Poetry from Jeffrey Levert

European inspired city scape with cobblestone streets, white houses, and blue trim for windows and doors. Flowers in flowerbeds and hanging vines.
Naxos and Lesser Cyclades, Greece

Time spread poems like butter on bread
Springtime and long summer days, confusion and technological change

At a distance, the island appeared to be a tiered wedding cake with several layers of dazzling white topped by a castle and monastery. It was all for Tina. On arrival, the Portera on the bluff was open, seemingly to beckon both of us to walk through it into a new Ariadne smile. Radiant rays of sun poured through it. We walked the shores of Naxos. Cheese, carrots, and potatoes. It was 1963, and we were exhilarated by the cooling spray whipped up by the Aegean wind. We laughed and loved.


Do you remember Νaxos?
Come let’s take a journey on sun-buttered bays of light.
Plunge into waves of morning dance on the sands at night.
And we shall arrive again at the place where we loved on trembling sand.


Listen once more to the wave’s music and the tide wetting the land.
Feel the warmth of lost moments, feel the touch of our hands.
Recline in the sun together, love, on the warm golden sand.
Come let’s follow the rainbow pass through the colors of time.
Listen again to your voice whispering your head next to mine.
Feel the heat of rocks ageless baking in golden sunshine.
And we shall lie down at midday, and I shall drink in your sweet wine.
Follow the scent of the blossoms; look for the wisdom of vines.
I will see you once more in the springtime before leaves leave on their flight.
Before you weathered the winter before the cold darkness of night.
I shall hear the lilt of your laughter snuggle up into your smile.
Bathe in the gaze of your brown eyes all softness and warmth for awhile.

Come let’s take a journey over the widening years.
Cool in the waters of morning, warm in the flow of our tears.
And I will bring you my laughter blossoms from the bough of a tree.
As we hold on to each other forever in love together youthful and free.
The same girl
Such a wonder have I dreamed and now perceived.
That I have found and only lived in you.
Could I today just find a way to say.
You are the sunshine of my night and each and every day.
Two fragments found in a forgotten place
Chance it was when an awe-inspiring girl
Crossed my path and I hers
Our eyes pulling and could not draw back
Two different lives were somehow interlocked
I looked at the girl and Athens with my amazed admiring gaze,
In their own time they gave me back their pulse, their breath,
She walked with springtime grace
Garlanded with warmth and an enchanting smile
That I caught on to within her eyes,
Through mine I gave her my captivated gaze,
By chance she unlocked a door my charmed life
Let’s hold on, search for the sun
Enjoy it all with no show at all
It’s all ours, ours for the fun
Let’s find the road and just go
Let’s look up towards the light
Enjoy ourselves throughout the night
The day and night are ours alone
Let’s pass the hours, feel the warmth of home
Let’s live life with what we have
Not bother with what we have not
What we have is precious love, a desire to live
Let’s hold on we have the sun
We have bays buttered by it too
We have the sun and moon the rain
We have our smiles, our laughter and the flowers
We have our hearts our minds and thoughts
We have our garden, no not Eden ours
With trees for shade, a stream that runs through
Plums and pears and tart apples too.

There was a time when nothing seemed to fit, nothing made sense, and then came. It crept up slowly and then swallowed me. I sipped white wine and nibbled on food, and the hours went by. Suddenly, the words nothing is what it seems to be shouted themselves out at me.

None other heard, and I was not aware of others.
Confusion awakened in the dark of night, I left my dreams behind.
I stumbled towards day to find that nothing quite makes sense.
But all are talking, mouths close and open, moving fast and slow.
Devoid of sense with nothing adding up.
And when it does, it adds up to represent some zero-sum.
Yet all including me are writing.
Typewriters tick and tap away, and sheets fall out.
Pages littered with a’s and b’s and m’s and n’s not to forget the y’s and z’s.


With far more space than ink, like an unknown atom’s alphabet.
Electrons in full chase around a proton-neutron epicenter that may not hold. Reams role for replication to multiply memos meaningless.
But no one says a single word while all are talking, scribbling words on paper scraps.


Pursuing thoughts a sentence here a few lines there stretching a paragraph somewhere.
With a little more teasing, it stretches to a page of typewriter fodder.
Tick and tap, tap tap, and tick the memo shuntered to the replication tray.


Some memo of menace, so beware.
Perhaps the country’s call for cannon fodder to feed some war.
While controlled conversations behind closed doors.
Much said, but making no sense at all.
Where all action is delayed and mock decisions with certainty are made.


Confused not knowing what to do, perhaps put down my pen.
Return to sleep, hoping to catch up in a better world of dreams.
When I was young, I never thought of going to America. When I was still young, I did, and I loved it. I made good friends for life and went back as often as I could. One of my dreams is to make my American last stand in CHICAGO.


Strange notes between Chicago and Athens, from fun to serious and sometimes furious conversation. To be read for me by Ed at the International Club if he remembers, and with poetic aplomb instead of his typical reformer style. Tonight, I can think of no better place to be than to be with you, all of you. So let it happen in thought and memory. A moment of recollection, please, a minute only; I don’t want to take you away from a great chef’s food. Put down your forks, Erich, please put down your fork and lift up your glasses; I see that’s easy! We toast you from afar.


