Glass Jar
You see it so clearly,
You speak so decisively.
“There’s nothing inside”—
That’s your answer.
I know you wouldn’t accept this:
You don’t see clearly enough.
Inside, a heart is stored,
A process is stored—
A process from “clarity” to “turbidity”…
I won’t tell you.
I only need to smile and nod.
Because my shadow has been compressed,
And your eyes have already seen—
The expression of the wind.
This story was not written to promote girls being educated or uneducated. Rather, it was written to encourage everyone to think wisely before acting and to make decisions with their parents’ consent and blessing.
This story is based on real events, and I portrayed them through the character of Husnora. I wrote this story so that others would not repeat the mistakes she made in her youth. If she had not made those mistakes, perhaps she would be happy today.
That is why I wrote this story as a warning to young girls. I hope you will draw the right conclusions from it.
Every person strives to be happy. Happiness cannot be found in money or material things; it is always in one’s own hands. If you stray from the right path, unhappiness awaits you. But if you walk the right path, a beautiful happiness awaits you. You simply need to recognize it—it is often found in the simplest things.
The noise of cars, the streets crowded with people—everyone busy with their own lives. In a large house at the edge of the street, there was a celebration.
It was May 21st—Husnora’s birthday. All her relatives had gathered; she was turning eighteen. Everyone sincerely congratulated her.
By evening, the guests began to leave. The day ended. The next day she went to school and spent joyful time with her classmates, as they were about to graduate from the eleventh grade.
Two days later, they gathered to hear the final school bell. Everyone was beautifully dressed. They graduated.
Her parents, Hasan aka and Momogul opa, had long been thinking about whether to send their daughter to study further. But they hesitated. Husnora was playful and not very serious. In her younger years, she had made many mistakes. Perhaps because of that, her parents were always worried. Moreover, she often ignored their advice.
June passed with these thoughts.
Without telling her parents, Husnora secretly applied to a medical college because she wanted to become a nurse. The exam day approached, yet her parents knew nothing.
One day, while cleaning the house, Momogul opa accidentally found some documents. Reading them, she realized her daughter had applied to medical college. She sat down and cried for a long time. Then she thought, Is it wrong if my daughter studies?
But still uncertain, she called her husband.
Hasan aka was shocked and angry that his daughter had acted without his permission. That night he argued with Momogul opa.
Husnora had gone to stay at her grandmother Sevara’s house. Sevara lived alone; her husband had died young, and her youngest son lived in Russia. Husnora often stayed with her grandmother.
When her father called angrily, demanding she come home in the morning, Husnora understood the truth had come out.
Her grandmother advised her wisely:
“Without your parents’ blessing, you cannot achieve true happiness.”
But Husnora did not listen.
“I’m eighteen. I can make my own decisions,” she insisted.
Eventually, her father agreed to let her study—but warned her not to disgrace the family.
She passed the exam and was admitted to the Tashkent Medical College. Her family felt uneasy because of her past behavior.
In Tashkent, Husnora made new friends. Instead of focusing on her studies, she spent time going out, dressing fashionably, meeting boys, and enjoying city life.
She met Sardor and Shavkat—two young men who followed the girls everywhere. Eventually, friendships turned into romance. The boys often had no money and made the girls pay for outings.
One night, drunk and out of control, the boys tried to assault Husnora. Terrified, she escaped and hid until morning. She later learned they were gamblers and drug users.
Despite everything, she continued her careless lifestyle.
She graduated and returned home. Her father organized a feast to celebrate her diploma, but she embarrassed him by wearing revealing clothes in front of guests.
Later, she began working at a hospital. There she met Shuhrat, a doctor who showed her attention. She did not know he was married with children.
They spent evenings together. Her father warned her again, but she accused him of interfering in her life.
Eventually, a proposal came from a city man named Farhod. He was handsome and well-dressed. She agreed quickly, dreaming of city life.
After marriage, Farhod revealed his violent nature. He suffered from epilepsy and often beat her. He forced her to write a statement humiliating herself.
She became pregnant. The abuse continued.
One day, during a seizure, Farhod died from an overdose. His family accused Husnora of killing him. They took her son Jonibek away and expelled her from the house.
Despite her attempts through court, she could not regain custody.
Years passed. Jonibek grew up calling his grandmother “mother,” unaware of his real mother. He was raised to hate Husnora.
Husnora lived with deep regret.
If only she had listened to her parents…
If only she had chosen wisely…
Perhaps her life would have been different.
Sometimes when one leaves, there is no return
I won’t live long enough to forget you,
Yet my heart will not stop beating without you.
These wounds you left behind won’t ever heal,
Sometimes when one leaves, there is no return.
If I ever long for your embrace,
If my heart still yearns for your fragrance,
Still, one learns to live no matter what—
Sometimes when one leaves, there is no return.
Tell me, why are you so distressed?
Why do questions keep scratching at your heart?
Leaving you was a sign of my destiny,
Sometimes when one leaves, there is no return.
Do not ever think that I will come back,
Do not lie saying you love me.
