Keeping the fires burning: 

A book review of “Letters that Breathe Fire” by Margaret Randall

by J.T. Whitehead

            When confronted with a book that is both very well done, and also very important, it’s difficult to avoid being hyperbolic. Margaret Randall’s book, “Letters that Breathe Fire,” is both of these things. It is an exceptionally well-done anthology of letters from dozens of significant and well-loved poets and writers, pulled from a near-decade of her work with Sergio Mondragon putting together the remarkable bi-lingual literary journal, El Corno Emplumado / The Plumed Horn. The letters from Issues # 1 through # 31, from January, 1962, through April, 1969, are not only wonderful reading, but they are just as significant for their cultural and historical importance. 

            I can appreciate a book of letters by any favorite author or poet; with the letter we see the writer advancing his or her or their thought without any deference to the rules that define a work of art. With pretty much all of the poets in this book, the last accusation that would stand up against them is “pretense.” But it remains the case that with letters, we see more of the person, engaging in a different form of communication that is guaranteed to be authentic. Their poetry follows every poet that ever came before them, regardless of which precedent they choose to respect. But with letters, we get to sit on the barstool next to each poet, and just converse. That by itself is one of things that makes the book such a wonderful book to read.

            I can think of three general or “big picture” reasons for why this is a book that one should buy, and read. The book is a philosophical work. The book is also a cultural artifact, or snapshot; perhaps a photo album full of snapshots would say it better. And as noted the book is just a very good book full of great writing. All three reasons should not only encourage an individual reader. If anyone reading this review has anything to do with the stock of any library, especially one connected with any campus, the book belongs on your shelves for these reasons.

            The book is of great interest to anyone interested in political philosophy. Do not misread me. I’m not saying it is a work of political philosophy. I’m saying that it is an “act” of political philosophy. The family of thought it exemplifies dates back to long before, yet represents, the “Theses on Feuerbach,” which state that the philosophers have understood the world so far, but that the point is to change it. The book is itself an endeavor in that direction.

But the tradition of thought to which this book belongs is a tradition that pre-dates the works of Marx, a fact no right winger understands. It dates back to the “Book of Acts.” This gives us some idea of how long the struggle for social justice has been happening. And along the way, some have realized that ideas can change reality, that the interaction between ideas and material reality is not a one-way, deterministic street in which material stuff determines what we think – that history is not simply following material or economic leads, but that it can be inspired by something less physical, like words. The book opens with a great quote that grasps this: Jose Pepe Mujica laments a generational error that was once believed: that social change was only a matter of changing material reality, when in fact culture occupies an immense role, and that the struggle for justice can be waged on the cultural level as well. The error he corrects began in the 1800’s with Engels. We’ve grown. Ideas matter, and can make a difference. As the German philosopher Jurgen Habermas taught, communication is a form of action. This book is a “work” of political philosophy, not in the sense that John Locke’s Treatises are such works, or Hobbes’ Leviathan. I mean: this book “does” good work, and proves Habermas’s thesis.

            Margaret Randall’s book is also the best “archive” in the history of culture and ideas that I have encountered in decades. I will admit some bias, but I think the bias is a good one. While clerking for a bookshop I reached the point at which I imagined a Venn diagram of poets, and found it to be complex, when looking to specific publishers that date from approximately the 50’s, if not sooner, until the 70’s if not later. I would check the spine for publishers and I gravitated towards works published by Ferlinghetti at City Lights, Barney Rosset at Grove, James Laughlin at New Directions, or John Martin at Black Sparrow. They overlapped when it came to the poets. What attracted me was the manner in which they blew open the entire field. Those houses gave me a chance to read Kenneth Patchen, or Allen Ginsberg. The Beats happened, and the mimeograph era was likely also in full swing, (but for that one may have to locate a hard-to-find book by Christopher Harter). In any case, born in 1965, I could only observe, as if in a documentary, what appears to have happened: 

Poetry became, suddenly, more . . . democratic. 

Margaret Randall’s excellent compilation, “Letters that Breathe Fire,” are letters from those poets to one another. It is the best sample of what was happening when poetry became more democratic. It became more democratic because of the work she and Sergio Mondragon were doing with The Plumed Horn.

