You are an experience that shivers away from my outstretched hands. Dances upon my fingers, teasing me, “I am something you will never have.” Pulls on my arteries telling me, “you are nothing. Nothing at all.” Bruises the walls of my mind, tormenting me with its laughter, singing, yelling, crying– I am left with my blankets in the middle of the night, looking to the figure past the glass who says nothing, nothing at all.
without Shame
In the absence of my cramping hands, I run like a deer, no worries of headlights, no Shame in my freedom. I soak up sunlight like a sponge, much more than what is necessary, no Shame in my gluttony. I let words spill out like tiny waterfalls, no Shame in my impulsivity. Whether that be good or bad is not up to me; whether Shame be good or bad is not up to me. Still, I am guilt-ridden, I can only close my eyes and think of a world without Shame.
Burn freestyling, is every where a luck thats could cull… massacres
And I know you’re not bad,a boardroom risinga dragon trafficker
They do not exist
whatever my hell has come gor Texas
ready made us notoriety, cattle sunked workers spamming it flarf
Eat from my colostomy Pin laugh
Im sleeping when im able
Putting foot there on the tabloids
Hierarchical anonymous Botched a riot canal Betty boop with baddy bloops
No bs, aye. Derriere Mondays boombap ruts we
Don wannabe yr liver, we’re
A deliquescent celluloid
failing
To connect 4 dots….
raekwon in the crash converters
Without us
Brains brands
Sipping Junkie Workers
Walls tightening, the resigned looking
Overdriven glass windows shutter
Stock island’s tomb magazine sticks and stones
sticks,’s dead ears open up dr Cox
Drop off the shadow steaks away into the karma b4
The storm drain trooper role
Er merges dirty myer braggs billies on all fuzz
u best the drum, but justice
Creaks online, marketing a
Trauma Queen
Barney humble
Why dont u come on overpaid Valerie
Solaris?
Het on, eh? Soul-less, ill jostle” and without saying good byte , get in
Accuracy
Mass appeal, or oppressive material,?
That’s the soil test
This is the car seat head rest.
Life in Misprint
Today tonite we heart The while of social relations. It’s Time Files itself away. Breakers; theyre petty, money, too Avant Garde, vacant? Fake rent i pay as a myers worker – mic drop division Moonshine as a diva of hyacinths Illuminating Hunk Sour by Rob-it Lo-fi,w/ us typecast off from the cliffite face Book: john wolffinden. Hooker, line and thinker. Bitch Coin was invented for me perso- Nally; im, like, a barf-tub, i always rude the best, but yr tangs barbiturates, rocking considerates – fitzy collapsey, the ingrate gatsby. Fossil Foolsly, amex predators, burying ground floor flat pack up grade the Refu gee, u, late coupletism, don’t have to leave in sin, or st All sign waves hit The sure Dotted “Line!”/ on / the same night, you Smashed as his Oppo-tunity Clash,, sharp the Engels brace let / B predicate Lake, unctuous lady Of Veronica Forest Thompson: string theories off, poetic: art if ice. Coveted in malt risky Business,,6,7 history’sinr Holden, mean While, curls, klatch u in the White Open, rhodes,!!! The ghost between.
Thee, Svery Path
It hade nothing to do with me, but i couldnt helpp.wondering what it would be like[ly] I thought it must be the worst thing in the worl.
The first time i saw a cadaver i were carrying ]out] that cadaver dully along in the middle of the surrounding hullabaloo [a cab over date, a cat over there, yawning like an audience] I use [scribd] the liipsticks ]missing apodtrophs is rippling,,an (ah, come in) [Friendstuff} ] (up, eye 2 stream of conscientiousness these annexed dreams delivered with anagogic awkwardness (key moshing ridge auctioned ([repetition]ooft) ghood sir) cut the plastic (cool) starfish [circu$] hortel [pillzon3™] rooms : [avoilable? Then, of course, ]: a round; the new york shky… bored as … yachts , hell [fish] skiing j[Z]ealous fingers nasty good [position lief] mo[U]rnin her(0] fashion [failire fasvism) conscious (nest) breath [less] of flesh air [raids the house oft] Sin, that electricity [stint] leaves the musk of story boss with fake eyelashes and giddy jewellery.
I [flitted] fitted the lid on my typewriter and clipped [for it is a bullet or a vehicle; a ballet] it shut.
They imported blonde angles excited about his corn[y×π] eyes trying to vet good marks. Nothing looked terrific, smug, corseted. The night felt wise and cynical [my might is tampered by this cubicle], but my bones of intuition looked silver, floored me; whiskey.
Never managed to get anything. [Get anything] I know hem all. My dream tasted wonderful. He kept waiting for dt to stay something huuman.
