Synchronized Chaos’ Mid-May Issue: Staying Human

John P. Portelli's book cover of Unsilenced: Poems for Palestine. Book title is in red, black, and green with a white and black headscarf on top.

This anthology contains work from Synchronized Chaos’ contributor Graciela Noemi Villaverde and may be ordered here.

Curated by John P. Portelli, Unsilenced: Poems for Palestine brings together poets from Palestine, the diaspora, and globally—including renowned names like Fady Joudah, Leila Marshy and Marwan Makhoul alongside some 50 international poets.

This collection is not just a book—it’s a fundraiser. 100% of proceeds will go to support Gaza, providing support and solidarity.

Now for this issue! Staying Human.

Solitary figure with skinny legs and a backpack navigates an empty room towards a beam of light. Black and white image aerial view.
Image c/o Bob Price

Haroon Rachid contemplates his country’s potential turn towards war, vowing to hold onto his humanity through culture, thought, and study. Bahora Bakhtiyorova reminds us of the impending challenge and risk of climate change. Ahmed Miqdad despairs of life in war-torn Gaza as Maria Miraglia mourns and rages about the loss of children. Mykyta Ryzhykh speaks to the trauma of surviving wartime as a civilian as well as the grief of romantic rejection and heartbreak. Mesfakus Salahin portrays a person who has lost his humanity and become like an automaton in the face of trauma. Elisa Mascia speaks to the challenges of holding onto truth and authenticity in a harsh world.

Eva Petropoulou Lianou, in a piece translated into Albanian by Eli Llajo, shares a sensitive soul’s reflection on living in a harsh world. Brooks Lindberg addresses the limitations of being in space and time with a human body. David Sapp speaks in his poetry to some of the ever-present anguish of being human: mortality and grief, anxiety and trauma, as Steven Bruce poetically expresses lonesomeness and acknowledges the inevitability of death. J.J. Campbell vents about a variety of physical, emotional, and relational pain and loneliness as Liliana Mirta Ramirez writes evocatively of an impending storm.

Soumen Roy explores both the expansive sense of feeling at one with the universe and joining in its creative energy and the despair and emptiness we feel at other times. In a similar vein, Lidia Chiarelli speaks both to the fanciful whimsy of dreams coming to life and the urgency of preserving our environment before it becomes a wasteland. Mahbub Alam also references tragedy and restoration in the human and natural world as Lilian Dipasupil Kunimasa speaks to the joy of unity among people of different backgrounds and the futility of revenge.

We find solace in a variety of places.

Dr. Jernail S. Anand illuminates the healing and restorative power of poetry as Sayani Mukherjee takes joy in verse as a bee does landing on a juicy and fragrant flower. Elisa Mascia celebrates a fresh flowering of creativity.

Hawk flies overhead a field with a wooden fence, grass, and barren trees and a farmhouse in the distance. Sky is blue with scattered high clouds.
Image c/o Brian Barbeito

Brian Barbeito speculates on the beauty and mystery of wild nature as Stephen Jarrell Williams describes how intertwined even modern people are with the lives of natural creatures. Isabel Gomez de Diego photographs food and blossoms, sensual joys of life. Rizal Tanjung reviews Anna Keiko’s delicate poetry about everyday experiences and thoughts. Christina Chin and Uchechukwu Onyedikam celebrate the mystery and beauty of everyday life in their joint tan-renga poems. Qurbonboyeva Dilafruz Sherimmatovna and Andaqulova Mohinur Juraqulovna share recipes and serving suggestions and a history of the Central Asian dried dairy food qurut. Kylian Cubilla Gomez’ photographs celebrate children’s colorful toys and adult knickknacks.

Murrodullayeva Makharram offers her rapturous joy at a dream visit to Mecca and the Kaaba. Maria Miraglia’s poetry explores religious doubt and the staying power of cultural belief. Izmigul Nizomova’s short story illustrates how spiritual faith can help people process intense feelings of romantic passion or grief, as Maja Milojkovic speaks to her belief in an ever-present God.

Nilufar Tokhtaboyeva’s rhyming poem mirrors the energy of the sea. Dimitris Fileles also looks to the ocean, for peace and comfort.

Balachandran Nair comically mocks artists and writers whose ego isolate them from family and community. In contrast, poet Eva Lianou Petropoulou Lianou reflects on fellow poet Vo Thi Nhu Mai’s warmth and kindness as much as her craft.

