uzbek society.
Governance and Warfare: Terms such as xon (khan), askari (soldier), bek (chieftain), and urush (war) originate from early Turkic military and political systems and retain their symbolic and linguistic relevance.
Nature and Environment: Words like yulduz (star), oy (moon), qush (bird), daryo (river), and tosh (stone) exhibit semantic stability, reflecting a deep continuity with nature-based worldviews of Turkic nomadic cultures.
Everyday Vocabulary: Verbs like kelmoq (to come), yemoq (to eat), olmoq (to take), and nouns such as yo‘l (road), qul (slave), and ko‘z (eye) demonstrate the foundational role of Turkic-origin words in everyday Uzbek speech.
Turkic loanwords in Uzbek often retain recognizable Turkic phonological features, although some changes occur due to dialectal variation and standardization. Palatal consonants, vowel harmony, and consonant clusters may shift in different regions. For example, the Old Turkic küč (strength) becomes kuch in Uzbek, reflecting vowel fronting and simplification.
Morphologically, these loanwords maintain agglutinative patterns, facilitating their integration into the Uzbek grammar system. Nouns easily take case endings, possessive suffixes, and plural markers, while verbs accept tense, mood, and aspect markers. This morphological compatibility aids their seamless assimilation into both literary and colloquial Uzbek.
An analysis of literary texts, dictionaries, and contemporary spoken Uzbek reveals a strong persistence of Turkic-origin lexicon, especially in rural dialects, traditional poetry, and informal discourse. Kinship terms, for instance, are predominantly Turkic in origin and usage, and they are central to both verbal interaction and cultural customs.
In sociolinguistic surveys, speakers often associate Turkic-origin words with authenticity and cultural pride, contrasting them with Russian borrowings that may evoke a sense of modernity but alienation. For instance, in conversational Uzbek, the word urush (war) is more frequently used than the Russian-derived voyna.
Turkic loanwords also act as cultural and ideological markers. Titles like bek, xon, and bobo carry social prestige and imply ancestral lineage. The sustained use of these terms in proverbs, idioms, and ceremonies shows their embeddedness in Uzbek identity. In education, students naturally absorb these words through textbooks and oral storytelling traditions, ensuring their intergenerational transmission.
Phonological variations across dialects further reveal how Turkic loanwords adapt to local speech patterns while retaining core semantic content. For instance, in Fergana and Khorezm dialects, phonetic shifts like aka vs eke (brother) indicate regional trajectories of Turkic lexical forms.
The historical development and sustained presence of Turkic loanwords in Modern Uzbek exemplify the profound and enduring linguistic, cultural, and social ties that connect the Uzbek language to its broader Turkic heritage. Far from being obsolete or merely historical relics, these words constitute a vital and dynamic component of the modern Uzbek lexicon. They permeate everyday speech, literary expression, traditional customs, and national identity, illustrating how language serves as a repository of collective memory and cultural continuity.
The resilience of these loanwords demonstrated by their continued adaptability across various dialects, registers, and generational groups highlight their functional relevance in both formal and informal contexts. In a linguistic environment increasingly influenced by global languages, particularly Russian and English, the sustained use of Turkic-origin vocabulary reflects an implicit yet powerful cultural stance: a commitment to linguistic authenticity and heritage preservation. These words are not only linguistic units but also symbolic artifacts that reinforce a shared historical consciousness among Turkic-speaking populations.
Moreover, their semantic versatility and phonological integration into Modern Uzbek reveal a process of natural internalization, rather than superficial borrowing. As such, the prevalence of Turkic elements in contemporary Uzbek discourse underscores a broader sociolinguistic phenomenon—where language functions not only as a means of communication but also as a marker of collective identity, resilience, and historical pride.
Additionally, the retention of these words in literature, media, and oral culture suggests a linguistic conservatism that values authenticity, familiarity, and cultural coherence. In this way, Turkic loanwords are both functional linguistic tools and symbolic vessels of heritage.
By examining the semantic domains, phonological developments, and cultural connotations of Turkic-origin words in the Uzbek language, a broader narrative emerges-one that reflects linguistic continuity, cultural resilience, and the shaping of collective identity. The enduring presence and seamless integration of these lexical items into contemporary Uzbek is not merely a matter of etymological interest; it illustrates deep-rooted historical ties and reinforces the structural and cultural cohesion within the Turkic language family. These lexical continuities serve as markers of shared heritage and linguistic solidarity across Turkic-speaking communities.
To build upon this foundation, future research can adopt a multidisciplinary approach. Corpus-based lexical frequency analysis would provide empirical insight into the prevalence and distribution of Turkic-origin words across different registers and genres. Comparative phonological studies with neighboring Turkic languages such as Kazakh, Kyrgyz, or Turkmen could further reveal sound correspondences and shifts that reflect both divergence and convergence within the family. Additionally, sociolinguistic fieldwork focusing on generational attitudes, regional variation, and identity-related perceptions of Turkic vocabulary would enrich our understanding of how historical borrowings continue to influence and shape the modern Uzbek linguistic landscape.