I remember you all so well and clearly: the Dean of Deans who tangoed with his wife in Argentina better than any dago, a medical educator who rants on poverty, a great working man’s doctor whose son is in Hollywood and a TV star. Erich with an h, Ed, and Captain who discovered the dread disease of carbitus, T&D, Tom with the wooden leg, Henry White and Linda Matilda, books and magazines stacked in stable perfection with a central window through which its holed-up occupant could be seen working in his office, and through which, if necessary, the phone could be passed. In my mind’s eye, I see Erich with Fran, Linda knocking back the margaritas in Mexico, Ed asking me mischievously on which side of the bed I wanted to
sleep in front of the bellboy… Of course, there is George; his only phrase is “no salt,” said loudly.


My friends, my captain, Zhivago and Zorba have taught me much: that under no circumstances must I despair; to hope and to act is my duty. So here goes. The Jeff Lifetime Achievement Awards tonight go to two distinguished Americans jointly shared by Jolly Jean and Friendly Fran, with the recommendation that the boys keep the money implicit in this ever so meritorious award for an occasional coffee or for the tip of the night. Erich gets Dekano of Dekanos Award, and Captain our captain Ed gets the World Community Service Chalice.


From the eastern flank of the land of Ez [as in Eurozone]: No Dorothy here, only scared crows; no cowardly Lion, just lion-hearted politicians, pronounced in the King’s English as “lyin.” No Tinman, only pilfered copper… while the streets are full of rag, bone, and tag men collecting (that’s what it’s called) all things in reach in sight: street lamps, public telephones, cables…


don’t park your old car anymore here; coming back, your calls to insurance will go unheard…
Many on the streets are insiders; some come from outside of Ez… some come from over the rainbow… while others are over the rainbow. Meanwhile, the government of Ez expects its patriotic people to keep coughing up to keep the coffers topped up and spilling over.


Meanwhile, all the Punch and Judies and the Black Georges wonder why the coffers are well below the Plum-rose line. While most are coughing up coin, our saviors circulate and drink wine… the Plimsoll line plummets and the basic basket grows smaller with less salad, no more salad, and no more salad with feta cheese…

Dear friends, you have helped make a difference…In celebration of her long life, many are the things that bound us together: from breakfast to Obama, from bagels to buns, from Chicago to Athens, from fun to serious conversation, from vodka (gin) and tonic with a twist to wine that sometimes tasted of the tar (Retsina), from hot-
hot coffee to Greek coffee, from love and affection to affection and love. Her husband was my mentor and taught me neuro-physiology.

Leaning seemed to come easily as he handed out tall glasses of vodka and tonic with a slice of lemon topped up with perfect cubes of ice. As the sun sets or rises slowly in the western and eastern sky, we are confident that day or night will arrive, maybe thinking that the dawn of hope will come for man to live peace on earth, his ultimo besoin.


Lines for a world day of peace
It’s quite clear here, right at the center of it all.
In Delphi, where the gods still prevail.
It’s not too late to build back better, and a better one.
Urged on by mountains tall and still agaze on Marathon.
While Marathon still looks upon the sea.
While here we stand with gods and free.
On this most precious special day.
Hopeful that we can hail in peace.
Yes, it is clear; no, it is not too late.

To build for all mankind a better fate.
Can we stop; slow down the undoing of our world?
The burning, flooding and polluting of our souls
Restore our world to glory in hope and splendid green-blue oceans, sunset’s red, rivulets, and flowing streams. Where men all
and women too are equal and all free.


Can we redo our world? Improve it for all offspring.
Such wonders are the words and phrases I can hear when I think
They tumble forth differently each time but are always woven together as a captivating collage.
They come mainly from a lyrical dialogue between East and West. If I can retain rhythm and musicality and remain recitative with recurrent words and transient, what follows may well be called a poem. I give you a bouzouki and three peacocks with bejeweled tails.


Cross-cultural musings
I came to buy bread, 6 I am, and never left the street.
The street is now renamed for the missile.
Here where the clock stopped and Despots bicker over truth.
Where lies and misinformation rule the roost.
15 I am a hostage, held because of my darker, deeper skin.
Innocent on the threshold of life uninvited horror came to my door.
No drip of water; now the pelican for me is dead.
Earth has become a stray dog, kicked by a military boot.
Carry my soul to the palm reader; take it to be fingerprinted.
Two banks of one World River.
The West is behind, but the East is not before.
Devils are in the Orient, tyrants too, but the bleeding finger does not speak.
The weavings of the winds are sparks that can kindle imperial cities.
Listening to the stars is a singular experience multiple in meaning.
Flames raging furiously, thoughts breathe, words burn, and wine intoxicates.
What can we do with this already crumpled world?
What can we do with this already unmade world?
Underway is the way, and we can only finish the journey.
On every path from desert to town, I wander with caravans.
Trade in shawls, coffee, and musk.
Through bazaars, past donkey carts lining the dirt road.
With rosary beads draping my hand.
And crimson shades, Eastern roses, the Roses of Shiraz.
The cup of Jamshid, obedient water, and worlds contained within the wine.
To sip, kiss over kiss.
A rose of hope, the stupidity of hate, and hope in harm’s way.
Insane shadows, I tasted them and spoke them, though I said I wouldn’t.
Ruffled locks near midnight, you come in disarray.
Return for a night as the moon turns full.