The book is also wonderful as a piece of cultural history. The Horn, placed these letters from the poets and contributors on special, colored pages. This was effectively a bulletin board for writers and thinkers to communicate with the readers, and with one another. This was before Facebook, before Instagram, before blogs, before computers. This was a public forum, made possible by Randall and Mondragon. We are reminded again of Habermas’s premise that communication is a communal act. And all this predated the computer age. 

            What makes this book such a better read than letter collections by one poet is the sheer number of poets we get to hear from. I’ve read Creeley’s, or Pound’s, or Bukowski’s letters, appreciating the poet if not their politics (Pound), but not at once cover to cover, without interruption. I couldn’t. It was too much Creeley, Pound, or Bukowski. This was not so with “Letters that Breathe Fire.” This book is anything but monotonous. Diverse in voice, the book includes, by my rough count, at least 100 poets. Some poets, given the mission of the literary journal, appear as expected. Ernesto Cardenal is the most obvious example. But even the metaphysical and leaping poet Robert Bly makes an appearance. The poets are as diverse as the following partial list would indicate (in order of the table of contents): Robert Kelly; Clayton Eshleman; Jackson Mac Low; Ernesto Cardenal; Ted Enslin; Diane Wakoski; Gary Snyder; Thomas Merton; Lawrence Ferlinghetti; Tom Raworth; Charles Bukowski; Robert Bly; Denise Levertov; Cid Corman. And more.

            My limited list does not intentionally omit the Central or South Americans: I listed poets whose works I have read, and this book, “Letters that Breathe Fire,” has helped me understand my deficiency. Because of Randall’s book I now have a new list of poets to explore, all from south of the border. I chose the poets for the above list simply because of my familiarity with them, because I knew that they were could be as unlike one another as, say, T.S. Eliot is from Wanda Coleman. Listing them, I knew I was making the point about their different voices. Randall’s book is a treasure trove for any poet who wishes to be introduced to new voices, for just this reason. I’ve read Americans who live south of Texas, and more than Neruda or Borges. But now my list has grown, thanks to this book. If the above list is short it is due to a lack of exposure, on my part, and not bias.

With each new poet’s letter, I discovered a new gift, different from the previous. I’m reminded of an advent calendar or a childhood treasure hunt, in which each new opening or each new advance reveals some new treasure. This is why this collection of letters is so much more enjoyable, for poets and other readers, than any other letter collection limited to one poet. One would expect their letters to display the differences. They do. More importantly, for the reader, is reading how much they shared of their humanity. Their diversity, as poets goes, is only one reason for why they best represent humanity. But they are on humanity’s side. These poets are with us, not against us. It’s that human, that basic. 

This is an important book. It is itself an act of resistance, an act despite being “words.” It is communicative action. It captures our literary and cultural history. It is also, simply, wonderful reading, and not just for poets, and not just for philosophy students, but for all of us. The poets in this anthology wrote great poetry. Do not be surprised at how great they are at writing letters, to one another, and to us.

Letters That Breathe Fire can be ordered from NYU Press.

Thirst


A frisson while the night passes
A maw to be filled with bloated stars

The frugalness of neon haunts your suffering
The moon frightens a stranger’s trees

Am I a ghost hiding in plain sight?
Am I a night tremor where the longboats pass?

& If I tremble, it’s only for my love of gillyflowers
That sing, in the wicked breeze of my thirst

Where I am lost, like a cataloguer in a storage room
Of pent-up desires. O cool fountains, interiority—

When do I go to sleep? & In what din
Of a grinning force, how far away is night?


Sometimes it rains here, in the penitentiary of my age
& I am baffled by goslings who have no care for frivolity

Then winter really rubs off on children’s red jackets
& I muffle my knees like a mud cowhand & stutter

In the brackish, sheet metal music of days’ slow death
Shimmering under a wreath of seas

The Man in the House

In an age
when old letters bent into sharper shapes,
when hoods were traded
for flags,
he triumphed.

Chaos became custom.
Anti-rule. Anti-order.
“Burn it down,” they murmured.
“Surely he can do no worse
than the fools before him.”

“Less government,”
the crowd reasoned
as the State
moved quietly into bedrooms.

“Lower taxes.”
Yes, for those already gilded.