Dr. Ahmad Al-Qaisi takes pleasure in the simple joy of coffee with a friend as Kareem Abdullah crafts tender love poetry and Christopher Bernard’s poetic speaker vows to love their honest-to-a-fault friend even if love is complete foolishness. Shoxista Haydarova pays tribute to her loyal and caring father, as Manik Chakraborty reflects on the nurture of his mother. Murodullayev Umidjon speculates on the nature of friendship. Umarova Nazokat celebrates a mother’s tender love as Nurullayeva Ra’no highlights mothers’ care, devotion, and concern for their children and Dr. Jernail Anand reflects on the vital role of mothering. Maftuna Rustamova reminds us to honor and respect our parents because of the love and care they have shown us, as Graciela Noemi Villaverde describes the unique personalities of each of her beloved grandsons. Chimezie Ihekuna turns to the loyalty of family as a balm for human vulnerability as Priyanka Neogi speaks to the love and responsibilities of marriage.

Bouquet of flowers with pink roses, blue and purple flowers
Image c/o Isabel Gomez de Diego

Duane Vorhees’ poetry explores physical and romantic intimacy while digging deep into the self. Michael Todd Steffen presents a memorial tribute that’s a character sketch of a strong and driven person with plenty of personal agency, for good or ill.

Taylor Dibbert asserts his newfound self-love after years of experience. Babajonova Charos draws inspiration from Pablo Coelho’s characters’ journeys to self-actualization and intimacy in The Alchemist. Alan Catlin crafts a literary and personal narrative through a list of memories.

Self-respect can encompass more than merely the self, and many writers take pride in their cultures. Marjona Mardonova reflects on the strength and dignity of Uzbek women and girls as several elementary school students in China contribute poetic thoughts on their hometowns, nature, heritage, and inspiration. Rizal Tanjung translates into Indonesian an essay by Konstantin Fahs on how ancient myths still speak to Greece’s contemporary struggles and questions of identity, highlighting the universal nature of these questions.

Z.I. Mahmud explores themes of racism, misogyny, and Black women’s reasserted dignity and healing in Alice Walker’s The Color Purple. Daniel De Culla presents a tale of vigilante justice served at an aquarium.

Woven doll figure on top of a globe, resting on the North Pole. Globe is on a desk with other writing and art implements.
Image c/o Kylian Cubilla Gomez

Bruce Roberts recollects the decorum and honor he saw in the days of American president Abraham Lincoln and laments how far the United States has fallen since then.

Uzbek writer Azizbek Shaymurzayev celebrates and honors the soldiers and leaders who founded Uzbekistan. Dilbek Ergashev offers up a poetic tribute to Uzbek writer Muhammad Yusuf, who captured the nation’s heritage and met an untimely death. Shamsiya Khudoynazarova Turumovna finds elegance in a portrait of a woman reading.

Yet, Yusuf certainly passed along the baton in the relay race of Central Asian literary and academic thought. Farangiz Xurramova outlines grammatical differences between Uzbek and French. Yunusova Khodisa contributes many scholarly essays in the humanities, including one on the form and structure of words, another on play as a technique for teaching foreign languages to young children, a piece on the need for clarity in a language teacher’s speech, another on methods of translation and strategies for developing competence in the discipline, and finally, an article on ways to teach different types of communication activities in a foreign language.

Moving to other fields of inquiry, Azganush Abdulmajalova’s poetry finds wonder in invention, physics, and mechanics. Shermatova Hilola Mirzayevna and Tolqinboyeva Odinaxon outline possibilities of modern information technology. Aytuvova Khurshida’s essay outlines modernizing reforms in education, particularly the use of technology. Muminova Farida highlights the importance of teaching primary school students critical thinking skills.

Fanciful statue of Edgar Allan Poe, billowing coat in the wind, walking with a strong stride, scary raven opening his briefcase. He's on a modern city scape, walking on brick with trees and a stoplight behind him and hair blowing in the wind. Copper is green with age.
Image c/o Jacques Fleury

Dr. Perwaiz Sharharyar, in poetry translated by Maria Miraglia, highlights the world-expanding power of travel. Vo Thi Nhu Mai’s gentle poetry celebrates animals, the world’s children, and the vibrant multicultural city of Perth.

Latofat Amirova craves a life of rebellion, curiosity, and adventure while Jacques Fleury probes the uncanny dark motifs of Edgar Allan Poe’s creative genius.