Do not wait for me, hoping I’ll arrive
Sometimes when one leaves, there is no return.
Husanxon Odilov
Uzbekistan
DRAMATIC COLLISION IN SHUKRULLO’S “BURIED WITHOUT A SHROUD”
Iroda Ibragimova
Jizzakh State Pedagogical University
Faculty of Philology, 1st-year student
E-mail: irodaibragimova896@gmail.com
This article examines the devastating impact of the totalitarian regime on human personality and destiny through the example of Shukrullo’s work “Buried Without a Shroud”. The main issue of the work is interpreted from a literary and psychological perspective, focusing on the spiritual resilience of the lyrical protagonist (the author himself) and his struggle to preserve inner freedom amid the horrors of the 1937 repression period. The conducted research proves that the work is not merely a historical document, but a true tragedy demonstrating that personal courage and universal human values are capable of surviving even under totalitarianism.
Keywords:
Buried Without a Shroud, Repression Period, Autobiographical Prose, Victims of Stalinism, Totalitarianism, Forced Labor Camp System, Psychological Analysis, Personal Tragedy.
INTRODUCTION
In the history of Uzbek literature, Shukrullo’s work “Buried Without a Shroud” is recognized as one of the most significant and courageous examples of prose from the independence period. This work is a literary and historical document that reflects the cruel reality of the political repressions that affected the intellectuals of Uzbekistan during the 1930s–1950s, conveyed through personal experiences. The autobiographical nature of the work and the author’s depiction of the severe trials within the system of forced labor camps further intensify its emotional impact on the reader.
The purpose of this study is to analyze the pressure of the totalitarian regime on the individual as portrayed in “Buried Without a Shroud”, as well as the protagonist’s inner spiritual struggle against this oppression and the motives behind his moral choices. The work also depicts how many innocent Uzbek young men were falsely accused, brutally executed, and thrown into the soil without shrouds. The main thesis of the article is that Shukrullo presents the forced labor settlements not merely as physical prisons, but as a system aimed at destroying the human spirit; however, through the lyrical protagonist’s inner monologues and moral resistance, the narrative demonstrates a spiritual victory over the regime.
MAIN PART
1. The Psychology of the Repression Period and Inner Loneliness
The psychological state of the protagonist becomes an object of analysis from the very beginning of the work. The scenes of interrogation and arrest reveal the complete helplessness of the individual in the face of totalitarianism. By depicting the protagonist’s extremely delicate inner experiences, the author demonstrates that spiritual suffering is deeper and more devastating than physical torture.
The protagonist’s first experiences in prison are particularly significant for psychological analysis. He describes himself as “a soul crying between invisible walls” [Shukrullo, 2015, p. 32]. This image signifies the individual’s isolation from society and confinement within a spiritual cage. A direct example reflecting the protagonist’s sense of loneliness and despair is expressed in the following lines: “It was not an iron cage that surrounded me, but walls of facelessness and conscience-lessness. I felt completely cut off from the world” [Shukrullo, 2015, p. 45].
2. The Struggle for Human Dignity in the Life of Totalitarian Labor Camps
The central part of the work — the detailed depiction of life in repression camps — is presented as a field of moral choices. Despite hunger, cold, and constant threats in the лагер conditions, the author shows through his protagonist that supreme human values such as compassion, friendship, and conscience can still be preserved. This struggle forms the core idea of the work. The cruelty inflicted upon prisoners and the harsh treatment they endured are clearly portrayed.
Scenes depicting the author’s spiritual closeness with other prisoners strengthen the motif of preserving inner freedom. He writes: “To share a piece of bread, to look at one another in silence — this had become the highest expression of human life” [Shukrullo, 2015, p. 115]. Their monologues about “seeking light within the darkness” demonstrate spiritual resilience and unbreakable will [Shukrullo, 2015, p. 128].
3. “Buried Without a Shroud” – Interpretation of Its Symbolic Meaning
The title of the work — “Buried Without a Shroud” — carries a powerful symbolic meaning that reveals the inhuman essence of the totalitarian regime. A shroud is not only a material object, but also a spiritual ritual and a sign of respect. To be buried without a shroud signifies not only physical death, but also the erasure of a person from social memory and the loss of human dignity.
The term is used by the author to represent the spiritual death of repression victims and the attempt to erase their names from history. In the work, the forced labor settlements themselves are depicted as vast graves: “Here they do not shroud us; they simply kill our memory and bury it” [Shukrullo, 2015, p. 210]. One of the most powerful expressions of the author’s lyrical voice appears in the following line: “It was not the road to death itself, but the loss of dignity that was the most terrible tragedy” [Shukrullo, 2015, p. 230].
4. The Literary Value of Memory and Resistance
The value of this work also lies in the fact that it was created years after the tragic events it describes. It is not merely a journalistic account, but a spiritual victory of memory over tragedy. The author’s later reflections further enhance the literary significance of the work.