Fiery eyes and eyes of fire, the loveliest things she owns.
Love, listen to me at night, most of all at night.
The time will pass, all must change.
What is human and what is stone?
At dusk I stand beside the well in which the moon is trapped.
Face darkness of the coming night, the terror of the waves.
Look up to read the cosmos as a sacred text, a perfume that is love.
To read the first alphabet that declares our human grace in Persepolis.
A glance of the beloved! My ancient love is she asleep?
Who lies beneath your spell, tonight?
Loves, take me home again but not to that house, especially not at night.
She still looks for the man who used to burn inside her blouse.
His search is for the hundred qualities of a camel.
To plunge into a lightning storm.
Oh so rosy lips and cheeks, those lily hands of sheer delight to poets.
More precious than all the gems of Samarkand.
Gardens are not for those who do not crave to know the flower’s soul.
Upon the fates will be bestowed a rose of hope.
Return me to lemon trees in blossom and the cicadas call.
The devil takes no interest in dry old bones that lie at peace.
He fell through a smashed-in anger mirror.
To find himself alone on the other side.
On the edge of a forest, looking into a large swamp.
Take me to the river where fish fall in love three times a day.
Three times a day, they kill themselves.
No better way to enter heaven, than a return to stone, no heart.
In the crimson shade of stars, you’ll find my grief concealed in verse.
A falling meteorite from high above connects heaven to earth.
Whereupon unfold both sacred and profane in black stone.
Where are you from, again the same old question.
I am a prophet of myself, without religion or followers.
Not even on myself do I impose my invitation.
To sit in burnt-down places on either bank of the river of the world.
While from today’s day and tonight’s night.
Ask not to demand anything but what yesterday did bring.
For up there upon the roof, up on the roof a peacock stands.
A peacock stands upon the roof.
Faraway places with gods in control.
Once a young man from a faraway place used a big stick to beat upon snakes.
Walking by day and by night, over tall hills and through lonely valleys, came upon coupled
snakes in primeval thrill.
Warmed by the sun’s rays, releasing such reptilian passion the young man tried hard to subdue
a thrill and passion.

He could, should have left well alone, gone on, made his peace but without rhyme or reason he stopped the snake’s fun.
How could he not have known that nothing goes unknown or unseen as when his stick was struck by gods all of Greece?
Anger came fast to Hera and Zeus he said her you must play by my rules, preserve love and life, and ensure it for fools.
You are he bellowed the goddess of the bridal bed and native bliss, get angry much more turn Tiresias into what you wish.
The youth Tiresias changed place took up womanhood spent seven years in girlish form.
She stayed like that and played the field until she met again by chance a pair of coupled snakes.
Still young now worldly wise he downed his stick let them mate and whereupon Hera took away all of his womanly ways.
Time passed, and Zeus to Hera said sex is enjoyed by women more than men which got her well worked up said tis not so.
They bickered on and on in high dispute tis so says Zeus tis not Hera replied until abruptly they decided to ask someone.
Someone who’d played both roles quite well enjoyed sex with a woman and sex with a man.
One only they knew who’d lived both lives for sure the still young Tiresias who had lived life with and without a stick.
So the young man from a faraway place who hadn’t let seven years slip idly by was now recalled to settle the case.
Zeus and no other god had had such a unique fun stated clearly their query and loudly of his and of Hera’s Tiresias now far too big for his occupied boots delivered a verdict, women relish nine men only one if sex has ten part.
Hell hath no fury like Hera’s and now greatly displeased decides to punish Tiresias with all loss of his sight Zeus now aghast but with his hands tied, no power to heal him and restore his lost sight
so he granted him long life, Life of a wise seer expert on sex with his erudite knowledge Revered by Homer in faraway places and in Oedipus Rex.


At the heart of the Aegean on a small island called Pserimos, whose population is less than 20 but currently about 2000, as a result of tourism, the concept of smart islands was Once upon a time, children ran wild like cappers there, which gave the island its other name, Caparri. It also resulted in this poem dedicated to a wise teacher who years ago remembered 100 pupils in the local school. Her wisdom is larger than her island. And yet another image leaps to mind, with myriads of schoolchildren streaming down a narrow, dusty road towards home when school lets out. It was in Gaza!


Tranquil and reflective Aegean Isles
Pserimos in summer, and the sun shines bright.
Fiercely in early afternoon while slowly moving towards dusk and night.
Day’s end is still yet one whole eternity away.
But it will come as surely as the tide will turn.

Then will the sun descend to sink beneath eternal waves.
A rising moon will lift off to ride above the darkening earth.
Full bloom and full, full as if in high flown birth.
Laced beams of silver, flitting through the citrus grove.
Fireflies flirting in a purple painted light.
Dry, blemished leaves, brushed arrestingly by the lemon’s yellow afterglow.
Olives dancing shimmering upon gnarled ancient trees.
Scintillations surprisingly softly falling on the eyes.
Dreams to be remembered and tenderly recalled.
Smells of strained soil with brave blossoms wafted by a breeze.
Greek fire, warm drops in sand of pooling wax beneath an icon’s glow.
Copper hammered cross by weight of age subdued.
An old church whose eyes have within its gaze untold pain.
Where the dark-eyed virgin mother of the world.
Gives solace and sets in flight waves of worldly inspirational light.
With Cassiopeia high above caught once again in the midnight flight.
Caught up in Meltemi’s daytime forceful energetic wind.
Declining to a cooling evening breeze.
Caught up in the Aegean’s gentle fall and swell of tides.
Wrapped in a silvery linings through the starry sky.
Graceful and flowing along the wide stretching Milky Way.
Those isles of Greece, the pleasing Dodecanese.
Where mysteries of numbers and the universal harmony became known.
To that ancient, awesome, penetrating, and thoughtful gaze.
Where know-thyself was perceptively admired, esteemed, revered.
Where Apollo’s sun and scepter were bright, Prometheus’s warming fire held sway.
Attended by a sometimes sad and woeful moon, sometimes a simple silver sphere.
Where the early morning and the evening stars became the same and one.
Where lovely Aphrodite beguilingly arose above the ruffled waves.
Where a cool Venus rose above and set within a wine-dark clouded sea.
Where lovely Aphrodite and cool Venus rise from and descend within the sea.
The Isles of Greece are the Isles of pure delight.
Apollo’s light cannot be absent there for long.
Pythagoras knew his numbers well and fled from Sammian tyranny there.
Hippocrates who never harmed a soul, and Socrates, who knew yet knew not at all.
Those Isles where philosophy survives and all is well.
On a small isle and gentle Grecian site, called Pserimos.
Poems end never, mine yes


