The Lament of Palestine
Bukhara region, Karakul district, School No.1, 8th grade student

Mother, don’t look to the sky — look from the heavens,
Every dawn now spills blood, no longer light.
Children weep, but the ears remain deaf,
The world is silent — as if it sees no sight.

The earth trembles, yet it is no quake,
This is a lightning that makes hearts shake.
Not cannonballs, but bullets hit the young,
And in a mother’s embrace, the world shut its eyes.

Peace never came to rest upon your roof,
Between the calls to prayer, screams echo loud.
Instead of flowers, heavy stones are placed,
On the grave — dewdrops of blood drip down.

At night, no angels visit in dreams,
But fear enters, dressed in black.
The dream to live has long been buried,
There’s no support left — not even in prayers.

A New Day

After a long day

Full of burdens and responsibilities

Setting fire,

Collecting wood,

Carrying water

And searching for food.

Finally, the night comes for rest

I sit on my broken sofa

In my smashed balcony

With my cactus and the little mints 

There is no light outside, and darkness is  like a black hole

So deep and hollow hearted

Fire flames arise from that destroyed home

Someone is preparing dinner 

And the  sound  of  a crying baby for milk

Comes from the horizon.

The gloom stars appear in the clear sky

As the souls of the martyrs fly so far

And the timid moon hides

Like the killed child drenched with his blood

The ghosts of the demolished homes scream, ” Don’t be afraid, we’re not humans.”

The sea waves play

melancholic tunes

Recalling my  absent reminiscence

My weary mind hallucinates

With absurd words to write a poem

My fatigued body whispers

With sorrow and pain

“Sweet dreams among the rubble and ghosts”

Then my eyes closed like a gate of a prison

It arrests my suffering, sorrow, distress, toil, oppression, and pain for a new day.

Ahmed Miqdad, Palestinian poet, Activist

As a visual artist, photographer and painter and also a drawer, I have for very long in my life taken interest in the sacred geometry matter and issues…

Relatively recently, about ten years ago, I took back my geometry studies whilst trying to figure out how can be drawn a close surfaced square after a given circle.

I rapidly found out that if you derive from the unscripted square inside a circle, with your ruler and a compass, to find the two tangent lines in prolongation of this first unscripted square, that are tangent to the circle and form a new square at their intersection : well you have just drawn here very easily a second square, as marked on my figures, which surface is very, very close to the surface of the given circle considered.

Starting from this very interesting new finding, and encouraged by the good acceptance of my drawings by the Parisian mathematics community (Institut Poincaré, CNRS site Curie, etc.) then I went through other reflections about notably the duplication of the cube, the trisection of the angles and the unscripted regular heptagon. With – may I say that – some interesting results, as I was told. 

Then I also worked on the various concepts of the « prosperous isosceles triangle » in shapes and relations… And presently I am trying to get back some better algebra notions, in order to get for myself a better understanding and culture of these endless fields of interest that are the mathematical models.

All I did of modest good through my life of work was as a humble and obedient servant of Jesus Christ, Saint Mary, and for my country France. 

From Africa to America: For Flora

POEMS ON VARIOUS SUBJECTS, RELIGIOUS AND MORAL (1773) was only the second book of poetry published by an American woman. The 20-year-old author was a slave, taken (according to scholarly consensus) to North America at seven years of age.  In fact, of course, nobody knows for sure when she was born (perhaps 1753) or where (maybe Senegal or Gambia) or even what she was called in her youth. She arrived in Boston aboard the Phillis and was purchased by merchant John Wheatley; and so her “name” became Phillis Wheatley. 

When she was 14 or so she began writing poetry, and by 16 her work began to attract public notice. Because of her gender and caste, she was forced to defend her authorship before the colonial governor, lieutenant governor, and other luminaries. Even after they attested that she had indeed written the verses ascribed to her, she could not get her collected material published in Massachusetts, though well-connected members of the nobility acted as her patrons and secured its publication in England. The book became an international sensation, prompting Voltaire himself to comment that it proved that black people could write poetry. Nevertheless, due to her own situation and the tumult surrounding the American Revolution, she was unable to publish another book before her death in 1784, though her work did continue to appear occasionally in pamphlets and newspapers.