In a similar spirit of artistic exploration, Texas Fontanella contributes some exploratory beats and guitar chords. Vernon Frazer’s new book Nemo Under the League, reviewed by Cristina Deptula, splashes together text, line, and image. Terry Trowbridge grows a fanciful poem about a potato facing surveillance and arrest as Zeboxon Akmalova’s poem reflects the experience of overhearing fragments of conversation as J.K. Durick explores our reactions to words, sounds, and numbers in daily life. Mark Young’s “geographies” explore fanciful locations as works of art.

Finally, Bill Tope’s short story satirizes the world of small magazine publishing and reminds us all not to take rejections too seriously. Humor can prove one of the small, and larger, ways we hold onto our humanity as we navigate this world.

Short story from Murodullayeva Makharram

Young Uzbek woman in a pink headscarf standing under a cherry tree with pink blossoms on a sunny day.

A DREAM COME TRUE

On a winter’s day, Mubina gazed out the window, lost in thought. She dreamt beautiful dreams, pondering how to achieve her aspirations. A sudden creak broke her reverie. The door opened, and her mother entered. Her mother switched off the lights, preparing for rest, and settled into bed. In the darkness, Mubina still tried to visualize the Kaaba.

It was the night between Thursday and Friday. Listlessly, she went to her place, picked up a picture of the Kaaba, and wept as she gazed at it. She yearned with all her heart to visit Allah’s house on Earth. Careful not to let her mother hear her sobs, Mubina wiped away her tears and quietly slipped into bed, closing her eyes. Sleep evaded her at first. After a while, her eyelids began to droop.

Suddenly, a light fell upon Mubina’s face. She opened her eyes to find herself in a vast expanse. The surroundings were breathtakingly beautiful. The natural phenomena were captivating. Mubina’s wonder grew, for on one side, a radiant light dazzled the eye, while on the other, rain gently fell. Curious to know where she was, she noticed something in the distance.

Mubina slowly walked towards the object visible amidst the dark clouds. As she looked, she could hardly believe her eyes. There, before her, stood the Kaaba. The immense, jet-black Kaaba, adorned with gold embroidery, was the object of her deepest desires. She circumambulated the Kaaba, and as she prayed, she suddenly awoke.

She found herself in her own bed, in her own home. Mubina realized she had been dreaming. Overcome with joy, she wept. Even in a dream, her cherished wish had come true.

Rounded building full of windows, Uzbek high school.

Murodullayeva Makharram Rustam qizi was born on March 31,2003, in the Narpay district of the Samarkand region.

Poetry from Azizbek Shaymurzayev

Central Asian teen boy with short dark hair and a white collared shirt and blue vest seated at a table.

On Remembrance Day

The strange past of the forty-first years,

An unexpected guest in the dreams I hold dear.

Everywhere — grim rumors of war and fears,

Was every moment soaked in blood and tear?

The cries of mothers whose “fingernails” were torn,

Countless children grew up fatherless and worn.

A single crust of black bread was their prize,

So many perished with hunger in their eyes.

For our peace, the brave warriors fought,

In hearts you live on, never to be forgot.

You are the hero etched in our nation’s lore,

Your final breath echoes forevermore.

Today we are silent for you, just a while,

Your memory — eternal, your worth — ever vital.

Azizbek Shaymurzayev was born on February 1, 2010, in Zafarobod district, Jizzakh region. From the moment he began his early education, he developed a deep interest in literature and poetry. Today, many of his poems, essays, and articles have been published in various newspapers, journals, and books. His biggest dream for the future is to become a diplomat.

Poetry from J.J. Campbell

Middle aged white man with a beard standing in a bedroom with posters on the walls
J.J. Campbell