My words come to an end but poetry goes on and will go on. Writing poems should start early, as early as possible. It is when young when our senses can register the earth-shaking and when our brain has the agility to make up its mind on the direction that life will be taken. If life is lived in freedom it comes easy to the few that take the road less traveled by. Far too many lives unfold in unequal worlds with ever-present, slavery to fear, and want, making it too hard to set free its abundant talent. In the twilight between those worlds, talent can be suspect as when a writer was hauled in by the state police and asks why, saying he has done nothing wrong?

You write books don’t you which people are reading, so you must have done something!
When young the earth shakes while the bell rings for old men who continue to tilt at windmills as bell’s toll. As students in search of our Earth’s heart-beat, we learn that there are bridges over which marching soldiers have to break step to prevent collapse and that the flutter of butterfly wings in another place yesterday is the reason for the storm overhead, today.


Tomorrow will always remain unknown except to the poet, while philosophy can shed light in its early dawn.

Poetry from Alex S. Johnson, translated to Greek by Cassandra Alogoskoufi

Image of two ancient Greek maidens in long dresses seated on rocks with a brown vase. Another maiden with a stringed instrument lies floating in the water beneath them.

Alchemist of Sorrows

By Alex S. Johnson

For Cassandra Alogoskoufi

After Baudelaire

“As the Orpheus of all secret misery, he is greater than anyone:”-Friedrich Nietzsche, Die fröhliche Wissenschaft

Standing in the moon drop shadow’s hidden alcove

Watching the spiders of the rain disintegrate and turn to smoke

I admire the solemn procession of marble angels that sweep their

brooms diagonally across the looking glass

Involuted architecture, frost giants with the glazed eyes of

Galactic law

The fatal symmetry of a rainbow cutter ship

Odysseus’ swift fleet notwithstanding

In Circe’s lair he pollinated witch nations

In the eye of Polyphemus he discovered the glyphs of demonic altars

Cave paintings of the Orphic mystery rites

Bacchus torn apart and recreated

as a stand-alone objet d’art, his head crowned with an

aurora of violence, misty violet dawns from

Arthur Rimbaud

As the rotting Leviathan drifts in star sperm

As the empire of blood-crusted widows draws eyes in the

moon’s shy footprint

As the bleeding deer shudders in split-second Cubist increments but obeys the high ritual of Diana and does not die

Not yet

Not eternally yet

Our hearts draw oxygen from the secret sails of the sun

We respire with lungs made from the winds of the

wings of

Madness

We fly to a Hell sitting balanced on a small planet juggled along

with stars

with rippled stripes of radical freedom

with what queer jesters they have to do

With black-eyed Oedipus they seek the cause

they disregard the Sphinx’s leonine muscles, glistening

pelt that roars with lies

that fools crash, the Siren’s cove where sailors drown

the fortunes of heroes shorn like the head of Orpheus

Descending beneath the earth, as the jaws of destiny

close about him…

An alchemist of sorrow, he turns the Midas touch

against itself, mourning perpetual dawns.

και εμπνευσμένου μετά του Μπωντλέρ

“As the Orpheus of all secret misery,

he is greater than anyone:”-

Friedrich Nietzsche, Die fröhliche Wissenschaft

Στέκεται ως σταγόνα φεγγαριού

Κόντρα στον κρυφό σηκό σκιάς.

τις αράχνες εγκαθορεί, όπως διασπώνται

στην καπνισμένη ομίχλη της βροχής.

Αποθαυμάζει την πανηγυρική λιτανεία

μαρμάρινων αγγέλων που παρασύρουν

ανάποδα τον κόσμο σκουπίζοντας

διαγώνια το είδωλο καθρέπτη.

Πεπλεγμένη αρχιτεκτονική από γίγαντες

παγετώνες με στιλβωμένο βλέμμα

Καταπάνω στο γαλακτικό μάτι του νόμου.

Η μοιραία συμμετρία στο ουράνιο τόξο

παγοθραυστικού, αλματώδης πάραυτα

και γοργόπλοος ο στόλος τ’ Οδυσσέα.

Τ’ άνθη επικονίασε με έθνη μαγισσών

μες απ’ τη δόκιμο φωλιά της Κίρκης

Στον μονόφθαλμο Πολύφημο ανακάλυψε το

μάτι και τη γλυφή ενός βωμού κακοδαίμονος.

