“POETRY – BOTH PAIN AND REMEDY”

Our guest today is— a prominent representative of contemporary Azerbaijani poetry, a poet and publicist whose works are renowned in the Turkish world, often centered on themes of Turkism, national identity, and freedom; recipient of the Mahmud al- Kashgari Medal, laureate of the Gold Prize at the International Poetry Festival of the Turkish World, and honorary professor at the International Academy of Turkish Studies, Rustam Bekhrudi.

— In your poems, one feels the “suffering of the nation’s soul” and the breath of history. How does a poet’s heart reflect the pain of the homeland?

— In my poems, the people’s pain is not just words—it is breath. The wound of the homeland beats in the poet’s heart like blood; in every verse, there is a trace of the nation’s tears. That pain resonates within me like music—it is both melody and cry.

— You have touched many hearts with your work. Yet, have you ever faced injustice or denial along this path?

— Injustice has been my companion. Whoever speaks the truth will see a wall before them. I have seen it too. Yet I have not feared being denied—because the truth finds its way to hearts, and walls crumble one day.

 — In terms of life and creative progress, what does “patience” mean to you?

— Patience for me is a silent cry. Patience is the silence that holds rebellion within. Without that silence, words would hold no power.

— What tendencies in contemporary Turkish literature both delight and worry you?

 — What delights me is the search for identity and return to roots in contemporary Turkish literature. What worries me is vulgarity and soullessness. When literature becomes a marketplace, the poet loses their spirit.

— What does the phrase “literature is the heart of society” mean to you?

— “Literature is the heart of society” means that wherever the people’s blood flows, the poet’s words must flow there too. If there is no literature, the heart of society has stopped.

 — In the context of national identity, the spirit of the people, and Turkish unity, how can literature spiritually unite Turkic-speaking peoples?

— Literature can unite Turkic-speaking peoples through God’s same breath, through the power of language, through the power of the spirit. For the great unity of the Turks will not be forged by the sword, but by words.

 — Your poems are letters not only to the past but also to the future. For what future do you write?

— I write my poems for a future generation that will be free and never forget its identity. So that the Turkish children of the future may find their roots within my verses.

— In your view, is poetry the expression of pain, or a means to overcome it?

Answer: — Poetry is giving voice to pain, but in such a way that the one who shares it feels relief.

Poetry is both pain and remedy.

— In Sufism, the stage of “annihilation” (fana) leads to “eternal existence” (baqa). As a poet, how have you experienced this spiritual stage?

— For me, “fana” is to turn away from this world; “baqa” is to exist through words. A poet dies many times and is born many times in life. In each of my poems, I both disappear a little and exist a little.

— What is the form of resilience? Which harsh days of your life shaped you into the person you are today, Rustam Bekhrudi?

 — Resilience is standing up even after being broken. The harsh days of my life—imprisonment, persecution—did not break me; instead, they nurtured the poet within me.

 — In your opinion, what new awakenings does the Turkish world need today?

— The Turkish world needs a new awakening—to return to its roots, to protect its language, history, and culture, and carry them forward. Without this awakening, a nation will lose itself.

— Sometimes a poet challenges their heart to the hearts of others. How do inspiration and creative suffering influence each other in you?

 — Inspiration is God’s breath for me. Yet, when that breath comes, suffering also rises within my heart. Creative suffering and inspiration complete one another—without one, the other cannot exist.

 — Among the images you create—“Soullessness,” “Tear,” “Wound,” “Memory”—which have you

lived most fully?

— I have lived most in the “Wound.” Because wounds do not heal; they bleed throughout a poet’s life. “Memory” and “Tear” are there too, but “Wound” has defined me most.

— The word “nation” in your mind signifies not only love for the homeland, but also memory, suffering, and honor.

How do you think young people perceive this feeling today?

— For me, “nation” is memory before land. Some young people today understand the nation only through flags and anthems. But a nation is suffering, blood memory, a burden of honor.

To grasp this depth, one needs words, one needs literature.

— What dreams occupy your mind currently?

What are you engaged in?

 — From the window of the “Acı Badem” hospital, I watch plane trees whose leaves have just begun to turn in pain… People are like trees! There is no place to run, no refuge here… I once said: “Man is born alone, lives alone, and dies alone.” Now, what is meant to happen, happens! I was born one autumn morning when wolves howled; when the wolves arrive, everything will end! God had given me a mission—to light the path from Turkish lands to Mount God, to read the poems of nameless heroes along that road, to convey the light of the “Golden Apple”! Have I succeeded? I do not know! Such is the life I have lived!

                          Awake, my soul, why dream so deep?

                         Another dawn may never keep.