One of her best-known  poems is “On Being Brought from Africa to America”:

   ‘Twas mercy brought me from my Pagan land,

   Taught my benighted soul to understand

   That there’s a God, that there’s a Saviour too:

   Once I redemption neither sought nor knew.

   Some view our sable race with scornful eye,

   “Their colour is a diabolic die.”

   Remember, Christians, Negros, black as Cain,

   May be refin’d, and join th’ angelic train.

Nikki Giovanni, on the other hand, trod a very different literary path, publishing numerous volumes of poetry and essays, teaching at several prestigious universities, and winning major awards including 20 honorary doctorates. Named for her mother, Yolande Cornelia Giovanni, Sr., she was born some 190 years after Wheatley, in Knoxville, Tennessee, but raised in Cincinnati, Ohio, until she was 10, at which time she returned to Knoxville to live with her grandparents. 

In 1967, the year she graduated with honors with a bachelor’s degree in History from her grandfather’s alma mater, Fisk University, in Nashville, Tennessee, she published her first volume of poetry, BLACK FEELING, BLACK TALK, which sold over 10,00 copies its first year; BLACK JUDGMENT (1968) sold 6,000 in just three months. Together, they established her as one of the most successful representatives of the Black Arts Movement that dominated African-American culture in the 1960s and beyond. 

Her fifth book, THE WOMEN AND THE MEN (1975), featured “Poem for Flora”:

when she was little
and colored and ugly with short
straightened hair
and a very pretty smile
she went to Sunday school to hear
’bout nebuchadnezzar the king
of the jews
and she would listen
shadrach, meshach and abednego in the fire
and she would learn
how god was neither north
nor south east or west
with no color but all
she remembered was that
Sheba was Black and comely
and she would think
i want to be
like that

It is almost as though Giovanni wanted to engage with her literary ancestor Wheatley in a poetical dialectic on the changes in racial attitudes over a pair of centuries of American development.

Both poets opened with a reflection on their youthful introduction to Christian worship. Wheatley claimed it was a “mercy” to be taken from her own “Pagan land” in order to learn that “there’s a God, that there’s a Saviour too.” Giovanni seemed to project her psychic self  onto a family friend, Flora Fletcher Alexander, who often babysat for young Nikki. — “she loved clothes. Flora was the sharpest dresser,” she later recalled. Nikki/Flora “went to Sunday school to hear / ’bout Nebuchadnezzar the king / of the jews” and about “shadrach, meshach and Abednego in the fire.” But in the style of the times, before the Romantics began to relax the formalist standards of prosody and semantics,Wheatley mostly confined her remarks to a generality, while Giovanni reflected the Post-Modernist penchant for grammatical laxity and politically charged specificity. The Chaldean ruler Nabu-kudurri-usur II was indeed king of the Jews but only because of his conquest of Judea in 597 BCE; he was portrayed as a foreign oppressor in several books of the Old Testament, including the portion of the Book of Daniel where he cast Shadrach, Meshach, and Abednego into a fiery furnace for refusing to worship a golden idol. (Ironically, as we shall see, the Alphabet of Ben Sidra posited Nebuchadnezzar as the son of Solomon and the queen of Sheba, a chronological impossibility.)

Both women expressed their approval of the universalism of the Christian doctrine that even “Negroes, black as Cain / May be refin’d, and join the angelic train” and that “god was neither north / nor south east or west” — though Giovanni insistently added the clarification “with no color but all” to counter Wheatley’s demeaning allusion to God’s punishment of Cain for the murder of his brother Abel by “marking” him, which was often interpreted as giving him a black skin and therefore providing a Biblical justification for racism.

But even in these religious introductory remarks, race was an essential referent. For Wheatley the matter was a subtext, almost parenthetical, a pun on her “benighted soul.” But for Giovanni the blackness took center stage. Flora may have been “colored and ugly with short / straightened hair” (since African-Americans of Flora’s generation “conked” their hair by using lye to straighten their naturally kinky locks. Black nationalist leader Malcolm X claimed that the process “makes you wonder if the Negro has completely lost all sense of identity, lost touch with himself.”) But Flora’s own takeaway from Sunday school was that “Sheba was Black and comely” and Flora/Nikki decided “I want to be / like that.”