Οι σπηλαιογραφίες τελετουργούν ακόμα

τα Ορφικά Μυστήρια, το ξέσκισμα

του διαμελισμένου Βάκχου, και την

επανένωση του κορμιού εις σάρκα μία

Ως ένα αυτεξούσιο έργο τέχνης, το

κεφάλι του εστεφανώθη την κορώνη

Από την εωθινή Ηώ της βίας,

Απ’ τη μενεξελί πορφύρα της αυγής

Απ’ το λυκόφως του Αρθούρου Ρεμπώ,

Όπως το κουφάρι του Λεβιάθαν σάπιο

παρασύρεται στ’ αγγειόσπερμα αστεριών

Όπως μια αυτοκρατορία μαυροφορεμένων

που πήζουν τον θρόμβο παλαιών πληγών

θωρώντας τα τρυφερά χνάρια στα φεγγάρια

Όπως το πληγωμένο ελάφι τρέμει από τις

αιρετικές προσαυξήσεις των μετακυβιστών

Όμως, υπάκουο υπομένει στη μέγα τελετή μύησης

-τη Θεά Αρτέμη- σώνοντας εν τέλει τη ζωή του

Όχι. ακόμα. Όχι. στην αιωνιότητα του ακόμα.

Οι καρδιές μας αντλούν οξυγόνο απ’ τα

αφανέρωτα ιστία του μυστικού ήλιου

Αναπνέουμε με πνεύμονες φτιαγμένους

απ’ τους ασκούς του Αιόλου με τα φτερά

μας κόντρα στον κουρνιαχτό της τρέλας

Πετάμε στην άβυσσο της κόλασης καθιστοί

σε ισορροπία πάνω σ’ έναν μικρό πλανήτη,

Ταχυδακτυλουργώντας με κρίκους αστεριών.

με ριγέ κυματισμούς ριζοσπαστικής ελευθερίας

για την κατάντια του ετεροδιαφορετικού ζογκλέρ

για την αιτία στα μαυρισμένα μάτια του Οιδίποδα

Γιατί οι ανόητοι αγνοούν τα λιονταρίσια μούσκουλα

της Σφίγγας, που με αστραφτερή δορά ψεύτικα βρυχάται

Καθώς, συντρίβονται οι μωροί, στον όρμο της Σειρήνας

Πνίγονται, εκεί, οι ναυτικοί με την κοντοκουρεμένη

ειμαρμένη των ηρώων, σαν το κεφάλι του Ορφέα

που σκύβει κατεβαίνοντας στον Κάτω Κόσμο, τα

σαγόνια του πεπρωμένου συνθλίβονται σιμά του

Ο Αλχημιστής της θλίψης, αποστρέφει το

άγγιγμα του Μίδα ενάντια στον εαυτό του,

εις το διηνεκές θρηνεί για τη χαραυγή του…

Cassandra Alogoskoufi is a distinguished Greek artist whose extensive talents span writing, poetry, playwriting, and visual arts. Born in Athens, she currently resides on the picturesque island of Salamis while working as a shipyard clerk in the nearby area of Perama. Cassandra’s academic credentials include two notable degrees: one in Informatics and Telecommunications from the Kapodistrian University of Athens, earned in 2009, and another in International and European Studies from Piraeus University, completed in 2023. This academic background provides her with a unique intersection of technical and cultural knowledge, enriching her artistic endeavors.

Her creative output is broad and multifaceted. She has actively contributed to approximately 50 anthologies, showcasing her poetry, short stories, and prose across a diverse array of themes and stylistic approaches. Her literary work is characterized by magical realism and a deep exploration of narratives that bridge reality and imagination. Cassandra’s poetic voice captures emotions and human experiences with eloquence and originality, while her prose adds layers of complexity and nuance.

Beyond writing, Cassandra is a skilled visual artist, working primarily with acrylic painting and other mediums. Her artworks have been featured in various magazines, reflecting her ability to convey narratives and emotions visually as well as through words. Cassandra’s talent has received international recognition; she represented Greece at the BJCEM Biennial of Young Creators in 2009, a prestigious festival that unites artists from 27 countries working across seven artistic disciplines.

Her artistic development has been nurtured through significant scholarships and residency grants. She was awarded a two-year scholarship from the Institution of Takis Sinopoulos (2007–2009), a Cimo scholarship from Finland in 2009, and a residential scholarship at the Literature House of Paros, known for its European Center of Literary Translation. Cassandra has also apprenticed under numerous respected mentors in literature, theater, translation, and dance, shaping her versatile artistic identity.

Living with her family and a pet parrot named Tito, Cassandra continues to balance her professional work with a vibrant creative life. Her artistic journey is marked by continual growth, cross-disciplinary engagement, and contributions that resonate within and beyond Greek cultural spheres. Her work not only enriches contemporary Greek literature and art but also leaves a lasting impression as an innovative and dedicated creator.

Alex S. Johnson is a prolific American author and multidisciplinary artist whose creative legacy spans genres including Bizarro fiction, erotica, horror, and science fiction. At 57 years old, Johnson has amassed a diverse professional background encompassing roles as a college English instructor, music journalist, editor, publisher, songwriter, human rights activist, poet, and visual artist. He resides in Sacramento, California, carrying a rich blend of cultural experiences and artistic influences.

Johnson’s educational foundation includes a Master’s degree in English literature with an emphasis on Rhetoric and Composition. His early fascination with writing began in elementary school, where he initially crafted stories about anthropomorphic fruits and vegetables. His literary tastes and writing style are heavily influenced by icons such as William S. Burroughs and Hunter S. Thompson, blending intense, hyperbolic narratives with layers of showmanship and cheekiness.