                        A call resounds from God’s high height—

                        Rise, let us seek the “Red Apple’s” light!

Jakhongir Nomozov is a young poet and journalist from Uzbekistan. He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

Work Anxiety Dream: The Haunting

All the bar walls feel hot and achingly

alive. Even the windows are breathing,

in and out, bending as if they have been

made elastic to accommodate an impossible

move. I look into the back bar mirrors

and two of the three faces of Eve look

back at me mocking my uncertainty,

my fear that cannot accommodate

of the already low ceiling, with its fake

tin overlay, is shrinking, compressing,

inching downward into what feels like

a torture chambered night. Then all 12 of

the for-sports TV’s turn themselves onto

different horror show channels, creating

a kind of cacophonous haunting in a dozen

different tongues, each more foreign

than the next tat feels like a festival

of technicolor blood and gore only a real

human sacrifice can allay.  All freezing

in place, soundless as an autoplay

on the juke cranks out the Iron Maiden

 album, The Prisoner, “I’m not

a number, I’m a free man!”

Then AC/DC Hell’s Bells, then Blue

Oyster Cult, Don’t Fear the Reaper

but I do.

A Beast in the Jungle: A Work Anxiety Poem

Waking up after sleeping in

the heat, bar interiors have been

transformed into taxidermy dreams

that make no sense.

Bewildered, I feel like Captain Willard

in a Saigon hotel seeing the overhead

fans as chopper blades descending

into a jungle instead of safely, behind

the lines, where dreams are the enemy

and there is no escaping the prison he is in.

Instead of in country, I’m in the bar,

Looking over Norman Bates’ shoulder

at birds of prey poised to attack,

at pointed antlers from long dead

steers, hear the rutting elks in the zoo,

fear the mounted wild cat heads,

the rare white buffalo skins and

the signs that say: CAUTION:

DO NOT TOUCH ENDANGERED

SPECIES, as if somehow, touching

them might make them more dead

than they already are.

I can barely see what must have been

the bar beyond the walls of mounted

heads receding into the darkness with

each tentative step I take.

The darker it becomes, the louder the dead

animal noises become and the jungle

I was now in, more confining and alive.

I check my sidearm to make sure it

is still loaded and walked on.

What else could I do?

Dormitory Fire: a work anxiety poem

I can smell the smoke from a dormitory fire,

in a building that would be attached  to

the second floor of the tavern where

the overflow auxiliary bar would be if we

had one.

Though it is a semester break, there are a

few kids who have no homes staying in rooms

where fire alarms would be if the smoke

and the dorms were real.

My bar back rescues what could be

saved before the blaze becomes fully

involved.

I feel justified not helping out as someone

has to stay behind to mind the store.

Still, I feel  a sense of guilt though

the authorities all say, “Just as well

you didn’t get involved, the old guys

always get in the way.”

Somewhat mollified, I am confronted

by a young woman from a 40 years ago

poetry workshop insisting she is my betrothed

though we both know I am married

to someone else.

The last time I saw her, decades ago,

she had short black hair cut in a page boy

but now it is dyed purple, shaved on

one side and long on the other with

curly bangs. “I just had it done,” she says,

“how do you like it?”

I think it looks awful but I don’t say anything.

Then she wants to take her home and

do what must be done.

Whatever that might be.

We leave together but I don’t know

where we are going.

Apparently, I have no say in the matter.

“Boy, are you in for a surprise.” She says,

as if that was a good thing.

I know this is the time to object

but I don’t say anything.

There is no explanation for any of this.

Work Anxiety Dream: No Exits

The sense is that my former

employer has a No Compete

option on my professional

services but as I have been retired

for over ten years, it seems unlikely

it could be applied. Still, I feel

guilty considering the new guy’s

offer to manages as, “the obvious

choice,” of a new bar in the cellar

where my first fulltime work was.

I’m inclined to say no but

this project is intriguing.

They show me around the place

which takes about two minutes,

as there isn’t anything to see:

just a freshly painted square space

with no tables, chairs, stools or

even a functional bar. They say,

“You just have to imagine those

being there.” I’m thinking this

project has more to do with Room

than The Tavern but I reserve judgment

until I hear their pitch. “We figure

that we can get maybe 200 or so

bodies in here.” And I’m remembering

that the tavern in this space had

a max capacity of 120 and it was

wider than this one, as these new guys

seem to have figured out a way to shrink

the walls and raise the ceiling

while removing all the personal touches

that make a college bar a desirable

hang out.” What do you think?”

They ask, and all I can think of is

the fire inspectors who used to hang out

here after checking out the high rise

mausoleums at the state school that

were being used as dorms saying,

“Those buildings are fire traps but this one

is worse. Where are the fire exits?

