First, some announcements. Tao Yucheng invites the winners of the poetry contest he hosted earlier this year to contact him at taoyucheng921129@proton.me. He’ll send out the prize money this month. He also announces that no one person won the Honorable Mention (there was a tie among multiple pieces) so he will automatically enter those pieces in the next competition, which will be at a yet-to-be-determined date this summer.

Also, contributor Mykyta Ryzhykh has a new book out, Tombboy, from Lost Telegram Press.

“In his book, as in books of poems written in poetic forms and free verse, language moves through a pattern, and the basic organizing unit is the line. In tombboy, the line may be a syllable, a sign, an image, or even a dot… Readers may rightfully assume that many, even all the poems in tombboy are anti-war poems… yet it would be inaccurate to infer these concrete poems are doctrinaire, or purely political. Nor are they autobiographical. But they are personal, intuitive, original, and memorable, each with something to show…”
– Peter Mladinic, author of House Sitting, Knives on the Table and many other books

“tombboy is filled with an experimental spirit, combining fearless phrasing with satirical madness. The result is a fascinating examination of the human condition… it seems there are no limits to his masterful creativity. Each page of this book will grab your attention. tombboy deserves a prominent spot on your bookshelf.”
– Roberta Beach Jacobson, editor of Five Fleas Itchy Poetry and smols poetry journal

Tombboy is available here.

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Welcome to Synchronized Chaos’ mid-April issue: A Chorus at the Threshold. This issue presents a chorus of voices singing, speaking, sometimes whispering, at different types of thresholds. People of different ages and backgrounds come together in this issue, each sharing thoughts, observations, and feelings at points of shifting and transformation.

Some of these thresholds are deeply interior. Adalat Gafarov Izzet oglu’s poetry is contemplative and reverent, with a focus on spirituality and the search for meaning. John Edward Culp speaks to self-discovery, love, and finding one’s own rhythm in life. Duane Vorhees’ poetry forms a cohesive meditation on struggle, distance, and the human effort to bridge impossible gaps—whether spiritual, emotional, or existential. Mesfakus Salahin’s piece highlights self-exploration in times of solitude, as Maja Milojkovic laments the increasing unwanted loneliness caused by the setup of much of modern life. Mahbub Alam probes the highs and lows and capacities of human nature, highlighting the need for empathy and compassion. Prasanna Kumar Dalai’s poetry is romantic and melancholic, expressing deep emotions and longing. Poet and physician Anwer Ghani suggests that despite our attempts to conceal our emotions, they can still be sensed and felt.

J.J. Campbell’s writing touches on his inner shadows: feelings of isolation, the desire for a simple, authentic life, and the pain of his loneliness and inner demons. Ana May likewise writes from the doorway between suffering and transformation, insisting that pain must be faced if it is ever to yield meaning. Fhen M.’s eerie poem recollects the legend of G. Bragolin’s Crying Boy painting surviving house fires, meditating on trauma and memory. Thi Lan Anh Tran depicts the complex, multilayered social and psychological effects of both romantic love and war. Amina Kasim Muhammad’s poem illuminates how people rebuild after the loss of a loved one, growing around rather than overcoming grief. In David Sapp’s vignettes and Eva Lianou Petropoulou’s scenes of personal and public tragedy, ordinary life itself becomes a threshold where loss is transfigured through memory and grief into reverence.

Other voices gather at the threshold between childhood and adulthood. Yeon Myeong-ji and Hamdamova Dilzodaxon Halimjon qizi craft scenes of family love, care, and loss. Their work, and Jacques Fleury’s return to his father and their childhood treehouse, all stand in that tender doorway between then and now. Sarvinoz Bakhtiyorova depicts the impact of remembering one’s past and how that can shape one’s identity. Here, affection survives distance and the past remains startlingly alive.

Nature, too, shifts throughout this issue, with pieces about seasons and the liminal spaces between dreams and reality. In Stephen Jarrell Williams’s idyllic vision, the act of learning to fly becomes an awakening into another mode of being. Elaine Murray’s visionary reflections on natural landscapes, Charos Ismoilova’s gratitude for the sunrise, Ananya Guha’s pensive thoughts on seasonal time, Graciela Noemi Villaverde’s vision of a world where humans protect and care for the natural world, Joseph Ogbonna’s song to a nightingale, and Brian Barbeito’s dream journey scenes of birds, constellations, and moonlight all invite us to the threshold between the visible and the unseen. Sayani Mukherjee’s luminous piece on the sacred mystery of existence completes this movement, reminding us that existence itself is a continual process of change.

