It starts from Astana… Our country is free and free, A beauty beyond description. Water, gas, and electricity, A truly priceless wealth! Saving and preserving them, Starts from childhood. Our love for everyone, Starts from Astana. We learned to preserve our wealth, From our grandfathers. We learned freedom and purity, From our grandmothers. We are the future of the country, We will justify your trust. For a happy future, We will preserve our wealth!

Farzona Hoshimova Fergana region Margilan city 8th grade student of the Erkin Vohidov creative school

Shahrisabz davlat pedagogika instituti oʻzbek tili va adabiyoti yoʻnalishi 2-kurs 2-24-guruh talabasi

Xudoyberdiyeva Jasmina Bozorboy qizi                                                    “Linguistic Changes in Contemporary Uzbek Language on Social Media”

Abstract: This article is devoted to studying the linguistic changes of the modern Uzbek language in social networks. The study analyzes slang, abbreviations, code-switching, and new lexical units commonly used in youth speech. It also examines how social networks enrich the language and affect communicative processes. The results of the study may be useful for linguistics and youth culture research.

Keywords: social networks, modern Uzbek language, slang, code-switching, lexical changes.

Introduction

In recent years, social media has become an integral part of human communication. Platforms such as Instagram, Telegram, TikTok and others serve not only as tools for interaction but also play a significant role in the development and transformation of language. Among young people in particular, various linguistic processes—such as the emergence of new lexical units, abbreviations, slang, and code-switching—have become widespread in everyday speech. These processes also influence the normative standards of the language, contributing to its enrichment and renewal through new expressions and constructions.

Studying linguistic changes occurring on social media is an important issue for linguistics, as it helps identify the developmental tendencies of the contemporary Uzbek language. The main aim of this research is to analyze linguistic changes observed in the speech of young people and to determine their causes and social context. At the same time, the article highlights the features of new words, slang, abbreviations, and code-switching emerging on social media and demonstrates the communicative and cultural aspects of language change.

Main Part

The speech of modern youth exhibits distinctive linguistic features. Among these, slang and neologisms come first. For example, expressions such as “vibe,” “flex qilish,” or “let’s just chill” are widely used in everyday communication. These expressions not only simplify communication but also serve as tools for group identity and conveying emotional tone. Abbreviations are also common in youth speech. English-origin abbreviations such as “brb” (be right back) or “lol” (laughing out loud), as well as Uzbek abbreviations like “xsh” (short for xayr), help speed up communication and enrich interactive discourse. In addition, emojis and other visual symbols are frequently used to enrich speech, convey emotional states, and add expressiveness to communication.

These examples show that linguistic changes in youth speech manifest in various ways. First, lexical changes—new words, jargon, and expressions borrowed from global culture—contribute to the enrichment of the lexicon. Second, grammatical adaptations occur when English or Russian words are integrated into Uzbek sentence structures. Third, communicative functions—such as conveying emotions, establishing group identity, or creating humorous and dramatic effects—make communication more expressive.

The analysis indicates that youth speech on social media undergoes several linguistic transformations. Phonetically, pronunciation becomes simplified and shortened. Lexically, new words and jargon appear frequently, some of which blend with English or Russian elements. Grammatically, mixed sentences and code-switching are widespread, serving to enrich the language and facilitate communication.

Furthermore, the social significance of language change is considerable. Youth language plays an important role in forming group identity, connecting with global culture, and creating a unique communication style. However, such changes may also negatively affect language norms, as abbreviations and slang often remain incomprehensible in formal contexts. Therefore, observing and analyzing these processes is essential for linguistics.

Conclusion

Social media is accelerating linguistic change in the speech of young people. Slang, abbreviations, code-switching, and new lexical units contribute to the enrichment of contemporary Uzbek. At the same time, these processes raise issues related to maintaining normative language standards and harmonizing new expressions with traditional forms. Future research should focus on integrating slang and new words into formal texts, preserving linguistic norms while aligning them with youth speech, and developing linguistic corpora to monitor ongoing language changes on social media.