There aren’t any anyone could get to,

is there?” I looked around, though

I knew they were right. I said to the new guys,

“200 bodies seems just about right.”

Snowbound: A Work Anxiety Dream

Maybe it was the wind in that dream

of being snowbound in the bar,

one of those dreams so real,

it’s impossible after, to remember

what was real and what was dream

as is stand watching the snow drift

on Western Avenue, no cars moving,

no people walking, no cross country

skiers, nothing but the wind and

the still leafy tree limbs snapping,

falling taking the power wires with them,

no light anywhere but half a block

where the bar is, house lights dimmed,

MTV on mute Eurythmics surreality,

“Sweet Dreams Are Made of These,”

though there is nothing sweet

about this dream once the black

curtain is drawn down across

the bar and a spot light haloes

a silent talking head like something

out of Cassavetes and we’re in

their living room improv acting,

uncomfortable closeups and heat

lamps inducing sweating fever dream

soliloquies then the light switches off

and we hear three voices like something

from a Beckett play set in a graveyard

with beer taps and Irish whiskey added,

and their voices modulate in a kind of

crazy loop tape summary  of their lives

together, tales of love, and hate and

lust that death does not have the power

to end and then the ghost light behind

the bar switches off and there is nothing

but darkness, a black shroud that used

to be a curtain and the muted voices

of all the people who died here calling

for a drink.

Night Walking: a work anxiety poem

All the addresses on

the buildings are the same

All the front doors

All the curtained windows

All the store fronts

exactly the same

All geometric as pieces

of jigsaw puzzle

a lab testing rat maze

you feel as if

you are walking in

but somehow remain

rooted in place

as the walls slide by

as the storefronts

curtained windows

front doors the same

of all the buildings

with the same address

on streets without lights

you cannot move on

out of breath

wheezing

from all the efforts

of standing still

all the effort expended

going nowhere

INTEGRATING DIGITAL TECHNOLOGIES INTO SCHOOL: GAME TOOLS. EDUCATION-BASED LEARNING AND INNOVATION

ANNOTATION.

This article analyzes the role of digital technologies in the preschool education system, in particular, the possibilities of increasing the effectiveness of lessons through interactive tablets, VR technologies, and game programs for children. It also discusses the relevance of the game-based learning methodology today and its impact on the educational process.

KEYWORDS: digital technologies, preschool education, interactive whiteboard, game-based learning, VR technology, innovative education.

INTRODUCTION.

In recent years, the use of digital technologies in education has been developing rapidly. This process is also reflected in the preschool education system. After all, today’s children are representatives of the digital generation, and they are introduced to information technologies from an early age. Therefore, the use of technologies such as interactive whiteboards, tablets, and virtual reality (VR) in classes not only increases the effectiveness of education, but also increases children’s interest in learning.

MAIN PART.

Preschool educational institutions – in the formation of a child’s personality

is an important stage. Therefore, it is important to give children innovative thinking skills from an early age through the use of modern educational technologies. With the help of interactive tools, educational processes are organized in a more lively, interesting and memorable way. In this process, interactive boards allow educators to conduct lessons visually using various pictures, animations, and videos, in addition to simple explanations. Tablets allow for an individual approach to working with children. During the learning process, each child is given separate tasks, and their results can be monitored in real time. Virtual reality technologies can take children on a journey into the world of imagination. A preschooler can “fly into space” or dive to the bottom of the ocean using VR glasses. This not only increases interest, but also consolidates knowledge based on a clear imagination.

The fact that children learn through play has been proven many times by psychologists. Therefore, through game programs and applications, skills such as mathematics, language learning, and logical thinking are effectively formed. Special mobile games for learning English, interactive programs for introducing numbers give effective results.

Despite the fact that the use of these methods has yielded high results in improving the quality of education, there are still unresolved problems in the implementation of digital technologies today: these include the lack of technical equipment, the lack of teachers’ ability to use technologies, and the lack of

low skills or parents’ concerns about children spending too much time in front of gadgets. The solution to these problems is to strengthen the technical base in institutions, train teachers in regular professional development courses, work in partnership with parents, and limit the time spent using technology. CONCLUSION.

In today’s rapidly developing era, the effective integration of digital technologies into the preschool education system during the lesson is a must. Interactive whiteboards, tablets, VR technologies and game-based learning methods increase children’s interest in learning. Also, the rational use of digital tools allows educators to more conveniently manage the pedagogical process, regularly monitor children’s development and strengthen effective cooperation with parents. However, when using digital technologies, it is important to take into account the age characteristics of the child and ensure information security.

The introduction of digital technologies in preschool education is a key requirement of modern education, which creates a solid foundation for the formation of 21st century skills in children and the upbringing of a competitive and intellectually mature generation. Therefore, today it is necessary to widely use these tools in the modernization of the education system.