Then came the Plague.
“It will thin the herd,” some said.
“The frail are costly.”
As if breath were a ledger.
As if mercy were excess.

“Better health care,”
they shouted from the rafters.
Better how?
By subtraction?
By the swing of an unseen ax?
By absence dressed as reform?

“I am your greatest ally,” he boasted.
Yet histories dimmed on the walls.
Names faded from plaques.
Portraits vanished from the gallery.

“I will protect you,” he proclaimed.
And gates rose higher.
And cages appeared
where cradles had been.
And sirens shrieked through the night
of our cities.

“I have ended wars,” he declared.
Yet embers glowed
beyond the fence line.
Carnage in fits and starts.

So many trespasses.
No one looks up.
No one wants to.

“Give him a prize,” someone whispered.
For vision. For victory. For greatness.

The house still stands.
The banner still flies.

But listen closely and you will hear
the beams strain.
The foundation shifts
inch by inch.

Is this the dwelling
you meant to inherit?

www.dianneangel.com

Human Will and the Idea of Struggle for Survival in Jack London’s “Love of Life”

Abdugʻaniyeva Muhlisa Abdunabi qizi

University of Business and Science

2nd-year student, Uzbek Language and Literature

E-mail: habljohabljoh@gmail.com

Abstract

This article analyzes Jack London’s short story Love of Life, focusing on its central idea — the human struggle to survive in extremely harsh conditions and the manifestation of strong willpower. The work vividly portrays the psychological experiences of the protagonist under the cruelty of nature, hunger, cold, loneliness, and the constant threat of death. The hero’s struggle with the wolf acquires symbolic meaning, representing the confrontation between life and death. The article also examines the uniqueness of Jack London’s style, the power of his imagery, and the literary significance of the story.

Keywords: Jack London, Love of Life, struggle for survival, human will, nature and man, image of the wolf, literary analysis, psychological endurance, philosophy of life.

Literature serves as a bridge between the harsh realities of life and the deepest layers of the human spirit. Among the great works of world literature, Jack London’s short story Love of Life occupies a special place for its profound depiction of human endurance and determination. The story reflects the author’s interest in naturalism and his belief in the strength of the human spirit when confronted with extreme challenges.

The central idea of the story is the indomitable will of a person who struggles to survive despite overwhelming difficulties. The protagonist finds himself abandoned in the wild northern wilderness after being betrayed by his companion. Injured, exhausted, and starving, he must face the merciless forces of nature alone. Hunger, cold, physical pain, and loneliness test not only his body but also his spirit. However, despite the constant proximity of death, the hero refuses to give up. His instinct for survival becomes stronger than fear, weakness, or despair.

Nature in the story is portrayed as harsh and indifferent. The endless tundra, the freezing winds, and the scarcity of food create an atmosphere of hopelessness. London presents nature not as a romantic or nurturing force, but as a powerful and unforgiving environment where only the strongest survive. This depiction reflects elements of naturalism and social Darwinism, ideas often associated with Jack London’s worldview.

One of the most powerful and symbolic episodes in the story is the protagonist’s struggle with the wolf. The wolf, itself weak and starving, follows the man as both predator and rival in the fight for survival. Their confrontation becomes symbolic: it represents the eternal conflict between life and death. Both creatures are reduced to their most basic instincts, driven by the same desire — to live. When the man finally overcomes the wolf, it symbolizes not only physical victory but also the triumph of human willpower over despair and extinction.

London’s writing style is simple yet intense. He uses detailed descriptions and realistic imagery to immerse the reader in the protagonist’s suffering and determination. The narrative avoids unnecessary sentimentality, focusing instead on action and psychological tension. Through this restrained but powerful style, London effectively conveys the raw reality of survival.

In conclusion, Love of Life is a profound exploration of human resilience and the instinct to survive. The story demonstrates that even in the face of extreme adversity, a person’s will to live can overcome seemingly insurmountable obstacles. Through vivid natural imagery, psychological depth, and symbolic conflict, Jack London creates a timeless work that continues to inspire readers with its message about courage, endurance, and the value of life itself.

Most literary works speak not merely about events, but about human will, psychology, goals, and attitudes toward life. One such work is Jack London’s famous short story Love of Life. This story has found a place in the hearts of millions of readers because it portrays a human being in the most extreme condition — face to face with death — and reveals his strength, determination, and desire to live.