References

1. Akhmedov, O. Development Tendencies of the Modern Uzbek Language. Tashkent: Fan, 2020.2. Karimov, S. Language and Communication: Linguistic Analysis of Social Media. Tashkent, 2021.3. Rahimova, N. “Slang and Code-Switching in Youth Speech.” Journal of Linguistics, 2019.4. Nabiev, D. Modern Uzbek Language and Social Media. Tashkent: Ilm-Fan, 2022.5. Crystal, D. Language and the Internet. Cambridge: Cambridge University Press, 2006.Student of the Uzbek Language and Literature Program, Faculty of Philology, Shahrisabz State Pedagogical Institute Khudoyberdiyeva Jasmina, daughter of Bozorboy

City of Stooped Shoulders

The masked, thuggish man grabbed

for the 30-something woman. Her

nine-year-old squealed with fright as

her bag was ripped from her hands

and her sandwich and apple tumbled

from the torn sack and landed with a

splat on the pavement.

The man, oblivious to the little girl,

wrestled the 120-lb. woman to the

sidewalk and bound her wrists with

a plastic tie. When she struggled,

he placed his knee on her neck and

applied his weight. She grew still.

He snarled into his radio and seconds

later, a second man appeared on

scene and similarly bound the now

screaming child. “Say good-bye to

your mamacita,” the first thug

told the little girl, and grinned

wolfishly.

“She’ll be on a bus to Gary, Indiana,

if she’s lucky.” He turned to the girl.

“An’ we got a nice cage waitin’ for

you” Turning back to the woman he

said importantly, “We work for the

government, you little puta.”

“I am not a prostituta,” she

protested. “Then you’d better

learn, and quick,” he retorted.

‘I don’t even know who you are,”

said the woman breathlessly.

“We’re ICE,” he boasted. “U.S.

tax dollars at work.”

The role and perspective of the native language in the era of globalization

Andijan State Pedagogical Institute 

Ózbek language and direction of literature 

Stage 1 student 

Orifjonova Nozima 

Azizbek qizi

azizbekgylomov9@gmail.com

Annotation:

This article analyzes the impact of the globalization process on the native language, its place and position in society. The article reflects on how the prestige and importance of national languages are changing as a result of the prevalence of foreign languages. Also, in the current period, issues of preservation, development of the native language and increased attention to it will be covered. During the study, the role and perspective of the native language in maintaining national identity in the context of globalization is analyzed on a scientific basis.

Keywords:

Globalization, the influence of foreign languages, attention to the native language, the national language, prestige, its place in society, the position of the native language.

Annotation

This article analyzes the impact of globalization on the mother tongue, its role, and its status in society. It discusses how the widespread use of foreign languages has influenced the prestige and importance of national languages. The article also highlights the current effects to preserve and develop the native language and to strengthen attention to it. The study scientifically tests the role and prospects of the mother tongue in maintaining national identity in the context of globalization.

Keywords: Globalization, influence of foreign languages, attention to the native language, national language, prestige, role in society, status of the mother tongue.

Annotation:

This article analyzes the impact of the globalization process on the native language, its place and position in society. The article reflects on how the prestige and importance of national languages are changing as a result of the prevalence of foreign languages. Also, in the current period, issues of preservation, development of the native language and increased attention to it will be covered. During the study, the role and perspective of the native language in maintaining national identity in the context of globalization is analyzed on a scientific basis.

Keywords:

Globalization, the influence of foreign languages, attention to the native language, the national language, prestige, its place in society, the position of the native language.

Introduction

In today’s era of globalization, cultural, economic and scientific ties between the peoples of the world are gaining momentum. This process naturally also enhances the effect between languages. The wide penetration of foreign languages makes the issue of the position of our native language relevant, as well as a positive impact on the thinking, speech and worldview of the younger generation. The globalization process is one of the most important stages of human development 

He will strengthen social , economic, political integration of the entire Uzbek people, as well as the whole world

Transforming it into an information and communication space this process will certainly have a direct impact on the language system as well

Because language is not only a means of communication , a social phenomenon that preserves the cultural memory of its historical experience. The mother tongue – the foundation of the nation is a means of National thinking and self-realization . It is considered the most important factor that conveys social values , cultural heritage from generation to generation . 

As a weapon of communication , perception and thinking , language also characterizes how we see the world, the past reflects the connection between today and the future

The role of the native language in society is also directly related to its position in the fields of Science, Education, Literature and art.

The Uzbek language is enriched today through a system of scientific and technical terms, modern lexical units and translation work. Thanks to this, the Uzbek language is becoming not only a national means of communication, but also a means of scientific research, creativity and creative thinking, since the Internet has greatly influenced the globalization of the language. Through online platforms, people can connect with individuals from different cultures and languages, which leads to language harmonization and the development of hybrid forms.