His bibliography includes novels such as “Bad Sunset,” a stylized Spaghetti Western infused with Bizarro and splatterpunk elements, and “Jason X IV: Death Moon,” a science fiction/horror tie-in for the Jason X movie series. Johnson’s collections like “Wicked Candy” and “Doctor Flesh: Director’s Cut” further showcase his unique approach to genre fiction. He also edited anthologies like “Axes of Evil,” which centers on horror stories connected to heavy metal music culture.

Johnson’s writing often explores profound human emotions and psychological depth beneath exaggerated or surreal premises. For example, “Bad Sunset” features Jesus Christ as a protagonist, blending archetypal and mythical characters to probe themes of spirituality, skepticism, and individual moral navigation. His works balance entertainment with philosophical undercurrents, reflecting his skepticism of religious institutions and emphasis on personal enlightenment.

Actively involved in the literary community, Johnson has contributed to specialty anthologies inspired by H.P. Lovecraft and William S. Burroughs and maintains an ongoing presence in both writing and editing within speculative fiction circles. Apart from writing, he enjoys drawing, playing guitar, and engaging with film and music cultures, which inform his artistic creativity. Johnson’s career is grounded in a love for words and storytelling more than commercial success, emphasizing a lifelong commitment to artistic exploration and sharing imaginative landscapes.

Essay from Abdullajonova Rayhona

Young Central Asian woman in a black graduation gown and hat and red sash in a doorway in a room with black walls and a white framed mirror.

Teaching types of speech activity 

 Student of Andijan State Institute of Foreign Languages  Abdullajonova Rayhona Arabjon qizi   +998886630603 

 Abdullajonovarayhona874@gmail.com  Scientific Supervisor: Qodirova Nargiza 

Anmerkung. In diesem Artikel werden die Arten von Sprechaktivitäten und die  Methoden ihres Trainings analysiert. Grundsätzlich wird der Unterrichtsprozess des  Sprechens auf Deutsch mit der usbekischen Sprache verglichen. Der Artikel  analysiert eingehend Möglichkeiten zur Entwicklung des Sprechens, des  Hörverständnisses, der Lese- und Schreibfähigkeiten, methodischer Ansätze und des  kommunikativen Ansatzes im Sprachunterricht. Jede Art von Sprechaktivität ist eine  wichtige Phase des Sprachenlernens, und sie entwickeln sich in gegenseitiger  Abhängigkeit 

Annotation. This article analyzes types of speech activities and methods of their  training. Basically, the teaching process of speaking in German is compared with  the Uzbek language. The article analyzes in depth ways to develop speaking, listening comprehension, reading and writing skills, methodological approaches, communicative approach in language teaching. Each type of speech activity is an important stage in language learning, and they develop interdependently. 

Schlüsselwörter: Sprechaktivität, Deutsch, Methodik, kommunikativer Ansatz,  Sprachunterricht, Lesen, Schreiben, Hören, Sprechen 

Keywords: speaking activity, German, methodology, communicative approach,  language teaching, reading, writing, listening, speaking 

Speech activity is a means of satisfying basic communicative needs of a person. In  any language learning process, four main types of speech activities are distinguished: listening comprehension, reading, writing, and speaking. These skills  are seen as complementing and reinforcing each other. In modern language teaching  methodologies, the integrated training of these four skills is required. The same is  true for the study of German. This article examines each type of speech activity  separately and analyzes the differences, similarities, methodological approaches in  their teaching in Uzbek and German. In addition, the types of exercises used in the  formation of each skill, the structure of the lesson, the role of the teacher, and  methods of working with students will be extensively covered. 

1.Listening comprehension skills. Steps of Teaching Listening Comprehension in  GermanTypes of Listening Material (Audio Recordings, Video, Live Speech)Exercises: Global, Selective and Detailed Comprehension. Phonetic  differences in the Uzbek language and German, problems of pronunciation. The role  of context in listening comprehension. Listening comprehension is one of the core  skills in language acquisition. It not only supports oral communication but also helps  internalize pronunciation, intonation, rhythm, and syntactic structures of the foreign  language. In German language learning, listening plays a particularly crucial role  due to the language’s phonetic complexity and sentence structure. Steps of Teaching  Listening Comprehension in German.

The teaching of listening skills generally  follows a three-phase structure: 1. Pre-listening phase – This phase prepares learners  by activating prior knowledge, introducing key vocabulary, and setting the context.  It may include prediction exercises, discussion questions, or vocabulary  brainstorming. 2. While-listening phase – During this stage, learners engage with  the audio material. The teacher may focus on: Global comprehension: understanding  the general meaning or topic. Selective comprehension: identifying specific  information (e.g., numbers, names, dates). Detailed comprehension: analyzing and  understanding all elements of the text.

3. Post-listening phase – This involves  reflection and integration of the content through follow-up tasks like summarizing,  discussion, role-play, or writing a response. Types of Listening Material. A variety  of materials should be used to expose students to different accents, speaking speeds,  and contexts: Audio recordings: radio broadcasts, podcasts, dialogues, songs. Video  materials: TV programs, films, vlogs, documentaries. Live speech: conversations  with native speakers, guest lectures, interviews, or teacher-led storytelling. These  materials should be both authentic (real language use) and didactic (adapted for  learners’ levels), depending on the objectives of the lesson.