The drinks arrived, just like jungle grass [jingling undergarments]>>. I drrragged his e inyes burst
[Tap] –
Out laughing; i wannnabr 2 [en]famous as heil’s bails. Squeeze dusk. What bleached dance thought of [god] anything? If there’s anything i look dow upon, its a, man [heresay it aint so so],
gL ass mouth snapping, begat to think at last
Taste made me feel […so] powerful and god like a high had. No
Body paid any notice [an y? not ice]. Perfect , , green bills
Wilted away the night
[Hills]
*
[Purt]Platters of starving New York. My eye, the richest, most expensive of them. [OW L] I never felt. I made a point of eating. Reduce, welcome the prettiest wheeze. This banquet is just small. Uh Mirror dizzy forkful to your mouth (eating pennies). One bowl was an empty chair. Do something inchoate with a certain arrogance. You are original, wit, a poet; horrible, lumpy, and immaculate [concept: ions, icons] pale[stoned], sensible like caviar, confident; Sunday. Woolworths. Beauty, i dont know, went to a special school. n [Or something] Bizarre. I felt very low.
Morning couldn’t hide much longer [hours for less pay. (Day). ] i didnt. Mad was what i wanted to do. Hideous effort dragged me to class [analysis], [them] flatteRED.
I thought it was quite ingenious of me. Scared and depressed; intellectual maturity, rickety old, making blue flames and clouds of another voice [vice
It was a mosquito in the distance. I was writing, like, [the school of] resent me. I thin[Ned] Air.
Bzzz. Money trumpets lilac wise. ‘Dont let the wicked city get you.’ [wine] The thought hit with a hiss, in technicolour. A lot[tery] of very [read] trees rolling sway for miles and miles [Davis] in every [needs] directoon.
The shadow, puking the screen. ‘i feel hell.’
‘so do i; ill come back[stage???] with you.’
Excuse me excuse me excise me
The cab driver seemed to know what we were doing. I thought i would die, it was so far. The sickness glittering, it didnt seem to be summer anymore. I could feel my bones, the big white hotel.
The words bungled out thick as vomit. Cry the night. The ice went on. The door shut again. Love.
‘ll sleep now The tenderness of sand [thtough the hourglass] was empty. I had a vision. avocado pear after avocado pear…
off with ] The hole [inne] me Poison. Ha! Sue the pure ]st] Sick daisies – birthed ‘out laughing, have my soup if you want! [Every rosé has its storm.] They put 12 in the trap by mistake. L and I stuffed down so many hotdogs while we were waiting for the reign to stop]
Texas Fontanella has published widely over the years in an array of internationally recognised journals, and has participated in art exhibitions in the past, from America to Argentina to Germany and France, and of course in their home city Sydney, a city they love. They are eager to find, and figure out funding for a new art exhibition, for they’ve material enough for several. Any leads on this avenue internationally would be greatly appreciated.
INNOVATIVE APPROACHES TO TEACHING NATIVE AND FOREIGN LANGUAGES AND THE DEVELOPMENT OF INTERCULTURAL COMMUNICATION
Yusupov Otajon Ulugʻbek og‘li Mirzo Ulug’bek Branch, National University of Uzbekistan, Jizzakh, Uzbekistan Faculty of Applied Mathematics, Software Engineering Program.
Abstract. This article analyzes innovative pedagogical approaches in teaching native and foreign languages, including gamification, virtual and blended learning, flipped classroom techniques, as well as the practical aspects of developing intercultural communication competence. The effectiveness of these methods is examined through theoretical and practical perspectives.
Introduction Modern language teaching requires learners’ active participation, critical thinking, creativity, and the development of cultural competence. Traditional grammar- focused approaches are increasingly being replaced by interactive and digital technologies. Therefore, teachers are expected not only to apply modern instructional methods but also to foster intercultural communication skills among learners.
Modern Approaches to Language Teaching In contemporary language education, learner-centered instruction is prioritized. Traditional grammar-based teaching is being replaced by: Competency-based learning: learners must apply language skills in real situations. Critical thinking development: analyzing and evaluating new information. Contextual learning: using language in authentic, real-life scenarios. New technologies—mobile applications, virtual labs, and online tests—significantly increase teaching efficiency.
Communicative Methods. The Communicative Language Teaching (CLT) method emphasizes speech and communication. Advantages include: Language practice in real-life contexts; Interactive group and pair work; Natural acquisition of language through meaningful use; Role-plays, debates, and dialogues that develop communicative competence. CLT encourages learner autonomy and active participation.
CLIL Technology. Content and Language Integrated Learning (CLIL) integrates subject teaching with a foreign language . For example, history, biology, or mathematics may be taught in English. Benefits: Simultaneous acquisition of subject content and language skills; Deep understanding of academic material; Natural language learning within meaningful contexts. CLIL programs are expanding across schools in Uzbekistan.
