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
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
Mother, I’ve been deceived by this world, By the feelings it so easily unfurls. My heart is aching, heavy with pain — Mother, today, I feel drained.
Let me rest upon your knee, Sing to me a melody. Today, dear Mother, I need to say, So many words I’ve held at bay.
Your daughter never truly fell, She only bowed, and wore it well. They tried to break me — let them try But breaking me became their cry
Still, deep within, I cracked apart When friends betrayed my loyal heart That day still haunts me, lingers on — Why can’t I let it just be gone?
But hush, don’t worry, I’ll be fine Though shadows fall, the sun will shine So come, dear Mother, sit with me Let’s talk with hearts, and just be free
I’m tired of the masks of faces,
the lies have begun, the truth has stopped. False pictures become interlocutors, and now we live without seeing each other. I’m leaving on the road with my destination unknown, A friend walks beside me, a smile on his face. I don’t know where he got this mask he’s wearing now. Some face meets me, and the face changes as soon as he leaves me. Masks are so skillfully made, even a wise eye can’t sell them. When it’s not written, only masks, expiration dates and dates. Tell me too, where is that, the workshop of the mask maker. I found it. It’s an ownerless shop, but there’s a sign on the facade that says: “Take the mask you want and use it, as long as you leave the original face as payment!”
Munisa Rustamova is a 16-year-old creative mind from Yangiariq district, Khorezm region, Uzbekistan. She has a deep interest in both creativity and self-expression. Through poetry she gives voice to her inner feelings, emotions, and personal experiences. Her verses reflect a sincere and powerful connection to the human soul.
Now I want to share about my life. Are you ready to listen to me?. As we all know, every person suffers from painful losses at some point in their lives. My dad was on his deathbed…
Even while in pain, he used to lecture about how I should be there for my mom and sisters, protect them, and be the man of this family even at a young age.
I knew that day was coming, the day I would be losing my title “kid,” the day I would carry all responsibilities of my dad’s and also mine, and the day I would become father to my siblings.
It came… It was harder than I thought to bear the pain of losing the person you love the most and at the same time, to be strong for your family as the only man left now.
It was painful—the fact that I didn’t spend time with my dad a lot, the fact that we don’t have enough memories, and the fact that Dad doesn’t feel proud when I achieve the dreams I promised to him. To fix that, I started to spend more time with my mom; it wasn’t talking and chilling but more like cleaning the house, cooking in the early morning, and going to work together. I got a job in a clothes shop. It was harder than I thought, giving suggestions, communicating with different types of people, and handling their personalities.
Even though I faced some challenges at first by not managing time properly, in the end, I learned to be there for my family and work. Also, my teacher Shukurova O’g’iloy helped me a lot in learning English. She was always patient, kind, and understanding. Although English seemed tough to me at first, thanks to my teacher’s kind words and wise advice, I gradually fell in love with the language. She taught me grammar, pronunciation, and, most importantly, self-confidence. I was afraid to speak English before, but my teacher’s words, “You can do it,” made me confident. She gave me strength and confidence and never left me alone. Every lesson of my teacher was interesting, and I looked forward to each lesson. Instead of criticizing my mistakes, she patiently explained them and encouraged me to try again. This gave me great confidence. My teacher became not only a teacher for me but also a kind person, like a mother. She loved me, supported me, and cared deeply for me. That’s why I value her so much and love her like a mother in my life.
This challenge, one I cursed at first, taught me being strong doesn’t mean hiding pain; it means carrying it while still showing up for the people who need you. Most importantly, I discovered that real connection comes from shared moments, not expensive places. These lessons have shaped me into someone who values family, hard work, and growth.
My name is Annamurodov Umarbek, a passionate and ambitious high school student born on November 10, 2009, in Karshi, Kashkadarya Region, Uzbekistan!
I currently study at college. I have earned several educational grants and awards, and my achievements include being an IA volunteer, Collab Crew member, volunteer at a youth center, Youth Perspective Club member, Youth Run Club member, Avlod talk participant, coordinator of Kashkadarya, and 1-degree diploma.
With a deep interest in leadership, public speaking, and writing, I continue to work hard toward achieving academic excellence and inspiring others in my community. A bright example of this you can find on my Telegram channel @Annamurodovv_Umarbek.
When summer came, Aunt Anora would come to our house every evening with her granddaughter Humora to watch TV. Because there was no electricity in her hut. She would wake up at dawn in her house among the reeds and go around her yard – after all, she would take care not to let the animals eat the reeds. She would sell the reeds and help her family. Although she did not have much money, Aunt Anora could not stop working.