The language of ingiliz in particular becomes a global lingua franca, influenced by different languages and dialects of the world

In the Republic of Uzbekistan, the status of the native language – Uzbek as the state language is enshrined in the Constitution of the country and the law “on the state language”. This situation provides a legal framework for the widespread use of the Uzbek language not only in the field of administrative management, but also in the fields of Education, Culture, Science, Media and international relations. Today, within the framework of the language policy, a number of programs are implemented to develop the Uzbek language, increase its prestige and promote it internationally. Hence, the role of the native language in society is an expression of the attitude of the people towards themselves, their own history and culture. Attention to language is attention to the nation, and appreciation of language is a pledge of national independence and spiritual elevation.

According to scientists, it turns out that in order for the language to survive, at least one million people need to speak it. However, such languages make up only 250 in the world. Uzbek is among these 250 languages. Currently, the number of Uzbek speakers is approaching 50 million people globally.

Parents have a great social responsibility in shaping the attitude of young people towards their native language. Each parent has a good education for their children, learning the language and making it 

should feel responsible for ensuring proper use. Currently, there are several problems in the field of language education. These include problems such as forgetting the native language, mixing native dialects or other languages, and narrowing of vocabulary

Language is the being of our nation, the sun of our hearts. Language is a social phenomenon that invigorates literature, increases the spiritual wealth of a nation. Both nationality and Literature Live if the language lives. The languages of the world are divided into several language families, depending on their origin, lexical and grammatical closeness. Earth

In the conditions of Uzbekistan, this issue is raised to the level of Public Policy, large-scale reforms are being carried out on the preservation and development of the language.

Conclusion:

In conclusion, at a time when the competition between languages is growing in the era of globalization, ensuring the role and perspective of the native language remains an urgent task . Although the prevalence of foreign languages in today’s era of globalization is a natural process, this situation should not be a reason for the decline in the prestige of national languages. On the contrary, taking them to a new level creates the opportunity to harmonize with modern technologies.

The role of language in maintaining the identity of each people in the context of globalization is incomparable.

Nowadays, Uzbek is recognized not only within the country, but also in the international arena, which shows its rich possibilities and charm.

Hence, the perspective of the native language is manifested in the affection, faith and practical activity of each citizen towards it. Language duck-means to duck the nation. While every young person deeply feels the beauty of his language, the rich vocabulary and cherishes it, the Uzbek language remains a symbol of national pride and unity not only today, but also in the lives of future generations.

Literature used : 

1. Obidova Sarvinoz – “the influence of globalization on language and cultural identity.” Impact of Globalization on Language and Cultural Identity ” (2023): PROSPECT and MAIN TRENDS in MODERN SCIENCE

2.Kurbanova Zubayda Alimova – “preservation of national language and literature in the age of globalization” (2025): pedagogues INTERNATIONAL RESEARCH JOURNAL | pedagogues / PED / VOLUME-83 / ISSUE-1

3.Orazbaev satellite ” the importance of the role of the native language in the era of globalization “

4.Shukurova Elinura – “the role and importance of Global language” (2023) Electronic Journal and internet portal “foreign languages in Uzbekistan”

5.Ja’far Kholmominov – “National factor in the process of globalization “” Hurriyat ” 

6.Kun.uz ” survive the Global recession

ALISHER NAVOIY NOMIDAGI TOSHKENT DAVLAT O’ZBEK TILI VA ADABIYOTI UNIVERSITETINING ONA TILI VA ADABIYOT FAKULTETIO’ZBEK TILI VA ADABIYOT YO’NALISHI 13-GURUH TALABASIRAHMONQULOVA GULSEVAR SAMID QIZI

Father-Son Relationship in the “Alpomish” Epic 

Abstract  This article analyzes the father-son relationship in the “Alpomish” epic, a unique example of Uzbek folk oral creativity. It demonstrates that the relationships between Alpomish and his son Yadgar in the epic’s plot express family loyalty, heroic heritage, and generational continuity. The article illuminates the ideological-artistic features of the epic, its plot motifs, and differences in various variants based on the research of literary scholars such as Hamid Olimjon, V.M. Zhirmunsky, Hodi Zarif, Bahodir Sarimsoqov, and To‘ra Mirzayev.

The father-son relationship is linked to ancient folklore roots, comparative analysis with world epics, and national values, emphasizing the epic’s significance in folk education.   Keywords. “Alpomish” epic, father-son relationship, family ties, heroic epic, generational continuity, Uzbek folk oral creativity, folklore studies, Hamid Olimjon, V.M. Zhirmunsky, Hodi Zarif, Bahodir Sarimsoqov, To‘ra Mirzayev, plot motifs, national values, variant comparisons.  