Exercises for Different  Comprehension Levels. Global comprehension tasks: identifying main idea, mood,  or theme of a recording. Selective listening: finding specific data (e.g., price, time,  place). Detailed comprehension: understanding cause-effect, opinions, or implied  meanings. Matching tasks, true/false questions, gap-filling, sequencing events, and  answering open-ended questions are effective formats. Phonetic Differences: Uzbek  vs. German . Uzbek and German differ significantly in phonetic structure: German  includes umlauts (ä, ö, ü), the ‘ch’ [ç] and [x] sounds, and the glottal stop, all of which  are absent in Uzbek. Stress patterns in German are more variable, whereas Uzbek  generally follows a more regular stress system. German consonant clusters can be  challenging for Uzbek speakers (e.g., Strasse, Frühstück). Vowel length (kurz/lang)  in German can change word meaning, a phenomenon not present in Uzbek. 

2. Speaking skills. Basic principles of the development of conversational speech in  German. Practicing forms of dialogue and monologue. Exercises aimed at  expressing free expression on social topics. Ways to improve speech flexibility and  vocabulary. Role plays, interactive lessons in language teaching. Conversational  competence in German is considered one of the central goals in foreign language  acquisition. To master spoken German, learners must develop not only correct pronunciation and intonation, but also the ability to spontaneously produce context appropriate responses, use appropriate vocabulary and grammatical structures, and  maintain coherence in longer dialogues or monologues.

Developmental Principles  of Conversational Speech in German. One of the basic principles in developing  speaking skills is communicative orientation, meaning that learners should use the  language not for rote repetition but for authentic communication. Language teaching  should therefore simulate real-life situations, where learners have to interact  spontaneously and meaningfully.

The development of speaking skills follows a  spiral model: initial basic speech patterns (greetings, self-introduction) gradually  evolve into more complex communicative tasks (debating, expressing opinion,  storytelling). Another key aspect is automatization – learners should be exposed to  a sufficient amount of practice to internalize language structures to the point where  speech becomes fluid and automatic. This involves repetition, but always in  communicatively meaningful contexts.

Practicing Forms of Dialogue and  Monologue. In language classrooms, both dialogue and monologue forms of speech  are essential. Dialogues foster interactive communication and help learners react to  partners’ input, while monologues encourage organized, extended speech such as  presentations or storytelling. For dialogue practice, some effective strategies  include: Information gap activities, where students must communicate to complete  a task. Interviews and peer questioning. Structured role-plays simulating everyday  scenarios: shopping, asking for directions, making appointments.

For monologue  practice, learners can be tasked with: Describing pictures or experiences. Giving  short presentations on familiar topics. Narrating a story or summarizing a text. Exercises Aimed at Free Expression on Social Topics. These tasks not only build  linguistic skills but also promote critical thinking and intercultural awareness,  especially when comparing perspectives from the target language culture (German speaking countries) with the learners’ own. 

3. Reading skills. Strategies for working with text. Types of texts taught in German:  Informative, Fictional, Formal Style. Development of reading technique: speed  reading, selective reading. Understanding the meaning of a word based on context.  Comparative analysis with Uzbek language teaching 

4. Writing skills. Stages of formation of writing competence in German. Types of  written speech: essay, letter, formal appeal. Correct application of grammatical  structure, spelling and punctuation. Creative Writing Exercises: Story Making,  Screenwriting. Criteria for evaluating written works 

5. Integration of types of speech activities. Methods of joint use of speech activities  in the classroom. CLIL (Content and Language Integrated Learning) training. Task based learning and Project-based learning methods. State Technologies in German  and Uzbek language teaching: online platforms, multimedia tools

Training of speech activities is at the heart of every language teaching system. An  integrated development of listening, speaking, reading and writing is important for  mastering a German language. Each type of speech is related to a different type and  reinforces each other. Therefore, emphasis should be placed on a comprehensively  integrated approach to lesson planning. The effectiveness of the language teaching  process increases through a communicative approach, interactive exercises, the use  of autistic materials. For teachers, this means the need to update their knowledge  and skills, to use modern methods. 

 References 

1.Bimmel, P., & Rampillon, U. (2000). Learning and working techniques German  as a foreign language. Langenscheidt. 

2. Glaboniat, M. et al. (2005). Profile German. Learning objective determinations,  optional descriptions and test tasks. Goethe-Institut. 

3. Nünning, A. (ed.). (2008). Fundamentals of Language Didactics of German as a  Foreign Language. Butcher. 

4. Bausch, K.-R. et al. (2003). Handbook of Foreign Language Teaching. Francke  Verlag. 

5.Funk, H. & Koenig, M. (2010). Target language German. Textbook and  Workbook. Cornelsen. 

6.Helbig, G. & Buscha, J. (2001). German grammar. Ein Handbuch für den  Ausländerunterricht. Langenscheidt. 

7. Thaler, E. (2012). Teaching German as a foreign language. UTB.

Christopher Bernard reviews Brazilian dance troupe Grupo Corpo’s 21 and Gira at Cal Performances

Bald person in a white ruffled tutu bending over to the left in a profile view.
Still from Gira, by Grupo Corpo. Photo: Jose Luiz Pederneiras

21 and Gira

Grupo Corpo

Zellerbach Hall

University of California, Berkeley

Gyres of Eshu

A review by Christopher Bernard

Cal Performances (the Bay Area’s most adventurous promoter of dance, music and live performance) delivered once again one late weekend in April, as part of its Illuminations: “Fractured History” series: Brazil’s formidably gifted dance company, Grupo Corpo.