The queen of Sheba made only a brief appearance in the Bible, visiting Solomon in order “to prove him with hard questions.” But that cameo role led to her starring in one of the world’s most widespread and protean cycle of legends. She was probably from Saba (modern Yemen); the Sabaeans also had domains across the Red Sea on the Horn of Africa., and the later kingdom of Aksum (ancestral to Ethiopia) was sometimes referred to as Seba. Nevertheless, though history has recorded several Arabic queens, no African ones are known, even though the queen of Sheba has come to be regarded as such.

The literary confusion seems to have begun with the Books of Matthew and Luke in the New Testament, which referred to her as a “queen of the South” from “the uttermost parts of the earth,” At the same time, the historian Titus Flavius Josephus claimed she was a queen of Egypt and Ethiopia.A century later, the Christian theologian Origen conflated the “bride,” the female speaker in the Song of Songs, as the “Queen of the South,” (“I am very dark, but comely,” she proclaimed, or, in the NEW REVISED STANDARD VERSION, “black and beautiful,” though this translation would have been too late to directly influence the Giovanni poem).

Matthew preached the Gospel in Colchis (modern Ethiopia), and even earlier than that Philip the Evangelist had converted one of Queen Candace’s court officials there, making Ethiopia the site of the oldest Christian church (though “ethiopian” is Greek for “burnt face” and may have referred to Africans in general). The Ethiopians, in turn, seem to have taken particular delight in associating themselves with Biblical traditions. So the wordplay of Origen (conjoined to the comments by Matthew and various Islamic traditions concerning Queen Bilkis, the Arabic version of the queen of Sheba) seems to have been the basis for the Ethiopian national saga, the 14th century KEBRA NAGAST, in which Queen  Makeda visited Solomon, who impressed her with his wealth and wisdom. She converted to Judaism and, on her way home, gave birth to Solomon’s son, Menilek, the ancestor claimed by all the kings of Ethiopia. until the last of them, Haile Selassie, was deposed in 1974. That last reigning descendant of Solomon and the queen of Sheba is regarded by the Rastafari as a divine messianic figure who will lead a future Golden Age of eternal peace, righteousness, and prosperity. (And thus the Rastafari bring the entire process full circle: they adapted their Haile Selassie symbolism from some rhetorical statements made by fellow Jamaican Marcus Garvey, who popularized the pan-African notion of “black is beautiful” and organized various separatist entities in the United States; one of Garvey’s followers was Earl Little, the martyred father of Malcolm X, whose own 1965 assassination sparked the creation of the Black Arts Movement of which Giovanni became a prominent representative figure.)

So, as a leading exponent of the “Black Is Beautiful” sentiment of the 1960s, Nikki Giovanni proudly focused on the fabled African queen of Sheba — “all / she remembered was that / Sheba was Black and comely” — while Phillis Wheatley was meekly apologetic about the way the Christians of Boston viewed her “sable race with scornful eye” because of the “diabolic die” associated with Cain, the world’s first murderer. Despite the commonalities in their two poems, this difference in attitude speaks volumes about how African-American views about the nature of their roles changed dramatically over the course of two centuries.

The Beautiful Nature of Spring

You bloom, spreading far and wide,

The trees in gardens, full of pride,

Your flowers speak no word or sound,

In spring, the beauty does abound.

On the trees, the flowers rise,

Pure white, a sight before our eyes,

They look like snowflakes falling near,

In spring, the beauty is so clear.

The rain falls often, soft and light,

Irrigating crops in sight,

The wind blows suddenly and free,

In spring, the beauty’s all we see.

Nature wakes from its long sleep,

Turning golden, calm and deep,

Peace shines in the sky so bright,

In spring, the beauty fills the light.

After rain, a rainbow shows,

Colors that dazzle, as it grows,

It dazzles eyes with every hue,

In spring, the beauty is renewed.