The “Alpomish” epic, one of the largest and most perfect examples of Uzbek folk oral creativity, not only expresses the spirit of heroism and patriotism but also deeply depicts family relationships, particularly the father-son bond. In the epic’s plot, themes such as family, intergenerational connections, loyalty, and protection occupy a central place. These relationships reflect the nation’s national customs, moral standards, and way of life, as the epic has been passed down orally from generation to generation over centuries, shaped by historical conditions.

In this article, we analyze this theme based on the research of literary scholars, particularly drawing from the opinions of experts such as Hamid Olimjon, V.M. Zhirmunsky, Hodi Zarif, Bahodir Sarimsoqov, and To‘ra Mirzayev, to broadly illuminate the father-son relationships in various variants of the epic. The studies of these scholars have made significant contributions to exploring the ideological-artistic features of the epic, its plot structure, and system of characters.  

Literary scholars have studied the father-son relationship in the “Alpomish” epic within the framework of the epic’s overall ideological-artistic structure. Their opinions help illuminate the ancient roots of the epic, its plot motifs, and national characteristics.  Hamid Olimjon, in the foreword he wrote for the 1939 edition of the epic, evaluates “Alpomish” not only as a favorite work of the Uzbek people but also of Turkic nations. He focuses on the epic’s artistry, similes, and exaggerations, emphasizing the system of characters.

According to Hamid Olimjon, the relationship between Alpomish and his son Yadgar stands at the center of the epic, which served as the cradle of the hero’s poetry. He writes, “Alpomish is considered his most beloved epic. ‘Alpomish’ was the cradle of his poetry,” through which he interprets the father-son bond as generational continuity and heroic heritage. Hamid Olimjon emphasizes the influence of folklore, comparing the epic to the works of Pushkin and Navoiy, where family motifs derive from folk creativity.  

V.M. Zhirmunsky, in his book “Uzbek Folk Heroic Epic” (1947) co-authored with Hodi Zarif and in his article “The Epic Tale of Alpomish and Homer’s Odyssey” (1957), compares the epic to world epics. He likens the hero’s return in the second part of “Alpomish” to Odysseus’s return: just as Odysseus meets his son Telemachus, Alpomish meets his son Yadgar and protects the family. Zhirmunsky meticulously analyzes the plot line, delving into the genesis of the characters Alpomish and Yadgar. In his view, this relationship stems from ancient folklore motifs (the hero appearing at his own wife’s wedding) and has similarities in European folklores. Zhirmunsky connects the basis of the epic to heroic tales, though this assumption was later deemed controversial.  

Hodi Zarif, the founder of folklore studies, analyzes the epic’s emergence period and motifs in his article “The Main Motifs of the ‘Alpomish’ Epic” (published in 1957-1959). He links the epic not to the 17th-18th centuries but to the pre-Mongol invasion period and emphasizes the presence of pre-Islamic beliefs. According to Hodi Zarif, the father-son relationship is one of the central motifs of the epic, representing tribal and national unity. He refutes the accusations of A. Abdunabiyev and A. Stepanov, defending the epic as a popular national epic.

Hodi Zarif studies the etymology of the word Alpomish and the place of the epic’s creation (Boysun – ancient Khorezm), linking family bonds to ancient conceptions.  Bahodir Sarimsoqov, in his article “Three Etudes on the Alpomish Epic,” refutes Zhirmunsky’s assumption, linking the basis of the epic not to heroic tales but to real historical events. In his opinion, the heroic epic directly reflects tribal and clan events, so the father-son relationship derives from the people’s specific historical experience. Sarimsoqov emphasizes that the epic is not based on heroic tales; rather, the tales are based on the epic, which helps interpret the father-son bond as a symbol of national unity and independence.  

To‘ra Mirzayev, in his article “The ‘Alpomish’ Epic, Its Versions and Variants,” illuminates a brief history of the epic, comparing various versions (Kazakh, Karakalpak, Tatar, and others) and Uzbek variants. He reminds that the epic became known in scholarly circles in the 1890s and analyzes variants recorded by various bards (Fozil Yo‘ldosh o‘g‘li and others). According to Mirzayev, the father-son relationship varies in the epic’s versions, but the common motif – generational continuity and family protection – remains preserved. He evaluates the epic as an example of oral creativity that has been sung among the people for centuries.  