As an example of autobiographical prose, its scientific and historical value is strengthened, presenting it as an important source for preserving historical memory for future generations. Memory itself becomes a weapon of resistance, as the author writes: “I was compelled to write this work so that the horror of those past days might continue to flow in the blood of the next generation” [Shukrullo, 2015, p. 255].
CONCLUSION
Through “Buried Without a Shroud,” Shukrullo introduced a new dimension to the tradition of psychological realism in Uzbek literature within the context of the repression period. The findings of this study confirm that despite the overwhelming pressure of the totalitarian regime on the individual, the lyrical protagonist preserves his inner moral independence and spiritual freedom.
This article strengthens the theoretical approach to “Buried Without a Shroud” and presents it as a valuable source for studying the prose of forced labor camps in post-Soviet literature.
List of References
She Said She Could
She said she could
feel
everyone’s
pain
all types of pain
ever since
she was
a small child
behind the bars
of her crib
alone in her room
especially when
they walked by
thinking she was
asleep
but she was awake
with her eyes
closed
sensing emotions
of every type
and degree
hot or cold
whispering
or silent
she was
there
within
them
moments magnified
breath to breath
heartbeat to heartbeat
she couldn’t
die
to all the slow dying
so she
kept them from dying.
The Wait
I’m approaching
my peak
feeling
it
every second
I think
and feel
tip and tease
heading straight
into years
down that path
street turning
into corners
I’ll make the max
of what I’ve got
so wait until
you’re ready
to understand
the years of fate
are
great!
To Be or Not to Be
I don’t want
to be
crazy
but sometimes
I am
enjoying it
so much
I’m not sure
if I should
stop
or just pop
open
to everything!
THE CLOCK
On the wall of heaven hangs a clock,
invisible, silent, without hands,
and yet — it is everywhere.
It does not measure minutes,
but the tremors of the soul.
Its mechanism is moved by truth,
and its hands stop
when a man lies.
It knows the difference between
words and feelings,
it hears the silence of the heart
when it trembles under the weight of guilt.
It is no ordinary clock —
it is God’s measure of goodness,
a secret guardian of sincerity.
Every thought, every intention,
every shadow in one’s gaze
leaves a trace upon its glass.
When you love purely, it shines,
when you envy, a gear breaks within it.
It does not tick “tick-tock,”
but whispers:
“were you truthful,”
“have you touched souls,”
“were you truly you.”
Its time does not pass,
it judges.
And while the world turns in false seconds,
that clock — unseen, eternal —
quietly measures souls,
not days.
Maja Milojković was born in Zaječar and divides her life between Serbia and Denmark. In Serbia, she serves as the deputy editor-in-chief at the publishing house Sfairos in Belgrade. She is also the founder and vice president of the Rtanj and Mesečev Poets’ Circle, which counts 800 members, and the editor-in-chief of the international e-magazine Area Felix, a bilingual Serbian-English publication. She writes literary reviews, and as a poet, she is represented in numerous domestic and international literary magazines, anthologies, and electronic media. Some of her poems are also available on the YouTube platform. Maja Milojković has won many international awards. She is an active member of various associations and organizations advocating for peace in the world, animal protection, and the fight against racism. She is the author of two books: Mesečev krug (Moon Circle) and Drveće Želje (Trees of Desire). She is one of the founders of the first mixed-gender club Area Felix from Zaječar, Serbia, and is currently a member of the same club. She is a member of the literary club Zlatno Pero from Knjaževac, and the association of writers and artists Gorski Vidici from Podgorica, Montenegro.
Longing
Far away, the roads stretch long,
Though no lamp glows, my heart is strong.
A piercing pain within me throng,
I miss your soil, my homeland’s song.
In hand, the hoe on fields so wide,
Restless toil, no pause to bide.
I wait along the street with pride,
I miss my father, homeland’s side.
Warm bread held tightly in my hand,
My suffering, my silent stand.
Awaited my return, close at hand,
I miss my mother, homeland’s land.
Sweet words that charm and softly bind,
Love engraved deep in heart and mind.
Daily, roads to you I find,
I miss my beloved, homeland kind.
A child who plays with toy in glee,
Sees my face and hugs with spree.
They are the tears within my sea,
I miss my children, homeland, thee.
Village… oven… that warm bread’s scent,
Every living soul with labor spent.
Life for daily bread is gently lent,
I miss my village, homeland’s tent.
Neighbors, kin, all close and dear,
Loved ones who to my heart adhere.
In every feast, may they appear,
I miss them truly, homeland near.
In labor’s work, your thoughts abide,
Before your greatness, I stand wide.
I need you, homeland, as my guide,
I miss your soil, my nation’s pride.
Orzigul Sharobiddinovna Ibragimova was born on January 5, 1990, in Uchko‘prik District, Fergana Region. She is currently a first-year student in Group 25 64 at the Agrarian Joint Faculty, majoring in Zootechnics. She has a special interest in community activities, radio, and motivational speeches. She enjoys working with students, preparing presentations, and participating in creative projects. She is also a member of the Fergana State University Mushoira Club.