————————————————————–

buzzards

i always laugh

when i see

the buzzards

circling over

the nursing

home

i’m not sure

if that is the

kind of roadkill

they are looking

for

———————————————————————–

add a little blood

trimming my toenails

last night and the little

toe on my right foot

decided it was time

for a surprise

sure, four in the

morning why not

add a little blood

to the show

as i pulled the

fucking nail off

i grabbed a tissue

for the blood

i found some

neosporin and

did my best to

put that on it

before i finally

got some sleep

hell, what is

a little more

pain

thankfully, the bar

is fully stocked

———————————————————–

to kill the pain

and here come the sad songs

a tainted beauty and all the

alcohol to kill the pain

loneliness stumbles down

a broken road

stops to look in a window

sees nothing but flashbacks

of what could have been

her rosy red lips pressed

against what little of your

soul has left to claim

she always believed

even when you stopped

caring about the future

still waiting for you to

come to your senses

and give in

pride has killed many

a man and here you are

becoming another statistic

one last kiss

one last roll in the

proverbial hay

old souls determined

to peel back the years

—————————————————————

still allergy season

one of these passionless

days

sunny, warm breeze

still allergy season

wondering if the fridge

is still making that sound

running out of clean glasses

but rather do paper than

run the dishwasher

the rich friends are bitching

about their fortunes

i’m wondering if the lakers

are going to cover the spread

watching a squirrel checking

out a power line

i’ve seen this tragedy before

——————————————————————————

playing for drinks

one of those nights in a pool hall

watching my girlfriend flirt with

every motherfucker in the place

wondering if i should get angry

or tell her which one to bring

back to the farm to rob, fuck

and kill

the longer she flirted with

someone the more shots

i would make

she came over and whispered

in my ear, i see you play better

when you’re angry

i told her to remember this

when i’m playing for money,

i don’t need the anger when

playing for drinks

she went home with me

on that night

i showed her where her

g spot was

she broke up with me

two weeks later

J.J. Campbell (1976 – ?) is old enough to know better. He’s been widely published over the years, most recently at Mad Swirl, The Beatnik Cowboy, Yellow Mama, Horror Sleaze Trash and The Dope Fiend Daily. You can find him most days on his mildly entertaining blog, evil delights. (https://evildelights.blogspot.com)

Poetry from Brooks Lindberg

eye sockets filled with rain:

world and time are the same—

we trespass each

hence our punishments 

for each

are the same

if our bodies had souls, they would spit, chew, break bread, beckon sheep in for the night, swim, sleep, rest, do everything the body would do if we were not trespassing it too.

Brooks Lindberg lives in the Pacific Northwest. His poems appear frequently in The Beatnik Cowboy, Horror Sleaze Trash, and elsewhere.

Essay from Farangiz Xurramova

Differences in Sentence Structure between Uzbek and French

                      Xurramova Farangiz Xoshimjon qizi

    1 st- year student of the Faculty of Roman-German Philology, Samarkand

              State Institute of Foreign Languages

Abstract:  French and Uzbek belong to different language families, and their sentence structures differ significantly. Uzbek is an agglutinative language (words are formed through affixes ), whereas French is a fusional language (word forms change depending on grammatical function). This article provides a comparative analysis of sentence structures in these two languages, focusing on word order , the role of the verb, syntactic structure and methods of sentence connection. In Uzbek, the standard word order follows the SOV (Subject – Object- Verb ) structure, whereas in French, it follows the SVO (Subject – Verb- Object) structure. Additionally, verb tenses and subject agreement in Uzbek are indicated through affixes, while in French , verb conjugation plays are crucial role. This article also examines  sentence formation in both languages and their influence on the learning process of Uzbek and French.

Keywords: Language family, group, connection, methods, affixes, sentence components, French, Uzbek, subject, predicate, main parts, verb.

Language are classified into families based on their origin, structure and certain lexical and grammatical features. Each languages family consists of multiple languages, which are further divided into branches or subgroups based on their similarity. The degree of similarity among languages varies within these subgroups. For example, the Turkic language family includes Uzbek, Uighur, Kyrgyz, Kazakh, Tuvan, Tatar, Bashkir, Turkmen, Azerbaijani, Turkish, Gagauz and Chuvash, among others, making up over 20 languages. French, on the other hand, belongs to the Romance subgroup of the Indo-European language family.

Word Formation in Uzbek and French:

In Uzbek, words are formed using two primary methods:

1.Affixation (Morphological method) – new words are created using derivational affixes.

Examples:

kitob + xon > kitobxon ( reader)

yosh + lar > yoshlar ( youth)

2.Composition (Compounding  method)- new words are formed by combining two or more words.

Examples:

mehnat + sevar > mehnatsevar (hardworking )

 tosh + baqa > toshbaqa (turtle)

French employs four main word – formation methods:

1.Derivation (Affixation method)- new words are formed by adding prefixes, suffixes or infixes.

Examples:

heure (hour)> horaire (schedule)

content( happy)> mécontent (unhappy)

2.Composition (Compounding method)- new words are created by combining two or more words.