References:

1. Strategy of the President of the Republic of Uzbekistan “Digital Uzbekistan 2030”.

2. Data from the Ministry of Preschool and School Education of the Republic of Uzbekistan (2021).

3. Prensky, M. (2001). Digital Natives, Digital Immigrants. One the Hoziron.

4. Gee, J.P.(2007). What Video Games Have to Teach Us About Learning and Literacy.

Abdirashidova Ozoda was born in Chiraqchi district of Kashkadarya region and studied at the Pedagogical Faculty of Karshi State University, majoring in Preschool Education. She’s an ambassador and member of international organizations and the holder of international certificates.

Topping From the Bottom and the Top by Kandy Fontaine (Alex S. Johnson)

I’ve spent decades in the velvet trenches of kinky erotica, writing alongside and in tribute to masters like Kate Bornstein, Thomas S. Roche, Thea Hillman, Patrick Califia, Edo van Belkom, Lucy Taylor, and Maxim Jakubowski. My work is a ritual of rupture, a glitter bomb of desire, a scream stitched in leather and lace. And if there’s one thing I’ve learned from living, loving, and leaking in this world—it’s that power is never simple. It’s never static. It’s never one-directional.

I’m a dominant. I’m genderqueer. I’m neurospicy. And I love to mix it up.

Being Queer is a high. A sacred intoxication. It’s the kind of pleasure that makes the strongest alcohol taste like ginger beer. But let’s be clear: BDSM is not unhealthy. Quite the opposite. It’s one of the most psychologically and emotionally grounded ways to explore intimacy, power, and trust.

In fact, studies have shown that BDSM practitioners tend to be healthier than the general population. A 2013 study published in the Journal of Sexual Medicine found that BDSM participants scored better on measures of psychological well-being, including lower neuroticism and higher levels of secure attachment. Another study published in the Journal of Homosexuality in 2025 replicated these findings, showing that BDSM practitioners exhibit higher emotional resilience, lower rejection sensitivity, and greater overall well-being.

So let’s kill the myth. BDSM is not abuse. It’s not pathology. It’s not a symptom. It’s a circuit. It’s a ritual. It’s a scream that listens.

What turns me on the most? Imagining a circuit where I am both the bottom and the top—not alternately, but intensely and simultaneously. I want to dominate while surrendering. I want to control while being undone. I want to bring a partner off—be they male, female, or some glorious new gender I haven’t yet encountered—and feel their climax as my own. That’s not just sex. That’s communion.

The great leaders are servants. The master is a slave to his slave. And you don’t need to read Hegel to understand it.

Responsibility and trust are essential. This is never about anger. Never about abuse. Never about taking your emotions out on someone else.

Those people? They’re not kinky. They’re criminals.

BDSM is about consent, communication, and care. It’s about knowing your partner’s boundaries better than your own. It’s about listening with your whole body. It’s about crafting a scene that’s not just erotic—but sacred.

If you want to experience pleasure so intense it makes the strongest drug seem like ginger beer, look into BDSM and D/s. Discover your own circuits. Read the ones who’ve paved the way:

• Kate Bornstein – gender outlaw, ritualist of identity
• Patrick Califia – fierce, fearless, and foundational
• Thea Hillman – poet of the body and its contradictions
• Carol Queen – sex-positive priestess of the written word
• Susie Bright – the original voice of erotic intelligence
• And yes, me—Kandy Fontaine, velvet insurgent, archivist of the obscene

You’re welcome. Love and 40 lashes, Alex S. Johnson / Kandy Fontaine

Sources:

• Psychological Characteristics of BDSM Practitioners – Journal of Sexual Medicine
• BDSM Practitioners Exhibit Higher Secure Attachment and Lower Neuroticism – Journal of Homosexuality

1bing.com2www.psypost.org

Corridors of Conscience

My Dialogue with the Painting of Dr. Alaa Basheer

Look into the depths of a shattered head,

The lines intertwine like thorns,

Dancing in the corridors of blue shadows,

Where silence clashes with the moan of souls.

O fading conscience,

You who have become a cloud pursued by the winds of conflict,

Do you dwell in the prisons of memories?

Or swim in the swamps of lost dreams?

Heads merge with the roots of the earth,

Turning into branches without features,

As if they are trees searching for the fruit of truth.

O you who are lost in the forests of noise,

Your lines have been colored in black and blue,

As if you scream without a voice:

“Where are you, O hidden light?”

Chains coil around the neck of the dream,

Yet the soul dances in the spaces of the unseen,

Searching for a conscience turned into the rubble of fear.