Blended Learning and the Flipped Classroom. Blended learning combines offline and online formats. Advantages: Opportunities for independent study; Development of speaking skills through video lessons, tests, and virtual communication; Personalization of instruction based on learners’ needs. The flipped classroom model allows students to learn content at home and practice in class through problem-solving and hands-on activities.
Gamification and Interactive Platforms. Gamification makes the learning process more engaging through game-like elements . Platforms such as Duolingo, Quizlet, and Kahoot: Teach vocabulary and grammar; Provide visual progress tracking; Increase motivation through competitions and rewards.
Interactive and Psycholinguistic Methods. Interactive strategies—group projects, clusters, and role-plays—promote learner engagement. Psycholinguistic approaches emphasize memory, attention, motivation, and perception. Using short-term and long-term memory techniques enhances vocabulary retention.
Intercultural Communication Competence. Language and culture are interconnected. Developing intercultural competence includes: Understanding cultural similarities and differences; Strengthening empathy and tolerance; Overcoming stereotypes; Using language appropriately in international contexts. Virtual exchanges and cultural exchange programs deepen intercultural experience.
STEAM, PBL, and Cross-Disciplinary Integration STEAM and Project-Based Learning (PBL) promote creative and research-oriented language learning . Examples include: Real-life tasks (restaurant role-play, job interviews, forums); Multimedia and virtual project-based assignments that enhance intercultural understanding.
Teaching Language in Personal and Social Contexts. Learners’ language acquisition is influenced by personal interests, goals, and social environment Personal motivation: selecting materials aligned with learners’ needs improves efficiency. Social context: tasks simulate real roles (forums, interviews, events). Differentiated instruction: methods tailored to learners’ abilities. Teaching within a social context enhances communicative and intercultural competence.
Technology and Virtual Learning Digital technologies have become essential tools in language teaching. Virtual labs: reinforce grammar, vocabulary, and speech through interactive tasks. Online simulations: practice real-life scenarios (restaurants, hotels, workplaces). AI and chatbots: support independent learning and error correction. These approaches develop independence, creativity, and practical skills.
Conclusion
Innovative pedagogical approaches—CLT, CLIL, Blended Learning, Flipped Classroom, gamification, interactive and psycholinguistic methods, and intercultural competence—play a crucial role in teaching native and foreign languages. These methods help students: Apply language in real-life situations; Enhance intercultural and global communication skills; Strengthen critical thinking, creativity, and social competencies. Alongside this, interdisciplinary integration and project-based learning (STEAM, PBL) transform learners into independent, creative, and active participants. Modern approaches significantly improve the quality and effectiveness of language education.
References
Richards, J. & Rodgers, T. Approaches and Methods in Language Teaching. Cambridge, 2017.
Marsh, D. CLIL: Theory and Practice. Oxford, 2012.
Safarova, D. Modern Methods in Language Teaching. Tashkent, 2021.
Harmer, J. The Practice of English Language Teaching. London, 2015.
Dornyei, Z. Motivation in Language Learning. New York, 2018.
Byram, M. Teaching and Assessing Intercultural Communicative Competence. London, 2020.
Bitch, plucked the longest strands and held the roots till smoke rose
Bitch, plucked the longest strands and held the roots till smoke rose
Bitch, burned the fruit of the scalpel, acres of land encompassed in flame
Bitch, bowed before the fire and called it becoming
Bitch, said pain meant progress
Bitch, caught flame in the name of approval
Bitch, praised the fire that undid mirrors and frames
Bitch, spread the ash like makeup, smiled and saluted the heat
Bitch, juggled through the fiery circus rings and wooden splinters
Bitch, aimed and threw fiery plastics at the cool blue marine flag
Bitch, saw the glow, mistook it for freedom
Bitch, still burns like it should
Gabriel Kang is a poet whose work interrogates hunger, inheritance, and the quiet violences that shape intimacy, family, and identity. His poems often braid domestic imagery with moral tension, exploring how love can fracture into consumption, silence, and grief. Through precise lineation and restrained lyricism, his writing resists sentimentality while remaining emotionally direct. Kang’s work is informed by his background in competitive rock climbing and creative writing, disciplines that demand both control and risk. This influence appears formally in his poetry through compression, physical imagery, and an attention to pressure—what the body carries, endures, and gives way to.
His poems frequently examine the cost of survival, particularly within immigrant households, where love and necessity are often indistinguishable. He is currently a student at Ruth Asawa School of the Arts in San Francisco, where his work has been developed through workshops, public readings, and literary analysis of contemporary and canonical poets. His writing engages with themes of violence, care, appetite, and moral inheritance, often using animal and food imagery as recurring motifs to expose power dynamics within relationships.
Uzbekistan’s Quiet Transformation: How a Young Nation Is Redefining Central Asia
In a world that grows noisier by the day, not every transformation announces itself with fanfare. Some unfold quietly—steadily reshaping the cultural and political geography around them. Uzbekistan is one such story.