History and heritage form another vital threshold in these pages—the place where inheritance meets the present moment. Dr. Jihane El Feghali’s tribute to Lebanon, radiant with resilience and memory, stands beside Ilya Ganpantsura’s portrait of Pushkin, writing in a nation poised between autocracy and intellectual freedom. Abdulaxilova Sevara’s meditation on Yusuf and Zulayha reveals divine and human love, earthly devotion blended with spiritual transcendence. Eva Lianou Petropoulou shares the tale of miraculous holy fire burning the day before Easter in Jerusalem’s Church of the Holy Sepulchre. Lan Xin acknowledges the shared humanity and commonalities within the heritage of the world’s people, finding harmony within global religious teachings, and Bhagirath Chowdhary echoes that sentiment in his poem. Mohizoda Xurshiq qizi Roziqova discusses Uzbekistan’s legacy of teacher-apprentice training in the trades as Shokhida Nazirova highlights the Uzbek government’s investment in youth education, athletics, and personal development. The works rooted in Uzbek heritage further remind us that culture survives through crossings: hand to hand, teacher to student, voice to voice.

The chorus also rises at the threshold leading to justice.

Sim Wooki confronts racism and colonial power, while Patricia Doyne and Manik Chakraborty write from the brink where historical violence and oppression not only cast a shadow upon the present, but continues to this day. Alan Catlin and Stephen House stand at the moral threshold of witness, asking what it means to remain human before scenes of suffering, ecological damage, and collective harm. These are works that refuse the comfort of distance. They ask us not merely to observe, but to consider the ethics of paying attention.

Elsewhere, the collection turns toward personal thresholds of growth and development. Axmatova Maxliyo Ag’zam qizi discusses challenges in ESL education. Satimboyeva Risolat Ilhomboy qizi compares AI technology to the human brain as Adkham Mukhiddinov outlines how integral calculus can function in economic analysis. Khamidova Shahzoda Kholbozor qizi’s poem extols the promise of Uzbekistan’s next generation as Tursunoy Akramjon qizi Umirzaqova highlights the potential power of computer technology to improve traffic flow and safety. Ibroximova Hayitbon Mirzoxidjon qizi explores another potential role for AI in education, developing individual study plans. Yoqubova Barnoxon Baxtiyorjon qizi suggests ways to harness digital technologies in preschool education. Yunusova Robiyakhon Khayotbek qizi discusses challenges and opportunities for new technologies in the financial services sector. Charos Yusupboyeva outlines the promise of online education for remote areas. Doniyorbek G’ulomjonov and Tillayeva Muslimaxon Yashnarjon qizi examine the evolving role of technology in education, Saitkulova Fotima reflects on how living standards and education have greatly improved over the years in Uzbekistan, Axmatova Maxliyo Ag’zam qizi suggests ways to improve language students’ writing competence, O’rinova Diyora outlines methods for improving language learners’ speech, Kurbanova Mohinur Abdumuxtor qizi discusses challenges in translating idioms between English and Uzbek, while Rakhmonova Gulzoda Sodiq qizi stands at the threshold of a career in medicine, drawn forward by compassion, intellect, and personal resolve.

Jernail S. Anand looks at compassion, care and the consequences of individual actions. Mykyta Ryzhykh highlights the dissonance between our ideals of gentleness and innocence and abusive human behavior that falls short of these ideals. Asalbonu Otamurodova’s reflections on boundaries offer another kind of threshold: the necessary line where care for others must meet care for the self.

Art itself becomes another form of threshold, creating space for various ideas and sensibilities to meet and overlap. Noah Berlatsky considers how even a weathered, broken artwork can convey meaning, how the breakage can become part of the work. Doug Hawley and Bill Tope’s joint short story humorously compares an ordinary couple with historically famous idealized sculptures of people, finding in favor of the average, imperfect, but real, married couple. To’lquinay Ubukulova points out creative people’s current dependence on technology of various sorts. Jerrice J. Baptiste’s poems and paintings of women highlight their individuality, strength of character, and connection to the natural world. Juraeva Aziza Rakhmatovna interviews Croatian writer and poet Ankica Anchia, illuminating her love for her nation and birthplace as creative inspiration.