O human of today,

Do you still hear the steps of your burdened conscience?

Do you still touch the face of truth in the mirror of distortion?

The search is long like the paths of the wind,

But if you walk through the alleys of the self,

You will realize that conscience is not absent,

It is you, in your deep self, waiting.

—

Poem by Her Royal Highness Princess

Donia Sahab – Iraq

The Painting by the World-Renowned Visual Artist Dr. Alaa Basheer

______________________________________

أروقة الضمير

حواري مع لوحة د. علاء بشير

انظر في أعماق رأس مَهشم،

تتشابك الخطوط كالأشواك،

تتراقص في أروقة الظلال الزرقاء،

حيث يصطخب الصمت مع أنين الأرواح.

أيها الضمير المتلاشي،

يا من صرت غيمة تُطاردها رياح الصراع،

هل في سجون الذكريات تسكن؟

أم في مستنقعات الأحلام الضائعة تسبح؟

الرؤوس تتماهى مع جذور الأرض،

تتحول إلى فروع بلا ملامح،

كأنها شجر يبحث عن ثمرة الحقيقة.

يا من ضاع في غابات الضجيج،

تلوَّنت خطوطك بالسواد والزرقاء،

كأنك تصرخ بلا صوت:

“أين أنت، أيها النور الدفين؟”

القيود تلتف حول عنق الحلم،

لكن الروح ترقص في مساحات الغيب،

تفتش عن ضمير أحيل إلى ركام الخوف.

يا إنسان اليوم،

أما زلت تسمع خطوات ضميرك المثقل؟

أما زلت تلمس وجه الحقيقة في مرآة التشوه؟

البحث طويل كطرق الريح،

لكن إن سرت في أزقة النفس،

ستدرك أن الضمير ليس غائباً،

إنه أنت، في نفسك العميقة، ينتظر.

—

القصيدة بقلم الشاعرة الأميرة الهاشمية

دنيا صاحب – العراق

اللوحة الفنية بريشة الفنان التشكيلي العالمي د. علاء بشير

The development of Uzbek literature: historical periods, processes of formation and prospects

Abstract: The article analyzes the formation of Uzbek literature, stages of development, examples of classical and modern literature, changes and prospects that occurred during the period of independence from a scientific and literary point of view. Issues such as the sources of literature, stages of formation, high examples of classical literature, literature of the 20th century, literature of the period of independence, factors influencing the development of literature, and prospects of literature are considered.

Keywords: Uzbek literature, history, development, classical literature, modern literature, independence, literary studies, literary criticism, perspectives.

Uzbek literature is an integral part of the rich cultural heritage of the peoples of Central Asia and has a long history. During this history, our literature has undergone various socio-political and cultural changes, developing through its own directions, genres and styles. This article analyzes the stages of formation of Uzbek literature, development trends, examples of classical and modern literature, as well as the changes and prospects that have occurred in our literature during the period of independence from a scientific and literary point of view.

The roots of Uzbek literature go back to ancient times. Examples of oral literature include epics such as “Alpomish”, “Go’ro’g’li”, proverbs, riddles, legends, and tales that reflect the lifestyle, worldview, dreams, and moral values of the Uzbek people. These examples of oral literature have been passed down from generation to generation, laying the foundation for the formation of the Uzbek literary language and the development of artistic thought.

The formation of written literature mainly dates back to the 9th-12th centuries. During this period, literary works created in the Turkic language based on the Arabic alphabet, in particular, Yusuf Khos Hajib’s “Kutadgu bilig” (“Knowledge Leading to Happiness”), are considered one of the first written examples of Uzbek literature. “Kutadgu bilig” raises issues such as state administration, morality, justice, and acquiring knowledge, and provides important information about the socio-political and cultural life of that era.

Although there was some stagnation in literary life as a result of the Mongol invasion in the 13th-14th centuries, our literature rose to a new level in subsequent periods. In particular, the era of Amir Temur and the Temurids is recognized as the “golden age” of Uzbek literature. During this period

Great attention was paid to the development of culture and science, and cities such as Samarkand, Bukhara, and Herat became major cultural centers.

In the 15th century, the literary activity of Alisher Navoi opened a new page in the development of Uzbek literature. Navoi turned the Uzbek language into a literary language and demonstrated its potential. His epic poem “Khamsa” (“The Five”), the divan “Khazoyin ul-maoniy” (“The Treasury of Meanings”), and the work “Muhokamat ul-lug’atayn” (“The Discussion of Two Languages”) are considered high examples of Uzbek literature. Navoi’s works widely cover such themes as humanistic ideals, justice, enlightenment, love, friendship, and patriotism.