Examples:

porte ( door)+ feuille ( leaf)>portefeuille ( wallet, document folder)

garde(guard)+ robe (clothing)> garde- robe ( wardrobe, closet)

3.Truncation(Clipping method)- new  words are formed by shortening existing words.

Examples:

cinématographe > cinéma

télévision >télé

4.Siglaison (Acronym formation)- new words are created by shortening phrases or word combinations.

Examples:

SNCF( Société National des Chemins de fer Français – National Society of French Railways)

OVNI ( Objet Volant Non Identifié – Unidentified Flying Object, UFO)

Sentence Structure in Uzbek and French

The number of sentence components in Uzbek and French is the same. Subject, predicate, object, modifier and complement exist in both languages. However, their syntactic positions withing a sentence vary. Uzbek word order is relatively flexible, while French follows a more rigid structure. In Uzbek, sentence components do not all hold equal significance withing sentence construction. Some components play a central role, while others serve a supplementary function. The presence of main components is essential for understanding a sentence, while secondary components provide additional details.

Uzbek sentence components are classified into two groups:

Main components ( Subject and predicate )

Secondary components ( Modifiers, complements and objects)

In Uzbek predicate is considered the most important component and can sometimes function independently. Additional components may provide extra meaning, but the core sentence remains understandable without them.

French sentence, on the other hand, rely on a fixed word order for meaning. The subject- predicate structure is crucial and most sentence require a verb to express a complete thought. Unlike Uzbek, where certain elements may be omitted in speech or writing, French grammar necessitates explicit usage of essential components.In both spoken and written forms, Uzbek allows for more variation in sentence structure, which can be used stylistically in literature to reflect a character’s speech or emotions.

Examples:

Uzbek; Do’stim pirog tayyorladi.( My friend made a cake )

French;Mon ami a préparé un gàteau. (My friend prepared a cake )

In Uzbek, the subject can sometimes be omitted if it is clear from the context. However, in French, a subject is almost always required for grammatical correctness.

Verbs in Uzbek and French

Verbs in both languages play a central role in sentence construction. Verbs express action, state or relation and are classified into grammatical categories.

French and Uzbek verbs fall into two primary categories:

1.Action verbs

2.State verbs

Despite belonging to different language families, Uzbek and French share similarities in how verbs function. Both languages distinguish between finite and non- finite verb forms and use auxiliary verbs to indicate tense and aspect.

However, there are significant syntactic differences;

Uzbek has free word order, through SOV(Subject – Object – Verb )is preferred.

French has a fixed word order, typically SVO (Subject – Verb – Object )

Examples:

Uzbek: Men kitob o’qiyapman. (I am reading a book )

French: Je lis un livre. ( I am reading a book )

French verbs are highly inflected, with different conjugations for tense, personand mood. In contrast, Uzbek verbs use suffixes and auxiliary elements to express similar grammatical distinctions.

Sentence Structure and Word connection in Uzbek and French

In Uzbek, words are often connected through suffixes.

Examples:

Uzbek: Men maktabga bordim.( I went to school )

French: Je vais à l’école. (I go to school)

In French, words  are connected through prepositions and stress- based structures rather than suffixes.

Verb Conjugation in Uzbek and French

In French, verb tenses and forms change based on the subject and tense.

Example:

Lire ( to read  ) > Il lit ( He reads ), Ila lu ( He has read)

In Uzbek, tense and subject agreement are formed though suffixes.

Examples:

O’qimoq > o’qidi( He read), o’qiyapman (I am reading ), o’qigan ( Has read )

Interrogative Sentence Formation

French questions are formed using inversion or Est- ce que?

Examples:

French: Tu lis un livre. ( You are reading a book )

Est – ce que tu lis un livre? ( Are you reading a book? )

In Uzbek, questions are formed by word order changes or question markers.

Examples:

Kitob o’qiyapsanmi? ( Are you reading a book? )

 Complex and Compound Sentences

 French complex sentences are formed using connectors.

Examples:

Il est venu parce qu’il voulait te voir.

(He came because he wanted to see you).

In Uzbek, compound sentences are mainly formed using conjunctions or verb forms.

Examples:

U keldi, chunki u seni ko’rmoqchi edi.

(He came because he wanted to  see you )

Word Order in Uzbek and French

In Uzbek, word order is flexible and words are mostly connected through suffixes.

In French, word order is strict, with words connected using prepositions and articles.