By the way, they had about a hundred sheep, more than seventy goats, more than thirty cows and dozens of horses – but still, Aunt Anora’s enthusiasm for work amazed everyone. The melon crops in their yard were overflowing – not only people, but even birds seemed to be waiting in line. After all, he didn’t trust anyone — “My own work, my own livelihood,” he always said.
When the sun was slowly setting below the horizon, Aunt Anora would come to our house, first opening her hands in prayer:
— Oh my God, You are kind. Don’t make me need anyone else but You. Take my life where I walk. Protect me from being a burden to someone while lying in bed. Amen… Allahu Akbar…
This prayer of his always seemed strange to me. After all, he has everything, right? If he doesn’t lack anything. Why does he ask for so much money? Unable to hide my surprise, one day I asked him sarcastically:
— Aunt, why are you so worried? In any case, we don’t have any…
He smiled, handed me the tea, and frowned:
— You’ll understand when the time comes…
At that moment, my daughter-in-law, Oisara, who was making a batch in front of the tandoor, said, “Zuhra, bring the bowls, we’ll make the soup.”
Years passed. Aunt Anora’s prayers rang in my ears. I went to study in Tashkent. However, soon after, a constant sore throat began to bother me. Sometimes I felt embarrassed in front of my friends. A year passed in such agony.
The second year of study began. But the pain in my body made me think more than the lessons. During this time, my heart would pound, I would feel weak, and my complexion would turn pale. I dropped out of school and returned home. The doctors examined me, and finally they gave me the diagnosis: pulmonary tuberculosis.
My head was spinning, my heart was pounding. Sometimes I could barely breathe. The doctors were surprised.
— This is the first time in my career that I have ever encountered such a situation, — said Sister Zaynab, her eyes sad.
My condition worsened day by day. At that time, Aunt Anora’s prayers kept ringing in my ears: “Take my life while I am walking…”. Could it be that I, too, would be bedridden and unable to drink a single mouthful of water without anyone’s help?
My heart shuddered. My limbs trembled, and my eyes filled with tears. Now I understood — no one wants to be in need, even the closest ones. Loneliness is the most painful cry in silence. For a person lying in bed, no one hears this cry. No comfort, no consolation can be a balm for your pain. Fighting illness alone is the most difficult test for a person.
One such day, I went to the window. Outside, the autumn breath was deep and the birds were chirping. But I couldn’t feel this beauty inside me. The sadness that was pressing hard on my heart was like darkness. My eyes were fixed far from the window – on the light clouds at the foot of the sky. For a moment, Aunt Anora came into my mind – she always emphasized that “One should not forget to be grateful.”
Suddenly, something trembled inside me. It was hope. Although the pain had taken over my body, my spirit had not yet been defeated. At that moment, my mother entered the room. Her gaze was as kind as if it were swallowing me, and in her hand was a bowl of hot soup. I looked at her – in this look there were a thousand words, in a thousand words there was only one plea: “I still want to live.”
She put the soup on the table and stroked my hair:
— You are strong, my daughter… You will pass this test too. As Aunt Anora said, one should not be absorbed in silence, there is life in it too.
Her words began to illuminate the darkness inside me a little. Perhaps this pain did not come to break me, but to teach me a lesson. Perhaps I am now understanding the truth that Aunt Anora said: a person should be grateful for every breath, every step, every mouthful of water.
A light whisper was heard in the silence. I did not know if it was the wind outside or the patience in my heart. But there was one truth that I knew:
Life is the realization of the blessing of opening your eyes every morning when you wake up. Every heartbeat is the belief in living.
The greatest truth that I realized during these difficult days was the wisdom hidden in Aunt Anora’s prayer.
She pleaded:
“Take my life where I am, don’t make me need anyone…”
At first, these words seemed to me just a fear of old age. But now I understand that this prayer was a request for humility before life, for the preservation of human dignity. Because lying in bed and needing someone’s help with every breath is a test not of the body, but of the soul.
I gradually began to recover. Every morning, when I wake up, I repeat Aunt Anora’s prayer:
“Oh my God, You are kind, don’t make your servant need anyone other than You…”
Now I have learned to walk with gratitude at every step, to feel life with every breath. Pain breaks the body, but patience makes a person an idol.
And I understood: sometimes one prayer changes a whole life.
Abdisattorova Hurshida was born on November 9, 1997, in the village of Olmazor, Chirakchi district, Kashkadarya region. She is currently a third-year student of Sports Journalism at the University of Journalism and Mass Communications.
Her articles have been published in the newspapers Hurriyat and Vaziyat, as well as on the websites Olamsport and Ishonch. She is also a participant of the international scientific-practical conference titled “Future Scientist – 2025.”
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.
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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.
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.