Uzbek literature continued to develop in the post-Navoi era. Zahiriddin Muhammad Babur’s “Boburnoma”, translations and ghazals by Muhammad Riza Ogahiy, and the works of poets such as Munis Khorezmiy, Kamil Khorezmiy, Rojiy, Nodira, and Uvaysiy enriched the treasury of Uzbek literature.

The 20th century is characterized by modernization, the emergence of new directions, genres and styles for Uzbek literature. During this period, such movements as realism, romanticism, and modernism became widespread in literature. Writers such as Fitrat, Chulpon, Abdulla Qodiriy, Oybek, Gafur Ghulom, Hamid Olimjon, Zulfiya, Mirtemir, Abdulla Oripov, and Erkin Vohidov made a great contribution to the development of Uzbek literature.

Works such as Fitrat’s “O’g’uzxon”, “True Love”, Chulpon’s “Night and Day”, Abdulla Qodiriy’s “Bygone Days”, “Mehrobdan Shayon”, Oybek’s “Kutlug’ blood”, Gafur Ghulam’s “Shum Bola”, Hamid Olimjon’s “Zaynab and Amon”, Zulfiya’s “Men Seni Sevaman”, Shukur Kholmirzayev’s “On’n-sixga kirmagan kim bor”, and Abdulla Oripov’s “O’zbekiston” are considered among the finest examples of Uzbek literature.

Although literature was under ideological pressure during the Soviet era, our writers tried to reflect the pain, hopes, and national values of the people in their works. The literary works created during this period served to enrich the spiritual world of the Uzbek people and preserve their national identity.

A new generation of young writers is emerging, trying to reflect the pressing problems of modern life, the dreams and hopes of young people, and human relationships in their works.

During the period of independence, great attention is also paid to translation work in Uzbek literature. The best examples of world literature are translated into Uzbek, which serves to enrich the spiritual world of Uzbek readers. At the same time, the best works of Uzbek literature are also translated into world languages, and efforts are being made to introduce Uzbek literature to the world.

The development of Uzbek literature is closely related to many factors. Factors such as socio-political changes, cultural renewal, technological developments, improvement of the education system, development of literary criticism, activities of publishing houses, and the rise of reading culture have a positive impact on the development of our literature.

In the context of globalization, the integration of Uzbek literature with world literature, the expansion of literary ties, and the participation of our writers in international literary forums are serving to increase the prestige of Uzbek literature.

The future of Uzbek literature is bright. The achievements made during the period of independence, the opportunities created, the emergence of a new generation of writers, and the integration of our literature with world literature inspire confidence in the further development of Uzbek literature and its rise to new heights.

In the future, Uzbek literature will continue to develop such trends as understanding national identity, deeply reflecting the spiritual world of man, highlighting the urgent problems of modern life, and keeping pace with world literature. New genres, styles, and directions will emerge in Uzbek literature, a new generation of young writers will emerge, and a unique place for Uzbek literature in world literature will be formed.

In conclusion, Uzbek literature has a long and rich history, and has developed in different directions, each of which has its own characteristics. During the period of independence, our literature has reached a new level and has great potential for further development in the future. The development of Uzbek literature is closely related to the spiritual maturity of the Uzbek people, the process of understanding their national identity. Therefore, it is the duty of each of us to pay attention to our literature, support it, encourage young writers, and improve the culture of reading.

Literary studies and criticism are important in the development of literature. Literary scholars analyze literary works from a scientific perspective, determining their artistic value, ideological direction, genre characteristics, and stylistic peculiarities. Critics, on the other hand, evaluate literary works, point out their positive and negative aspects, give advice to writers, and guide the literary process.

During the period of independence, significant changes also took place in the field of literary studies and criticism. Our literary scholars gained the opportunity to analyze literary works objectively, free from ideological pressure. Our critics, in turn, gained freedom in evaluating literary works. The development of literary studies and criticism serves the qualitative growth of our literature, the improvement of the skills of writers, and the formation of the literary taste of readers.

References:

1. History of Uzbek Literature (5 volumes) Institute of Language and Literature of the Academy of Sciences of Uzbekistan. Tashkent, 1977-1980. (The main source of Uzbek literature, a classic work of literary criticism)

2. Alisher Navoi. Khamsa Tashkent: Gafur Ghulam Literature and Art Publishing House, 1968. (Navoi’s life and work, analysis of the epic poem “Khamsa”)

3. Abdulla Qodiriy. Days gone by – Tashkent: Sharq Publishing House, 2019. (Analysis of the novel, the life and work of the writer)

4. Oybek. Kutlug’ kón Tashkent: Uzbekistan Publishing House, 2017. (Analysis of the novel, the life and work of the writer)

5. Erkin Vohidov. Selection Tashkent: Sharq Publishing House, 2016. (The poet’s life and work, analysis of his poems)

6. Abdulla Oripov. Selected Works Tashkent: Sharq Publishing House, 2018. (The poet’s life and work, analysis of his poems)

7. Zulfiya. Pages of Life Tashkent: Gafur Ghulam Literature and Art Publishing House, 1985. (The poet’s life and work, analysis of her poems)

8. Journal “Uzbek language and literature” – Academy of Sciences of Uzbekistan. (Articles on literary studies)

9. “World Literature” magazine, Writers’ Union of Uzbekistan.