This article broadly analyzes the content of the story, the image of the protagonist, his strong-willed qualities, the struggle between man and nature, the philosophy of life expressed in the work, the writer’s style, and the artistic significance of the story. The article helps readers gain a deeper understanding of the text and discover its symbols and meanings.

Brief Summary of the Story

Love of Life tells the story of two gold prospectors — Bill and his companion. After searching for gold in the distant and freezing northern regions, they finally discover a large fortune. However, on their way back, they face vast wilderness, icy winds, hunger, injuries, and despair. In a moment of weakness and fear, Bill abandons his injured companion. Now left alone, without food, weak and wounded, the protagonist stands on the brink of death. Yet he does not surrender. Every step brings pain; every breath is filled with suffering. Nevertheless, he continues to struggle for survival. During this journey, he experiences the cruelty of nature, the terror of hunger, and the heavy burden of loneliness. At the same time, he realizes how precious life truly is and understands that a person’s true strength reveals itself precisely in the most difficult moments.

Human Will as the Central Idea of the Story

In this work, Jack London places the greatest emphasis on the power of will. Even when the protagonist is so exhausted that he can barely move, he refuses to stop. Inside him burns an unextinguished desire to live. His struggle becomes not only physical but also psychological. Despite weakness, fear, and despair, his instinct for survival prevails. London shows that human willpower can overcome even the harshest natural conditions. The hero’s determination demonstrates that life itself is the highest value, and the love of life becomes stronger than pain, hunger, or the threat of death. There is a desire, this desire is strong even at the level of animal instinct. But what distinguishes a person from an animal is consciousness and will.

1. The will is visible in every step of the hero. Even when he cries from severe pain, falls and faints, his arms and legs freeze and tremble from the cold, he gets up. Because he wants to live. Even his hours of struggle to catch a single fish are a vivid manifestation of willpower. 2. The greatest victory of a person is to overcome himself. The hero overcomes not nature, but his own fear, fatigue, despair and pain. This is the deepest philosophy of Jack London. Struggle with nature Nature is present as a separate image in the works of Jack London. In “Love of Life” nature is not just a background – it is a powerful, cruel, cold and life-threatening force. The hero suffers from severe cold, winds, freezing feet. At every step, nature seems to tell him, “Stop, give up!”

Hunger is a soul-crushing test. Hunger deprives a person of even thinking. The hero tries to survive by eating even worms, fish bones, and even almost nothing. This situation describes the most realistic psychological state of a person in the process of his struggle for life. The wolf is a symbolic enemy in the work. In the story, a hungry wolf follows the hero. He is also exhausted, like the hero. This wolf is a symbolic image in the work. He is the embodiment of death, and the hero is the embodiment of life. Both creatures are fighting to survive, but one must win. The image of the wolf in the work and its symbolic meaning The wolf is one of the most important elements of the story. His following the hero is like the slow approach of death. Jack London describes the wolf in relation to the hero’s mental state. The wolf is also exhausted, and the hero His attempts to resist are weak, but death is always close, always walking side by side.

The moment when the hero defeats the wolf is a symbolic victory of life over death. The difference between man and beast Jack London very subtly reveals the difference between man and beast in the work. In the face of hunger, cold and death, both suffer the same, fight the same. But the superior side of man is thought, will, spiritual endurance. The wolf is not only an animal, but also an animalistic embodiment of death. The hero defeats the wolf, proving his will to life. The artistic characteristics of the language of the work Jack London writes with very clear, vivid, strong images.

Artistic Features of the Language

In Love of Life, London employs precise, vivid, and powerful imagery. The story clearly demonstrates:

 ✔ Images of nature 

✔ Psychological images

 ✔ Dynamics of action 

✔ Struggles within the mind 

✔ Artistic power without dialogue are very clearly manifested. 