The “Alpomish” epic consists of two main parts: the first describes the hero Alpomish’s birth, marriage, and adventures in the Kalmyk lands, while the second narrates his return and protection of his family. The father-son relationship becomes particularly evident in the second part. While Alpomish is in Kalmyk captivity for seven years, his wife Barchinoy (or Barchin) gives birth to a son – Yadgar (in some variants, Yodgor). During this time, in the Qo‘ng‘irot tribe, Alpomish’s brother Ultantaz (or similar characters in other versions) seizes power and persecutes the family: he insults Alpomish’s father, oppresses his son Yadgar, and tries to force Barchin to marry him.  When Alpomish returns, he disguises himself and saves his family.

Here, the father-son relationship takes a dramatic turn: Alpomish recognizes his son but initially fights or tests him. Yadgar is depicted as a young hero who has inherited his father’s bravery – he tries to protect the family but faces difficulties due to his youth and inexperience. With Alpomish’s return, the father-son bond strengthens: the father saves his son and teaches him heroic virtues, while the son continues his father’s legacy. The continuation of the epic (in some variants) is dedicated to Yadgar’s own adventures, emphasizing generational continuity.  

The father-son relationship in the “Alpomish” epic forms the ideological center of the national epic, expressing family loyalty, heroic heritage, and intergenerational unity. Hamid Olimjon’s artistic analysis, Zhirmunsky’s comparative study, Hodi Zarif’s motif research, Bahodir Sarimsoqov’s views on historical foundations, and To‘ra Mirzayev’s variant comparisons help to understand this relationship more deeply. This bond not only enriches the epic’s plot but also reflects the Uzbek people’s national values – family, homeland, and loyalty. The epic’s relevance today lies in its ability to educate the younger generation in the spirit of devotion and justice. These studies indicate the necessity of continuing to explore the epic within the framework of world folklore.

Student of Group 13, Uzbek Language and Literature Major, Faculty of Mother Tongue and Literature, Alisher Navoi Tashkent State University of Uzbek Language and Literature, Rahmonqulova Gulsevar Samid qizi

Developments

There used to be animals, the latest litter

of kittens being fed on the street by strangers,

or racoons rolling across the uncultivated grounds

along the railroad tracks,

and birds, countless birds, stretched across the sky

perched on high voltage wires, starlings

mostly, but also crows and occasionally

a falcon would show from God knows where.

Now, they are gone. Construction is

mostly responsible. But there was more to it:

ill-informed young men had heard racoons

were always rabid and would attack them,

so, they poisoned them. And they poisoned

the cats, too, because they reproduced;

no one had thought to fix them and that that

would do. And the tall buildings placed where

before there were giant black trees made

the place incommodious to the birds

who used to range their rainbows in the spring.

Oh, how I miss them. Miss them all badly.

How gladly would I replace the people

for their preening and unconsidered living.

How much more than a motel

was the murmuration of those birds.

Listening To The Voice of Virginia Woolf

It was always

reaching a crescendo

then descending

like a shirt ironed

with a hiss from the steam

released like the tide

the rattle of pebbles-

I saw it with my eyes.

It returned always

the way words do

that fill a line

and make it stable-

earth shoveled into

a garden and into

a burial plot, too.

Petals open

our own tiny sun.

Shaking out the sea

it sparkles and bears

witness to the bodily

shape of memories. To some

it is ironclad law that is all

and holds within it

such dread as to not

be considered at all.

Who but a poet would associate

incarnadine with multitudinous

seas? Ah, words went

breathing and traveling

from street to street

picking up habits

remembered for centuries

becoming lips and speech.

The Examination

The doctor’s nurse will lay you down

on crumpling paper on a metal table

and place electrodes on your chest and arms.

She will record your heart rhythms

and be satisfied with the results

if they are regular and recur.

The test has its limits: it tells the heart’s

electrical currents. It does not know

the many hurts it suffered, or when it started

fighting back with all its umbrage.  

I am surprised that they separate the heart

from the rest of the life, as if we did not belong

to an interrelated organism.

Afterwards, she will escort you to a waiting room,

where everyone sits alone and no one

talks or looks around. She will leave you there

where everyone wants to hear

their name called out and their hearts unstimulated

go on beating alone.

Scale Theory

The fish is dead,

  but the armor is still holding.

   A mosaic of silver coins overlapping

     like roof tiles on a flooded house.

My mother hands me the knife—

a dull, rusted thing—

and teaches me the art of subtraction.

Scrape.

The sound is a zipper being forced open.