(Articles on world literature, translations)

10. ZIYO.UZ website (www.ziyouz.uz) Information about Uzbek literature, the life and work of writers.

11. Wikipedia (uz.wikipedia.org) Information about Uzbek literature, the life and work of writers.

12. Kitob.uz website (www.kitob.uz) – information about Uzbek literature and books

13. Google Scholar (scholar.google.com) academic articles on literary studies. Uzbek

When I think of ages past That have floated down the stream Of life and love and death, I feel how free it makes us To pass away.

Rabindranath Tagore

Welcome, readers, to September’s first issue: The Stream of Life, Love, and Death.

Sayani Mukherjee speaks to the weight of the world’s grief, of millions of lost loves over historical time.

Ahmed Miqdad quests for love and peace in Gaza, all in vain. Yucheng Tao bears witness to genocide in Cambodia through his evocative poem where memory and grief echo off the rocks and pages of history. In his piece, self-declared pure idealism leads only to death.

Eva Petropoulou Lianou addresses the issue of domestic violence. Christopher Bernard reflects on humanity’s continual state of conflict among different groups as Patricia Doyne excoriates tolerance for school shootings and immigration enforcement violence in the United States.

Alex Johnson speaks to the need for radical creativity as resistance to the forces of death and authoritarianism. Mary Bone captures moments of human and animal growth and creation. Jacques Fleury discusses the need for humans to coexist equitably with each other and with the wide diversity of natural creatures who share our planet.

Luis Cuauhtemoc Berriozabal speaks to energy, creativity, and the need to support young people. Xudoyqulova Shahzoda highlights Uzbekistan’s efforts to empower the young, the disabled, and women. Rayhona Sobirjonova expresses her gratitude for a caring teacher. John Sheirer’s short story depicts a boy learning a mixture of love and toughness from both a father and stepfather. Bill Tope presents the story of a mother determined to overcome obstacles and keep her family together. Muhammadjonova Muzayyana praises the love and care of her devoted mother. Judge Santiago Burdon’s video presents an ironically humorous tale of a man’s adult son coming out of the closet.

Otaboyeva Zuhra shares how education can transform a young woman’s life. Madina Furkatova highlights efforts to educate and empower young women in Uzbekistan. Muhammed Suhail reflects on the indispensable contributions of women to shaping the early days and teachings of Islam. Bhekisisa Mncube reviews Nthikeng Molele’s novel Breasts, etc, a feminist story of a group of women and a man who photographs them nude. Anna Keiko shares her determination to live out her calling as a poetess, in honor of the many female trailblazers throughout history.

Rahimova Dilfuza Abdinabiyevna shares ways to heighten students’ communication competence. Boboqulova Durdona outlines ways to engage students in active learning. Sevinch Mukhammadiyeva talks up a student leadership conference she attended, “Office of the Future.” Panoyeva Jasmina O’tkirovna highlights advantages of blended classrooms and self-study combined with instruction. Nafosat Jovliyeva discusses roles for technology in language learning. Dilshoda Jurayeva urges students to learn and adopt self-discipline as a study tool. Janna Hossam discusses the problem of burnout in gifted children.

Abigail George speaks to finding and claiming beauty and selfhood in the face of mental illness. Tursunbayeva Shohida Baxtiyor traces the history of diagnostic methods in psychiatry. Ana Petrovic speaks to the confluence of forces and emotions rising up in the human psyche. Brian Barbeito journeys through real and surreal worlds to tend and befriend the different and the marginalized. Hua Ai speaks to the wildness still inherent in our feelings and encounters with urban nature. Joan McNerney draws on elegant nature metaphors to describe love and the transitory states of life. Mark Young speaks to growth and transformation in our bodies and the natural world. Anakha S.J. compares maintaining feelings of love to tending a flower. Mahbub Alam presents a joyful couple forgetting themselves among the beauty of nature and their blossoming romance. Jerome Berglund and Christina Chin’s tan-renga present an adorable take on modern relationships. Mesfakus Salahin’s extensive nature metaphors speak to the psychology of a lover.