Ummusalma Nasir Mukhtar celebrates the power of writers to move society forward through their creativity, as Bill Tope explores his personal literary motivations. Ri Hossain analyzes themes in his own poetry, highlighting his combination of materialism and surrealism and how he renders urban realities through free verse. Gionni Valentin’s fragmented thoughts, images, and reflections explore themes of creativity, self-discovery, and the human condition. Kandy Fontaine describes post-Beat poetics, defined by inclusivity, community, focus on embodied and lived experience with living writers, and rejection of hierarchies and trophies. Patrick Sweeney’s tiny poetic fragments touch on art, identity, nature, history, and relationships. Joshua Martin’s poems combine lexical debris, media fragments, bureaucratic residue, and historical ruin, while Mark Young’s fragmented transmissions emerge from different frequencies of reality.

What binds these many works is not sameness, but shared arrival. Each piece stands at some edge—of understanding, of memory, of identity, of survival—and from that edge it calls out. The result is a true chorus: not a single melody, but many voices meeting in resonance.

Chorus at the Threshold sums up this collection because every page invites crossing. Between sorrow and wonder. Between history and dream. Between the self we have been and the self we are still becoming. Yet, many of these doors remain open, so that the thoughts and impressions in one “room” carry forward along one’s journey or can be remembered.

May you enter these pages with openness, attentiveness, and the quiet recognition that something in you may emerge changed.

G. Bragolin’s The Crying Boy

His hair was tousled dark brown,

his lips downturned.

All houses burned to the ground,

these mass-produced prints of a painting remained.

He was weeping as he ran from his home;

his papa was on fire holding a weapon.

The heated argument sparked when she 

told him to take the exam for the nth time;

he said he was a loggerhead.

Diablo or DJ is the crying boy,

a tear streaming down his orange cheek.

NOTE

On September 5, 1985, The Sun reported an Essex firefighter claiming that copies of The Crying Boy survived house fires unscathed. By November’s end, the paper’s readers were burning the prints en masse fueled by the painting’s growing curse reputation. David Clarke, a journalist, says the claim that the boy was Diablo didn’t emerge until 2000 in Tom Slemen’s book.

SHORT BIOGRAPHY
Fhen M. studied Writing in the Discipline, The Literature of the Philippines, and The Literature of the World at Eastern Visayas State University. His work has been featured in various publications, including the Waray poem “Uyasan” in Pinili: 15 Years of Lamiraw, and English poems like “Lighthouse,” “Seaport,” “Barbeque Stalls along Boulevard,” and “Tetrapod” in Poetica anthology by Clarendon House. Other publications include “Outside the Block Universe” in About Time: A Coming-of-Age Poetry Anthology by Red Penguin Books, and a poem in Flora/Fauna Anthology by Open Shutter Press. He also submitted Waray verses, including “Duha nga mga pagtug-an” (“Two Confessions”), to the 5th Lamiraw Creative Writing Workshop in 2008, with notable panelists like David Genotiva, Merlie Alunan, and Victor Sugbo.

THE HAUL

The apostles

learned to equip

their gospel ship

with hooks cross-shaped

and Christ as bait.

And they employed

muscle and wit

to deploy nets

of iron strength

at untouched depths.

Mighty fishers,

they spent their catch

on wishers’ masts,

sinners’ anchors,

and sure harbors.

THELONIOUS STRAIGHT

The monk in

habit black attacked

attacked        attacked

his devil — devil grinned 

on four legs — — attacked —

blue monkish evangelist fanatic

he went afterafter his 

4legged infidel foe —

with fingers uncurled 

straight for the eyes, for their whites and 

for their blacks

until they scream in blind

NO CHASER

the unsquare monk

the monk melodious

prayed and prayed

mystic irre

ligious

prayed his round midnights with

out even a chaser of

sunny Cannonball blues

attackattacked, in bflat

solitude

YOUR GARDEN

is filled

with forget-me-nots

but I can’t

find

any rue.

HOMESICKNESS 

In my childhood

homesickness was a cheap stamp.