London, while depicting nature as vast, cold, and cruel, paints the inner world of man in even stronger colors. Therefore, the work shocks the reader, changes his outlook on life. The conclusion and philosophy of life given in the work The main idea of “Love of Life” is this: Life is the greatest blessing. To preserve it, a person uses both his mind, will, and courage. Although the hero looks like a defeated person, he has an unquenchable faith inside. Both when he wakes up from a coma and when he falls and gets up, he thinks about one thing: “I must live.” This idea of the work makes it close to the hearts of readers. Naturalism and Philosophical Foundations of the Work

Jack London is widely recognized as one of the prominent representatives of American naturalism. In Love of Life, the influence of naturalistic aesthetics is clearly evident. Naturalism emphasizes the dominance of environment and biological instincts over human life. In the story, the protagonist is placed in extreme natural conditions where survival depends on physical endurance and psychological resilience. However, London does not reduce the human being solely to biological existence. While the hero is driven by instinct, he is also guided by consciousness and determination. This duality reflects a philosophical tension between determinism and free will. Nature attempts to dominate the individual, yet the human spirit resists submission.

The Motif of Isolation and Existential Struggle

Another significant aspect of the story is the motif of isolation. The protagonist is physically separated from society and left alone in the wilderness. This isolation intensifies his psychological struggle. Without social support, moral encouragement, or dialogue, he must rely entirely on his inner strength. From an existential perspective, the story portrays a human being confronting the fundamental reality of existence — the inevitability of death. The wilderness becomes not merely a physical setting but a symbolic space where the individual faces the ultimate question of survival. The protagonist’s persistence affirms the value of life even in the absence of comfort, hope, or certainty.

Symbolism and Narrative Structure

The wolf episode functions as a central symbolic climax. The gradual weakening of both the man and the wolf creates a parallel structure, emphasizing their shared vulnerability. This structural symmetry enhances the dramatic tension of the narrative. Furthermore, the absence of dialogue strengthens the internal focus of the story. The narrative voice remains objective, allowing actions and physical details to convey psychological depth. The minimalistic style intensifies realism and prevents sentimental exaggeration, which is characteristic of London’s artistic method.

Literary Significance

Love of Life occupies an important place in world literature as a powerful representation of human resilience. The story reflects early twentieth-century concerns about survival,

individualism, and the relationship between humanity and nature. Through a combination of vivid imagery, psychological intensity, symbolic conflict, and philosophical depth, Jack London creates a timeless narrative that continues to resonate with readers. The work demonstrates that even when a person is stripped of social identity, material wealth, and physical strength, the fundamental desire to live remains the strongest driving force.

Introduction

Jack London’s short story Love of Life occupies a significant place in American naturalistic literature. The work explores the psychological and physical dimensions of human survival under extreme environmental conditions. The relevance of this study lies in examining how the concept of human willpower is artistically constructed through narrative technique, symbolism, and character development. The aim of this article is to analyze the representation of human resilience, the conflict between man and nature, and the philosophical implications of survival in the story. The research seeks to answer the following questions:

How is human will depicted under life-threatening conditions?

What symbolic role does nature and the wolf play in the narrative?

How does London’s stylistic approach strengthen the central idea of the work?

Methods

The study applies qualitative literary analysis based on textual interpretation. The following methods are used:

Close reading to examine narrative structure and imagery.

Comparative analysis to evaluate the parallelism between the protagonist and the wolf.

Symbolic interpretation to identify underlying philosophical meanings.

Contextual analysis to relate the story to naturalistic literary theory.

These methods allow a comprehensive understanding of the protagonist’s psychological transformation and the thematic depth of the work.

Results

The analysis reveals that the central driving force of the narrative is the protagonist’s unwavering will to survive. Despite extreme hunger, physical weakness, and emotional isolation, the hero continues to move forward. His determination gradually transforms from instinctive survival to conscious resistance against death. The wolf functions as a symbolic embodiment of death and primal instinct. The parallel decline of both the man and the animal intensifies the dramatic tension. The protagonist’s victory over the wolf represents not merely physical survival but the triumph of human consciousness and willpower. Furthermore, the absence of dialogue and the focus on internal struggle enhance the psychological realism of the story. The harsh depiction of nature emphasizes the vulnerability of human existence while simultaneously highlighting inner strength.