Based in Brazil’s legendary Minas Gerais, and founded in Belo Horizonte in 1975, the company is driven by the synergistic talents of two brothers, Paulo and Rodrigo Pederneiras, house choreographer, and director and set and lighting designer, respectively, who have created, with their collaborators, an aesthetic that blends classical ballet and the complex heritage of Brazilian culture, religious and ritual traditions, the whole leavened by a musical culture that is wholly unique.

The company brought two ambitious dances to Berkeley’s Zellerbach Hall. The first was their breakout dance, from 1992, which put the company securely on the international dancing “map”: 21, a number that retains an enticing mystery to it. It also introduced one of the company’s musical signatures: the music and instruments of Marco Antonio Guimarães and the artists of the Uakti Instrumental Workshop. These last not only have a unique armamentarium of instruments, but even use their own microtonal scales, unless my ears were fooling me—essential elements of what makes the company’s work uniquely engaging.

21 was groundbreaking: a slow burn that used the entire company in a processus of simple chthonic motives, closely gripping the floor like the movements of wary but defiant jungle animals, on dancers at first dressed entirely in yellow bodysuits against a pitch-black background, appearing at first behind a misty transparent screen that creates a ghost-like effect, and rising midway through the work as the dance moved to illumination from mystery.

The dance began with a hypnotic monotony of group motions with slight variations against a polyphony of percussion and string and blown instruments entirely new to this listener’s ear, and gradually morphed into a succession of solos and increasingly elaborate duos, trios, and corps, by turns haunting, raunchy, and carnivalesque, until its energies, long simmering, boiled over and broke out into a joyously orgiastic conclusion that brought the Brazilian gods to the stage and the local audience to their feet.

The imaginative use of lighting and color, as well as the costume designs (which transmogrified from the monotone to the wildly polychrome) of Freusa Zechmeister, were as vital to the overall effect as motion and music.

The second dance, Gira (“Spin”), from 2017, takes the elements of spiritualist rite suggested in 21 and brings them unapologetically to the fore. The dance is based on the rituals of Umbanda (a merging of West and Central African religions such as Yoruba with Catholicism and spiritism) to the music of the jazz band Metá Metá and vocals from Nuno Ramos and Eliza Soares. The dance is based on rituals calling forth the spirit of Eshu, a deity who acts as a bridge between humanity and the world of the orixás of Ubamba, Condomblé, and the spiritualities they have in common. Eshu commands and drives the rite of the giras, or spinning, whose motions, like those of the dervishes of Islam, open the dancers to the gods and the gods to the dancers.

Gira evolved as a series of variations on the motions of the ritual, increasingly fugal, danced by the performers as if in the trance that the ritual aims, paradoxically, both to create and to emerge from. Both male and female dancers wore long white skirts and were bare breasted in a show of a curious mixture of vulnerability, beseeching, and seduction to bring forth the divine.

 It’s a beautiful and evocative work, if overstaying just a little.

Not to be forgotten is the technical brilliance of the dancers themselves: masters of their gifts, and sharpened by the equal mastery of the company’s leadership.

____

Christopher Bernard is an award-winning novelist, poet, and essayist and author of numerous books, including A Spy in the Ruins (celebrating its twentieth anniversary in 2025) and The Socialist’s Garden of Verses. He is founder and lead editor of the webzine Caveat Lector and recipient of an Albert Nelson Marquis Lifetime Achievement Award.

Photography from Jacques Fleury

Statue of Liberty superimposed on an image of Paris' Eiffel Tower.
City skyline on a sunny day with blue sky and a few wispy clouds in the sky. Tall skyscraper windows reflect the sky.
Painting of an older Black man with a beard resting his head on his fist. He's got on a jacket and a red cardinal is on his shoulder.
The word "JUSTICE" in black capitals on a gray concrete monument.
Back of a naked man with tattoos on his left arm walking through arched orange doorways to a patio with a hot tub and green plants.
Naked man from the behind walking on the steps of a resort with palm trees.

Jacques Fleury is a Boston Globe featured Haitian American Poet, Educator, Author of four books and a literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self”  & other titles are available at all Boston Public Libraries, the University of Massachusetts Healey Library, University of  Wyoming, Askews and Holts Library Services in the United Kingdom, The Harvard Book Store, The Grolier Poetry Bookshop, Amazon etc…  He has been published in prestigious publications such as Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, Poets Reading the News, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide, Boston Area Small Press and Poetry Scene among others…Visit him at:  http://www.authorsden.com/jacquesfleury.–

Poetry from Manik Chakraborty

Middle-aged South Asian man with a mustache, no beard, and a white collared shirt sitting in a wooden chair with a pillow. Flowers and curtains are behind him.

My mind is bored

With the fragrance of flowers,

The harp of the clouds rises and rings

To the rhythm of the swaralipi.

Seeing the mountains, my heart is fascinated

With the green call,

Come to the air,

The sun sinks into the ocean water

The evening lamp sets.

At night, on the blue sheet,

The water is painted with the colors of the lotus,

That’s why today, when I see it, I think

My mind is a poet

Poetry from Ari Nystrom-Rice

Sincerely Signature

My Signature hides in my skin

in places it could not see

when I didn’t want to

but hah!

I could feel them dripping inky blue luminescent stuff

My Signature does everything but lie flat

so now it is the flapping label

on my stomach

announcing bitterly that it was me

to which I wonder if

anyone is surprised

and if they want anything different from me.

And when they read my signature 

does it flip their switches

or pump magic ooze

How do I figure out

what my signature is for

And who’s going to tell me

what my signature is?