Possessive Structures

Uzbek: Talabaning kitobi > talaba + ning+ kitob +i ( The student’s book )

French : Le livre de l’étudiant ( The book of the student )

Adjective placement

Uzbek: Adjectives come before the noun (e.g.,yangi  kitob _new book )

French: Adjectives usually  come after the noun ( e.g.,un livre difficile _a difficult book)

Some adjectives, however, come before the noun (e.g., un bel homme_a handsome man)

Prepositions and Object Placement

In Uzbek, objects come after the verb.

Example: Men kitobni o’qiyapman.( I am reading a book)

In French, objects come before the verb.

Examples: Je lis un livre. ( I am reading a book)

Verb and Infinitive Structures

Uzbek: Verbs are conjugated with auxiliaries or suffixes.

Example: Men kitob o’qimoqchiman.( I want to read a book)

French: Infinitives are used after conjugated verbs.

Example: Je veux lire un livre .( I want to read a book )

Question Formation and Negation

In Uzbek, suffixes and word order are the main tools for forming questions and negations.

In French, prepositions, word order and auxiliary words are used.

Negation in Uzbek and French

In Uzbek, negation is formed using auxiliary words such as ,, emas’’ , ,, yo’q’’  or the negative form of the verb.

Examples:

,,emas’’ ( not) > This book is not new. ( Bu kitob yangi emas.)

,, yo’q’’( no) > I am not going.( Men bormayman.)

 Negative verb form > He does not read the book. ( U kitob o’qimaydi.)

In French, negation is formed using ,, ne… pas’’ around the verb.

Examples:

Je ne mange pas.( I don’t  eat.)

Il n’est pas étudiant. ( He isn’t a student.)

In linguistic analysis, ’’ne… pas’’ are two elements that surround the verb. In informal speech, ’’ne’’ is sometimes dropped.

Example: Mais je sais pas. ( But I don’t know.)

Formation of Interrogative Sentences in Uzbek and French

In Uzbek, questions can be formed using the following methods:

Questions word:  Whose book is this? (Bu kitob kimniki?)

Questions particle: ( -mi?, -chi? ) Did you come? ( Sen keldingmi?)

Intonation- based question: Do you know French? ( Siz  fransuz tilini bilasiz?)

In French, questionsare formed using:

,,Est – ce que “: Est- ce que tu parles français?

Inversion: Parles -tu français?

Linguistically, “ Est – ce que “ is widely used in spoken French, while inversion is more common in formal speech.

Types of Complex Sentences Uzbek in French

In Uzbek, complex sentences are categorized as follows:

1.Compound sentences ( connected by conjunctions) >

I came and saw you. ( Men keldim va seni ko’rdim.)

2.Asyndetic (without conjunctions) compound sentences >

The weather is very hot, people seek shade. ( Havo juda issiq, odamlar soyaga qochishmoqda.)

3.Subordinate clauses ( dependent on the main  clause )

If you come, we will start. ( Agar u kelsa, biz boshlaymiz.)

In French, complex sentences are classified into three types:

1.Coordination (linked sentences)

Je suis venu et j’ai vu. (I came and I saw.)

2.Juxtaposition (sentences placed side by side without a conjunction)

Il fait chaud, les gens cherchent de l’ombre. (The weather is very hot, people seek shade.)

3.Subordination ( one clause depends on another)

Si elle vient, nous commencerons.( If she comes, we will start.)

Linguistic Analysis

In Uzbek, complex sentences are formed using  conjunctions or asyndetic structures.

In French, complex sentences use commas, conjunctions and subordinate clauses.

In conclusion,, Uzbek and French share both syntactic similarities and differences:

Similarities: Both languages follow specific grammatical rules for sentence construction.

Differences: Uzbek grammar is more suffix- based, with verb modifications playing a key role.

French grammar relies on verb conjugations, prepositions and auxiliary words to form complex sentences.

These structural similarities and differences require grammatical adaptation when learning both languages.

References:

1. Asadov T. Research and Development of  Word  Formation in the Uzbek Language.

2. Abdurahmonov X. Analytical Grammar of the Uzbek Language .

3. Muhiddinova X. Modern Uzbek  Literature.

4. Jo’rayeva M. (2024). Sentence Structure in French and Uzbek.

5. Yusupova M. (2022). Verb Categories in French and Uzbek Languages.

6. Polvonova M. (2023). The Usage of Action in French and Uzbek.

7. Wikipedia.