Discussion

The findings demonstrate that Love of Life reflects core principles of literary naturalism, particularly the influence of environment and biological struggle. However, unlike strict determinism, London suggests that human will can transcend environmental limitations. The story also presents existential undertones: survival becomes not only a biological necessity but a philosophical affirmation of life’s value. The protagonist’s repeated internal resolve the persistent thought that he must live transforms the narrative into a meditation on resilience and human dignity. Thus, the work transcends a simple survival story and becomes a profound exploration of human endurance. Through minimalistic style, symbolic structure, and psychological depth, Jack London constructs a universal message: even in the face of inevitable mortality, the love of life remains the strongest human impulse. 

Summary:

 Jack London’s story “Love of Life” is a terrible, but deeply meaningful work that reflects a person’s thirst for life, spiritual fortitude and responsibility for his own destiny. It shocks the reader not only with the plot, but also with inner experiences. The work makes a person think: What is the value of life? Where is the true strength of a person? Why does a person not give up in the most difficult moment? The answer to these questions is in every line of the work: a person is created to live, he has an inexhaustible will inside. “Love of Life” is not just a story – it is an artistic embodiment of the struggle between life and death. It encourages the reader to look at life in a different way, to understand the value of every breath. 

References: 

1. London, J. Love of Life. New York: Macmillan Publishing, 1907. 

2. London, J. Love of Life. Translated into Uzbek. Tashkent: Gafur Ghulom Publishing House of Literature and Art, various years. 

3. Qodirov, S. 20th Century American Literature. Tashkent: University Publishing House, 2019.

 4. Karimov, A. Artistic Analysis of Jack London’s Stories. “Literary Studies” Journal, No. 4, 2020. 5. Abdullayev, M. Fundamentals of Literary Theory. Tashkent: O’qituvati Publishing House, 2018. 6. Rakhimov, O. Images of Man and Nature in American Realism. Tashkent: Science, 2021.

 7. Bekmurodova, N. The Concept of a Willful Hero in World Literature. “World Literature” Journal, No. 2, 2022. 

8. Britannica Encyclopedia. Jack London –Biography & Works. 

9. Norris, C. The Call of Human Strength in Jack London’s Stories. California Literary Review, 2020.

Black birds 

black birds 

peck their tracks 

on the white snow

Out

Yes we are dirt

We are incapable of molding ourselves anew

Honestly we don’t even know who inspired us to move

Yes we are clay

We move falling and swallowing dirt and branches

Whether we are clay or dirt, no one knows and oh Lord

It seems to me that no one has ever truly molded us

Beauty hates us

And we bloom with our bellies out(side)

The eternal rain begins

We are like candles in the hands of a praying person

The broken glass of our faces

Time and death do not exist

And our dirty bird breaks out 

Of chest-cage into the clouds

Humility

1

Believe it or not

But I can disappear not without a trace but as unknown as the plague

I will swim in the bloody river of memory like Stalin

My voice will resound in all stadiums as if it were Hitler

I will explode like a star and destroy everything around

Nothing passes without a trace:

And if you think that you should start for good,

And if you already take up fighting for something:

You should know that you only multiply sorrows and discord:

Each of us is a small chest with a nuclear war inside

2

Good does not need to be fought for

My hands are overgrown with leaves

I am full of humility

Flight of Bones

The spell of the red flowers
in the nursery seeds planted
in World War Two Japan
in the afternoon shadow
of the Japanese Alps
in the personality shade
of a troubled family
a berating mother
sending the child to spy
on the playboy father
sexual obsession and fear
sitting side by side by
the smooth white river
stones, flowers speaking

of the war lingering
in the blackout factory
thinking of hanging
herself throwing herself
in front of a train
a shrink called her
a genius helped her
gain recognition
planning her escape
from self-obliteration
from endless revolving
in the infinity nets
the absoluteness
of reality
and unreality
a proliferation
of talking pumpkins
only to be reduced
to nothingness.

Yayoi Kusama grew up in a small mountain town west of Tokyo in a wealthy, high society family, owners of successful wholesale seed nurseries. As a child she had asthma and a partial hearing loss, and she suffered from hallucinations and periods of depersonalization. Her domineering mother forced her to spy on her father and his geishas, ripped up her artwork and tried to marry her off.

Infinity Nets

Out in the purple fields
of flowering spring
the blossoms sprung
tiny individual faces
opened pistil mouths
to her, to the child
the violets spoke
chasing her back
to her mother’s house
of anger, fighting
and a pencil, paper
the art supplies
her father gave
her only escape.