I was here

and Mom just over there.

When I was grown,

homesickness a boarding pass

and bride just beyond.

But then

homesickness became a tiny tomb.

I stayed outside

but Mom was deep within.

And now

Homesickness is a narrow strait.

I on one side

continents on the other.

–after Yu guangzhong

BL IN KI NG unedited by

Life starts when some man rams his Dodge

into some garage and guns the engine,

then gets lost somewhere between debacle and apocalypse.

Time unscrolls itself outside the windshield,

vibrates and alters again just beyond attention,

in constant motion from mist to liquid to real to uncongealed.

 Not every stage equates to hajj,

but no ride’s just road nor map nor engine

nor even mere pathway among all the altars and the crypts.

If life’s the shimmer between death and sex,

the interplay’s the thing! The strength is in the tension.

In our yinyang universe, concave shapes itself toward convex.

…

In the New Uzbekistan, the Voice of a New Generation

Why should I not praise you before the wide world, calling you “my Uzbek,” When my era has granted me the chance to know my true self, my Uzbek.

— E. Vohidov

As I write these lines, two drops of pearl-like tears roll down beneath my glasses. Recently, I traveled to the Tian Shan mountains. Those three days felt like three years. On my way back, the very moment I set foot on my beloved Homeland, my chest filled with the scent of serenity. I felt the taste of peace and happiness. As I got into the car, these lines echoed in my heart:

My Homeland, you are my pride,

The soil where traces of my childhood remain.

You see me off when I leave and wait until I return,

I feel your love like a mother’s embrace.

I have seen many lands, I have seen the Tian Shan,

Yet I understood your true worth even more, my dear motherland.

I do not need Paris and its Eiffel Tower,

A handful of your soil is honor and glory for me!

With these thoughts, I continued my journey. At one moment, I noticed a girl sitting nearby, quietly reading a book. 
Again, I sank into reflection:

In which country does a president give a car simply because someone reads a book?

In which country does the state reward you by funding six months of education if you learn a foreign language for just two months?

In which country is an entire Olympic town built freely, solely for young people?

The answer to all of these questions is one: Uzbekistan.

Indeed, today Uzbekistan is a country of youth. For the first time in history, practical solutions are being implemented to support the dreams and initiatives of the younger generation — solutions that nurture their pursuit of knowledge, creativity, sports, and a rightful place on the international stage. As a result, every young person today has the opportunity to make their voice heard, to present their ideas, national values, and identity to the world.

Yes, today’s generation is educated, healthy, and confidently proving itself on the global stage. Young Uzbeks are studying at the world’s most prestigious universities — Harvard, Oxford, Cambridge, Stanford, and many others. And if we speak of sports, you have surely seen our flag proudly waving atop the world’s greatest arenas at least once. Our young innovators, meanwhile, present their inventions at renowned platforms such as the International Innovation Expo and UN & UNESCO Youth Forums, consistently being in the spotlight of international investors.

Let us speak through simple facts from 2024–2025:

For the first time in history, UNESCO’s General Conference was held outside Paris — and that city was Samarkand. Uzbekistan became the first country to make this happen. Moreover, Uzbekistan became a member of the UN Human Rights Council.

International education standards were introduced. Transparency and openness were promoted in politics. For the first time in history, our female karate and judo athletes stood atop the podiums, bringing chains of medals back to the Homeland. For ten consecutive years, our boxers have once again proven that they are among the world’s strongest. In 2025, our footballers carried the Uzbek nation onto the FIFA stage. At just 20 years old, Sindarov once again proved to the world in 2025 that he is the “King of Chess.”

When we analyze these developments, it becomes clear that in recent years Uzbekistan has secured a strong position internationally as an open, reform-oriented country that ties its future to its youth. Remarkable victories in sports, achievements in science and innovation, young men and women studying at leading global universities, and active participation on international platforms are tangible results of this transformation. State-led youth policy, investments in education and sports, and cooperation with influential international organizations such as the UN and UNESCO have elevated Uzbekistan’s global standing.

Particularly, initiatives that bring youth rights and opportunities to the international level clearly demonstrate the country’s strategic vision.

Shokhida Nazirova was born on March 22, 2004, in Andijan. 