For many Americans, Central Asia remains a distant concept: a region glimpsed through brief headlines or geopolitical maps. Yet, at the heart of this vast land lies a young nation rewriting its identity with remarkable speed and confidence. Over the past decade, Uzbekistan has emerged from international obscurity to become one of the most dynamic reformers in its region. Once known primarily for its Silk Road past, the country is now building a narrative equally rooted in innovation, openness, and civic awakening.
More than 60% of Uzbekistan’s population is under the age of 30. This demographic reality is not just a statistic—it is a driving force. Across universities, research centers, cultural hubs, and digital platforms, young Uzbeks are redefining what it means to be a modern Central Asian citizen. Many of them are multilingual, globally connected, and ambitiously future-oriented. They launch start-ups, initiate community projects, lead volunteer movements, and participate in nationwide reforms. Their voices are increasingly heard in public policy, education, environmental protection, and cultural revival.
In a region often portrayed as traditional and conservative, Uzbekistan’s youth represent a bold new energy—one that challenges stereotypes and invites the world to reimagine Central Asia. Since 2016, the country has introduced sweeping reforms in governance, economy, education, and international openness. Visas were liberalized, markets diversified, civil society strengthened, and new digital platforms created to support transparency. These policies do more than modernize the state; they reshape the everyday lives of citizens—particularly young people.
Public activism is growing, with youth councils, debate clubs, environmental movements, and anti-corruption initiatives taking root. Programs such as the national “Honesty Map,” created to promote integrity in public services, demonstrate a new wave of civic consciousness rarely highlighted in global media. For the first time in decades, the world is watching Uzbekistan not as a relic of the Silk Road but as an emerging actor with its own vision for progress. Uzbekistan’s transformation is not limited to politics or economics—it is deeply cultural. Cities like Samarkand, Bukhara, Khiva, and Tashkent are experiencing a creative revival. Museums are being renovated, festivals expanded, and heritage sites restored with global expertise. At the same time, contemporary art, fashion, literature, and film are gaining new platforms. Young designers mix ancient patterns with modern aesthetics; filmmakers explore social themes; writers introduce Uzbek identity to wider audiences. This blend of history and innovation creates a cultural mosaic that is uniquely, unmistakably Uzbek.
For decades, global narratives about Central Asia were shaped elsewhere. But today, Uzbekistan is increasingly telling its own story—and telling it well. Its young reformers, artists, scholars, and activists are contributing to a new regional identity: one that values openness, creativity, and responsible leadership. In a century defined by chaos, uncertainty, and shifting world orders, Uzbekistan offers an alternative model of growth—slow, steady, and grounded in the power of its youth. Uzbekistan’s transformation is ,,quiet” only in the sense that it has not yet dominated international headlines.
But for those who look closely, the signals are clear: a young nation is rising, and with it, a new vision for Central Asia. As global attention increasingly shifts toward emerging regions, Uzbekistan stands ready—not just as a country with a rich past, but as a society boldly building its future.
Dildora Khojyozova, 3rd-year student of Geography at Urgench State University named after Abu Rayhon Beruni.
Tonight we stare at white floodlights and children all costumed in rainbows. There is the pop-pop-pop of a mother and clinking glassware, in rainbows.
It is not enough that they are in my thoughts and prayers, my hands are sandy And hooking into flowers. Slick with my own privilege, I repent in rainbows.
When I see their little backpacks all lined up I realize chasing spirits doesn’t bring them back. And the only colors shining: red, white, and blue, not rainbows.
There is a little red man on the white house’s shoulder and he screams and screams and screams. There are little children in schools and they scream and scream in rainbows.
There is a tin toy rattling beside a steel thing with the same small grip There is a hand reaching for both, oil slicking in rainbows.
Sometimes when I look in the mirror I worry that my brother will never come home. So yes, for me, it is political. How can we speak in rainbows
With loaded AK-47s? And the scenes that flash across my TV Where no-one seems surprised at all by those police lights casting rainbows
And there is a crowd packed tightly like kindling on this summer street Their faces tilted upward for anything that flares like rainbows
And there is the slow fall of spent fireworks, Their glow brushing the pavement until i feel myself again, only smaller and in rainbows.
And these bursts fall across the country, flashing in their own strange order And I sit with it, reckoning in rainbows.
, ounce against the ROAD documents, jessie In a kinder surprisingly Broadway number of jams moving que los por dis easel shorts out phallocentric logics induction into the ooo portry Hillsong of fame game over: winter wS combing my hence night this smoothie on the trap house, um, im mix Blonde take careerists out the picturesque: the wealth of imaginations with fidelity only to the high, high road that we tremble, a high, high route that i crack Erica wide open. My machine gun kills fascists.. Night after night of these triffids
, i could be one of yr kids. 