Her spirit floated
from her little body
wandering the border
between life and death
a thin curtain of gray
like a personal cloud
shadowing the  girl
the young woman
bent over body
drawing, sketching
painting, creating
in a wild fever
born of desperation
reproducing endlessly
on the conveyor belt
to infinity, net
cast over her
life, art
her creed.

Paintbrush in hand
imagination overdrive
obsessions crawling
mind and body
working herself
away from madness
on an endless highway
of fear and visions
fleeing hallucinations
seeking obliteration
following the flowers
following red thread
on the path
to freedom
allowing her
to live.

Yayoi’s art has been called feminist. It’s been labeled pathological art brut, or outsider art. She doesn’t think it fits any category. She mixes East with West, realism with surrealism, hallucinations with humor and pathos. Her work is eclectic and electric and eccentric. It is her own, unique. 

The Scandal Queen of Japan

“Ultimately, behind the impulse to fight is the simple fact that men have penises.”

Soft-sculpture figures
by the boatload
the couch load
the chair load
furniture obsessions
macaroni mannequins
overcoming fear
machine-made
naked polka dots
all the way
to her studio
across the street
her permanent residence
a psychiatric ward.

If it were not for art
I would have killed myself
a long time ago
before global fame
before legions of fans
her alter-ego pumpkin
black spots on a pier
of plastic and I’m here
but nothing
in Tokyo infinity
in mirrored rooms
dancing lights fly up
to the super-reality
to the unclothed universe
all together
in the altogether
the dissolution of self
via immersive obsessions
repetitions and intrusions
transporting us too
to another cosmos.

In the midst of the mid-century avant-garde art revolution, Kusama’s large scale paintings of nets and polka dots caught on. Critics called her work obsessional, austere, disturbing, and a tour de force. She expanded her work to include political theater, fashion design, and body art. Her clothes were sold in Bloomingdale’s, and she appeared on The Tonight Show. But in Japan she was a national disgrace and her family shamed.

Fire Burning in the Abyss

The Manhattan suicide addict
starving, suffering
the vertigo of nothingness
crawling into cold hands
no heat, no bed, no money
the downtown den of resistance
a shimmering veil across reality
fate like a chorus of violets
launching her like a moonshot
into the bright eye of acclaim
crowds at galleries, museums
drawn to her strange beauty
blending personal revelations
bare-faced self-promotions
branding the self as product
art as fiery weapon:
Go live your shining life.

Back home in Japan
the castle of shed tears
a studio down the street
from the stark white room
at the soft sculpt loony bin
in the moon dot aftermath
of obliteration
of eternity
the world’s
most successful
living artist
transcending
female Asian identity
art genres and cataloging
unnecessary boundaries
barriers and structures
dancing swarms of fireflies
fly up and out
of this universe
showing the route
to full happiness
to spending
everyday
every day
embracing red flowers.

Yayoi believed that Japan had ostracized her for her mental illness. But she returned there after 17 years in the U.S, famous and successful and so ill she chose to live in an open ward of a Tokyo mental hospital for her own safety. In the 2000s, she collaborated with several brands to share her style including polka dot Cokes and pumpkin-like BMW Minis. She continues to create at age 97 and traveling retrospectives of her work still draw massive crowds.

Action 

Happiness may not be what you are searching for. Perhaps your happiness is somewhere else — in another place or even in another time. A person should never fall into despair. One must always keep moving forward. This is the law of life: the higher you want to rise, the more challenges you will face. In some you will win, in others you will lose, but if you do not stop moving, one day you will certainly reach the goal you have set.

You should learn to see only the good in life. Life educates a person; it gives opportunities and offers choices, and to test you, it gives trials. The one who can properly overcome the ups and downs of life will be met with a bright future.

Juraeva Aziza Rakhmatovna was born on March 26, 2000, in Uzbekistan. She graduated from Kokand University in 2023 with a degree in Primary Education. In 2022, she was included in the almanac “100 Leading Students of Uzbekistan.” In the same year, she became a recipient of the iBook.uz scholarship. Her articles and poems have been published in Turkey and South Korea.