She serves as a representative of Uzbekistan for nearly ten international organizations. She is fluent in German, Russian, Turkish, Italian and Kyrgyz. She is a young leader who has made nearly ten social projects in the region.

Chronicle of a Rescued World 

The planet’s lungs, once torn, 

now breathe with the rhythm of an ancient oak, 

its branches, veins laden with new sap, 

reaching toward a sky that has forgotten the toxic haze. 

We were blind sculptors, 

carving cracks in the earth’s skin, 

extracting gold from its bones, 

without hearing the lament that rose from the roots. 

The ocean, a shattered mirror of plastic, 

reflected our indifference, 

its creatures, stars drowned in the abyss. 

But one day, 

the echo of a dying hummingbird 

pierced the glass of our deafness. 

We saw the moss wither on the edge of the stones, 

the sun, a pale coin amidst the smoke. 

We were reborn, not from maternal wombs, 

but from urgency, from transparent guilt. 

Each tree planted, a silver thread on a damaged loom, 

each river cleaned, the pupil of an ancient god regaining its sight. 

Now, the bees, tiny goldsmiths of the air, 

dance over fields that don’t smell of chemical lament. 

The mountains, wise guardians of memory, 

rise up, green scars that tell of our redemption. 

Our hands, once weapons of felling, 

are now architects of nests, 

tilling the earth with the respect of those who sow a future. 

Conscience, a beacon lit in the fog of oblivion, 

guides our steps toward the embrace of the wild. 

This is the time of the second chance, 

where the jaguar’s roar is not a legend, 

and the whisper of the wind brings the promise of skies without ash. 

We have learned that life is not a loan, 

but a symphony we must protect, 

each note, each being, 

indispensable. 

We have been the castaways who found their shore, 

not building new ships, 

but repairing the only one we had: 

this blue, vibrant, and fragile home, that breathes with us.

GRACIELA NOEMI VILLAVERDE is a writer and poet from Concepción del Uruguay (Entre Rios) Argentina, based in Buenos Aires She graduated in letters and is the author of seven books of poetry, awarded several times worldwide. She works as the World Manager of Educational and Social Projects of the Hispanic World Union of Writers and is the UHE World Honorary President of the same institution’s Activa de la Sade, Argentine Society of Writers. She is the Commissioner of Honor in the executive cabinet in the Educational and Social Relations Division of the UNACCC South America – Argentina Chapter.

children die and we buy phones
children work in mines in africa
to mine cobalt for mobile phones.
do you have a nice mobile phone?
i do and will update it soon.
children work in mines in africa
and are forced to slave for pittance.
as a kid did you have to work in a mine?
i never had to either.
children die while mining cobalt
for nice new mobile phones:
children die and we buy phones.
Buy. Phones.
Children. Die.
(repeat).

a petrol and planet hypocrisy
fill it up again and again
places to go and roads to drive on.
full tank in and exhaust spews out
into the air it goes and blows.
and yes we go to fossil fuel rallies
for we care about our environment.
we limit plastic use and love the trees
and always recycle our rubbish.
but again and again we fill up our car
as we have all those places to go.
so is care for the planet and fill it up
a petrol and planet hypocrisy?
you tell me as i know nothing
(but i do know what i’m feeling).

Stephen House has won many awards and nominations as a poet, playwright, and actor. He’s had 20 plays produced with many published by Australian Plays Transform. He’s received several international literature residencies from The Australia Council for the Arts, and an Asialink India literature residency. He’s had two chapbooks published by ICOE Press Australia: ‘real and unreal’ poetry and ‘The Ajoona Guest House’ monologue. His next book drops soon. He performs his acclaimed monologues widely. Stephen had a play run in Spain for 4 years. 

Archaic Torso of Apollo

After Rilke

 

He has no head. He has no eyes

to pin us with his godhead. But his torso

is itself a gaze in which there grows

from inside, like a covered lamp, a fire.

 

Without that rising surge, divinity

would not ravish you, nor would a lip

trace the gentle curve of thigh and hip

to the shadowed center of fertility.

 

Without it, the stone would seem a broken thing,

chipped, cracked, dead, a stone,

and would not glisten like a wolf’s dark mane,

 

and would not from its remnants blaze and singe

you like a god. Of all its parts, there is not one

that does not see you. Your life must change.