References:
Johanson, L. (1998). The Structure of Turkic. In The Turkic Languages, ed. Lars Johanson and Éva Ágnes Csató. London: Routledge.
Eckmann, J. (1966). Chagatay Manual: Introduction, Grammar, Reader, and Vocabulary. Indiana University Press.
Räsänen, M. (1969). Versuch eines etymologischen Wörterbuchs der Turksprachen. Helsinki: Suomalais-Ugrilainen Seura.
Brown, K. D. & Ogilvie, S. (2008). Concise Encyclopedia of Languages of the World. Elsevier.
Yearning Rain You have given me the gift of the rain of separation What shall I give you in return? The bond of separation and tears! The fascination of love is playing on the cadamba’ s branches My self floats in the water of the monsoon Sometimes the seven-colored sky smiles. I pour rain on my head I am in great troubles The eyes are wet with tears, The jealousy of my body is drowned in the rain But the heart is so proud of the drought As much as I am burnt by the summer I am burnt more by the water of sadness I burn and burn and live on the burning How far are you from the fire that you kindle? The traveler searches for the sun in the rainy sky The sun finds its way Which ocean of love do you swim in? I want rain at the end of the rainy season There is nothing left to burn When the rain touches me does it touch you? I have no fear of burning in the rain.
A man is not as strong as you think. A man is not as strong-willed as you think. A man is not as rugged as you think. I would know because people had told me how stubborn and difficult Ibekwe could be, and so they are surprised that I’m able to live with him, despite having had two children with another man, despite not being a fresh leaf.
They said I must have gone somewhere and got some charms with which I held him down, na njipia. You know that sort of stories portrayed in Nollywood movies in the early 2000s, stories of wives or girlfriends holding their partners with charms collected from powerful dibias. I think we Nigerians have consumed so much of those movies that we now think that every successful marriage must be dependent on charms. They said there must be something I did, or I’m doing, that has made it possible for us to live together.
My first husband died of motor accident, God bless his soul, and it wasn’t up to a year before I met Ibekwe. What do you suppose a woman should do? Ibekwe had never married before, but according to the stories I’ve heard, he had cast off some girlfriends, and when he saw me, I was the one he chose to marry. His family were enraged when he took me to them. “Of all women to marry, Ibekwe, you chose a widow with two children. What has come over you?” they asked.
They gave me odd stares which did not really bother me. I knew too well that I wasn’t forcing myself on anybody. I was on my own when Ibekwe came asking to marry me. I had not expected to remarry too soon, but I was a woman. When I saw how genuine he was, how honest he was, how loving he was, and how sexy he was, I decided to accept his proposal. Ibekwe is the sexiest man I ever met. I don’t know if people of today actually use sexy to describe a man, but permit me to use it here, biko. I hope he wouldn’t read this, that I’m calling him sexy. That man is also a reader.
Ibekwe’s people were enraged because Ibekwe should marry a fresh leaf, ọnụ-ugu, not someone who had been used by another man. Ibekwe insisted I was the one he would marry. It was me or no other person. Ibekwe loved me. He knew I had two kids. He knew I had married before. He even knew my husband when he was alive. He heard about the news of his death in a motor accident, but Ibekwe chose to marry me, befuddling many connoisseurs of what a proper wife should be for a man who had not married before. I had mourned my dead husband for eleven months before I met Ibekwe in the new supermarket in town. I had gone to get some bread for I and my children when he walked up to me to help. He asked for my phone number and I gave it to him. He was handsome and charming. There was a soothing effect that his eyes gave.
When he called in the evening I didn’t hesitate to tell him that I was a widow with two kids. I wasn’t ready for any wahala. I wanted to have peace within myself. I wanted to be truthful so that I would be able to sleep in the nights, so that I wouldn’t be worried about covering up lies. I told him my truth, and we started dating. When I went to bed in the night I slept peacefully, knowing fully well that I wasn’t deceiving anyone. I wasn’t lying to anyone. I was surprised that he knew my dead husband. He was a bit popular in Aba, an upcoming singer who would later die in a motor accident on his way to perform in a function in Lagos. “He was the one who performed on my elder brother’s wedding ceremony some years ago. Emenike was his name,” he said.
“Yes,” I said. “Emenike was his name. Emenike Onyeudo.”
That night, after we talked, I cried for a few minutes, because we talked about Emenike in the past tense: was.
.
A man is not difficult to love and please when the man knows your spirit and soul. I’m Ibekwe’s fresh leaf. I’m the perfect ọnụ ugu for him, because we are still living together after a couple of years, because Ibekwe’s love for me is out of this world, because the connoisseurs of what a perfect marriage should entail are not truthful.
Author’s Note:
Among the Igbo people of Nigeria, a fresh leaf or ọnụ ugu is a young woman who had never been married before, and who is probably a virgin.
Isaac Dominion Aju lives in Nigeria where he works as a fashion designer. His literary works encompasses poetry, essays and fiction. He has appeared in Poetry X Hunger, Kalahari Review, Flapper Press, Steel Jackdaw magazine, and Synchronized Chaos Magazine.