Brian Barbeito reflects on a random capricious day with various encounters, positive and negative, with people and nature. Chimezie Ihekuna expresses cynicism about the hypocrisy inherent in many relationships, Raisa Anan Mustakin laments people’s growing isolation and separation from each other, and Alan Catlin processes work anxiety through dreams while out in pastoral greenery. Nageh Ahmed evokes feelings of both love and loneliness under the moonlight as Wazed Abdullah finds inner peace in lunar light. Mykyta Ryzhykh evokes efforts of love in the face of the loss of innocence. Duane Vorhees speaks to the vulnerability and unpredictability inherent in love.

Vohidova Ruxshona discusses the internal composition of Saturn and the wonder of the far-off universe. Don Bormon expresses his fascination with a constantly changing cloudy sky. Abdurrahim Is’haq’s artwork of a door shrouded in shadow and sunlight evokes mystery and wonder.

Abdulboqiyev Muhammadali turns to medicine as a subject, sharing some of the warning signs of a stroke. Eshmurodova Sevinch discusses how modern financial technology can improve the functioning of global economic systems.

Mathematics is also part of our physical universe, and Mamadaliyeva Durdona shares methods for solving systems of linear equations. Mardonova Marjona finds the beauty in each season, in change, as David Sapp revels in “relentless” natural elegance. Nikhita Nithin sways with the wind during a neighborhood festival. Nilufar Mo’ydinova offers suggestions on how to live sustainably with nature, suggesting improved environmental practices for the publishing industry.

Sushant Thapa writes of finding happiness wherever he can in life as Stephen Jarrell Williams enjoys a tender moment with his wife and Mahbub Alam loses himself in the joy of nature and love. Maja Milojkovic speaks to a transcendent love, present even when the couple is apart, echoed in endless mirrorings on water’s surface. Summer Kim takes joy in transitory childhood moments and memories. Su Yun’s Chinese bilingual elementary students write joyfully about nature and play. Sharifova Saidaxon reminisces about her happy childhood as Xo’jamiyorova Gulmira remembers her elementary school days and classmates.

Dilnoza Bekmurodova reflects on how she will always hear the unmistakable call of her home. O’g’iloy Bunyodbekovna Muhammadjonova sings the praises of her radiant Uzbek homeland. Maftuna Rustamova finds comfort and peace in her heritage as Ozodbek Narzullayev joins in the reflections on Uzbekistan. Nomozaliyeva Hilolaxon analyzes how the film “Suv Yoqalab” reflects Uzbek cultural values. Maxmudjonova Begoyim considers the weight and grace of her Turkish heritage as Dr. Priyanka Neogi shares a poetically beautiful tale of the Indian flag. Eva Petropoulou interviews Greek sculptor and painter Konstantinos Fais, who is examining the myth of Hercules to revive classical civic virtue for modern Greeks.

Uzbekistan’s writers go beyond heritage to relate how the nation is currently a source of pride, as Jumaniyozova Nazokat discusses the potential for wellness tourism in Uzbekistan. Madinabonu Mamatxonova describes rapid Uzbek economic growth driven by entrepreneurship. Xurshida Abdisattorova highlights the accomplishments of an Uzbek mixed martial arts coach. Meanwhile, Shahnoza Ochildiyeva outlines what Central Asian countries, and the rest of the world, can learn from Finland.

J.J. Campbell explores different sides of memories: nostalgia, loss and mourning, and the quest to separate oneself from toxic or false aspects of the past. Brooks Lindberg laments the death of glaciers through a poem that grants nature a measure of agency even in melting. Jake Cosmos Aller reflects on historical revision at the Smithsonian Museum.

Grzegorz Wroblewski’s fresh installment of asemic poems evoke the aesthetic of language as a part of human culture. Ken Gosse’s ars poetica defends the power of rhyme and meter in a world of free verse. Graciela Noemi Villaverde celebrates the mysterious and poetic works of Jorge Luis Borges. Dr. Jernail S. Anand argues for the primacy of literature as a study and discipline to help us return to our humanity as Mirta Liliana Ramirez does something similar, depicting dance as an act of love to add beauty to life.

Michael Robinson shares, in his final piece after ten years of writing for Synchronized Chaos Magazine, the family and sanctuary he has found through his faith.

Susie Gharib draws on historical mythology to explore our place in the world and our vulnerabilities as humans. Patrick Sweeney’s tiny vignettes capture distinct moments in human life: wonder, confusion, humor, or just us pondering being alive. Taylor Dibbert relates the paradox of what happens when we care too much – or too little – about money. Santiago Burdon explores human nature in his tale of a chance encounter on an airplane.

Finally, Sarvinoz Orifova reflects on the nature of hope and the power of holding on to it during challenging times.