Poem about the Sunflower

In the field where sky and earth meet,

stands the sunflower — alone, yet not lonely.

It seeks nothing but light,

constantly turning its face toward the horizon.

Its stem is strong and steady,

as if holding the silence of ages within.

Its leaves whisper secrets to the wind,

while roots intertwine deep into the soil.

It does not crave fame, nor attention,

only wishes to absorb every ray,

to be part of something greater —

that invisible conversation of light and life.

When the sun sets, it still stands,

with its head lifted toward the sky,

waiting for a new day, a new chance

to feel the warmth and to grow.

The sunflower is not just a flower,

but a symbol of existence —

an existence that follows the light,

regardless of the shadows that fall.

MUNAVVARA SOLAYEVA – THE OWNER OF SCIENCE AND CREATIVITY

Munavvara Solayeva is the first female PhD holder in philology from Urgench State University. The scholar was born on February 2, 1925, in the city of Khiva. In 1954, after successfully defending her PhD dissertation, she was assigned to the Khorezm State Pedagogical Institute. Munavvara Solayeva was one of the pioneers of this prestigious institution, dedicating her entire career to its development. She was among the first women to boldly travel to Moscow, where she defended her dissertation in Russian on the topic “The Lyrics of Uyg‘un”. She devoted 34 years to scientific and teaching activities at the institute where she began her career.

       In 1993, her monograph titled “Navoi and the Poets of Khorezm” was published. In recognition of her lifelong contributions, academic achievements, and ethical qualities, the university administration established a state scholarship named after Munavvara Solayeva.

      One of her exceptional qualities was her poetic talent. Over the years, her numerous scientific, journalistic articles, and poems covering relevant social and literary topics were published. These works, including poems and ghazals, have been compiled in a collection titled “A Heart in Love with Science”, prepared by poet, writer, and member of the Uzbekistan Writers’ Union, Qurbon Muhammadrizo. The book was published by Ogahiy Publishing House in 2023. The presentation of the book took place at Urgench State University named after Abu Rayhan Beruni in a highly spirited atmosphere. As a student, I also participated in the event, where we expressed admiration for Munavvara Solayeva’s courage and remarkable achievements as a woman. We aspire to become brave, active, and dedicated educators and scholars like her.

         The collection “A Heart in Love with Science” includes Munavvara Solayeva’s journalistic articles on important topics such as “What is Humanity?”, “The Literary Relations of the Two Shores”, “The Sultan of Poetry”, “The Owner of Bright Creativity”, and “The Scholar of Poetry and Art”. It also features her scientific articles such as “One Poem”, “The Pain of Poetry, the Love of Science, the Magic of Art”, “The Spirit of Navoi Protects Me…”, “May Your Flight Be High”, “The Evening Came to My Hut”, “The Tragedy of the Ghazal”, “Navoi’s Traditions in Ogahiy’s Lyrics”, “The Image of Women in “Khamsa” “, and “Navoi’s Spring Melodies”.

         By reading these works, readers gain a deep understanding of the historical period, the life, and the creative path of each literary figure discussed, along with new and comprehensive reflections on their legacies. The collection also presents her heartfelt poems such as “To My Mother”, “My Father”, “Navoi and Ogahiy”, “Fable”, “Ode to Spring”, “The Book”, “The Muse of Inspiration”, “Winter and Spring”, “Black Eyes”, as well as her ghazals with refrains “Are You My Beloved?”, “I Am Devoted”, “I Seek”, “Regret” and her muvaššah (poetic form) “The Teacher”. The poetic garden of her works stirs the hearts and touches the souls of readers, undoubtedly leaving a lasting impression on every admirer of literature.

Iroda Rakhimova Islombekovna was born on August 8, 2005, in the city of Khiva, located in the Khorezm region of Uzbekistan. She graduated from the School number 11 in Khiva with a gold medal and was admitted to Urgench State University named after Abu Rayhan Beruni on the basis of a state scholarship. Currently, she is a second-year student at the Faculty of Philology and Arts at the same university. Her poems, short stories, and articles have been published in both national and international journals. She is an active member of the “Mushoira” literary club established at the university and continues her creative work through this platform.