The scales fly off in a wet confetti

  sticking to my wrists

   decorating the sink

   in sequins of gray light.

We are unmaking the swimmer.

We are stripping the ocean off its back

until it is nothing but white, shivering flesh.

I push my thumb into the gill—

that red, feathery fan

that used to sieve oxygen from the dark—

and I pull.

The gutting is the honest part.

It is a wet, heavy sound. A release of secrets.

The heart   /   the liver   / the empty balloon of the stomach

all the machinery that made it alive

is piled into a plastic bag.

My mother washes the body until it is clean.

Until it forgets it ever had protection.

We burn it in oil and call it dinner.

But later, in the shower,

I find a single silver scale stuck to my collarbone.

A piece of the armor.

A fragment that refused to be swallowed.

Prototype_v1

00:00 [Fade in]

The project file is heavy.

I drag the timeline cursor back to the start.

We are trying to build a woman

out of mp4s and jagged pieces.

00:12 [Clip: Mother]

Zoom in: 200%

There is a track of water running down her cheek.

A silver tear / high definition / too sharp to look at.

Action: Add Text Layer.

I type the promise in bold font:

I will fix this. / I will carry the roof so you don’t have to.

I crop myself out of the frame

so there is more room for her comfort.

This is the First Daughter preset:

edit everyone else’s sorrow / until your own timeline is blank.

01:45 [Effect: Green Screen]

I stand in the center of the frame / head high.

But looking at the monitor / I know it is a trick of the light.

Opacity: 50%

I feel like a fraud in every scene / a special effect / a glitch in the system.

I am holding my breath / waiting for the error message.

Waiting to mess it all up.

If you turn off the filter

you will see I am just a scared girl

standing in front of a blank wall

waiting for the director to yell “Cut.”

02:30 [Import: New File]

My hard drive is full of corrupted footage.

Hearts that failed to export. / XYs that turned into static.

I was ready to shut the system down.

Drag and Drop: Him.

He appeared out of the blue / no color grading needed.

Suddenly the audio is clear. / The waveform is steady.

But I am hovering over the “Delete” button.

My hand is shaking.

I am terrified that if I press play

he will shatter into pixels like the rest.

Please, I whisper to the screen, don’t crash.

04:00 [Rendering…]

98%…

99%…

The fans are spinning loud / the laptop is burning my thighs.

I am waiting to become something permanent.

To be exported into a format that cannot be hurt.

But the cursor blinks.

Error: File still in use.

I am not finished yet.

[Cut to Black]

THIS LAND SPEAKS WOMAN

They found our bones beneath grinding stones,

hips wide as hunger,

ribs bent like spoons

from feeding everyone else first.

Our skulls still had hair in tight rows,

as if we were plaited even in death.

We did not die wives.

We died witnesses to how

the earth split for men

and swallowed women whole.

We were the cloth on the table,

the table,

the floor beneath it,

and still, we were asked to kneel.

You want to heal this land?

Then start with our names —

the ones stitched shut

into the hems of our mother’s wrappers.

We are in the dust,

the scent of turaren wuta and ash.

We are in the rivers,

flowing like truths too old for tongue.

We are in the cracked heels of ndị nne,

who crossed war zones

to pick pepper for soup.

Our voices grew sideways,

through floor cracks,

through the hum of songs,

through pestles beating yam to tears.

Our silence is not consent.

It is fury wrapped in ìrọ́ and bùbá,

a scream ground into millet

and spread in the sun to dry.

So when we speak, do not flinch.

For we do not knock.

We bloom through the rocks,

we crack the earth from inside out,

with bosoms plumped by famine,

and stretch marks like thunder

across a waiting sky.

Glossary

ìrọ́: Yoruba — a traditional wide wrap skirt worn by women

bùbá: Yoruba — a loose-fitting blouse, usually worn with an ìrọ́

ndị nne: Igbo — “mothers” (plural form of nne)

turaren wuta: Hausa — fragrant smoke used to scent homes and clothing

Farida Yahaya Tijjani is an 18-year-old Nigerian poet, scriptwriter, essayist, and spoken word artist. Her work explores themes of identity, resilience, and social justice, using creativity as a tool for healing and transformation. Her writing has appeared in national newspapers and is forthcoming in Aster Lit Issue 15. She also lends her voice weekly to NTA’s Nigerian Navy in Focus, where she scripts and edits the “Operation Delta Sanity” segment. Merging poetry with powerful storytelling to inspire change, Farida has performed across diverse platforms and has been recognized in both poetry and short story competitions.