Alchemist of Sorrows

By Alex S. Johnson

For Cassandra Alogoskoufi

After Baudelaire

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

Standing in the moon drop shadow’s hidden alcove

Watching the spiders of the rain disintegrate and turn to smoke

I admire the solemn procession of marble angels that sweep their

brooms diagonally across the looking glass

Involuted architecture, frost giants with the glazed eyes of

Galactic law

The fatal symmetry of a rainbow cutter ship

Odysseus’ swift fleet notwithstanding

In Circe’s lair he pollinated witch nations

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

Cave paintings of the Orphic mystery rites

Bacchus torn apart and recreated

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

aurora of violence, misty violet dawns from

Arthur Rimbaud

As the rotting Leviathan drifts in star sperm

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

moon’s shy footprint

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

Not yet

Not eternally yet

Our hearts draw oxygen from the secret sails of the sun

We respire with lungs made from the winds of the

wings of

Madness

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

with stars

with rippled stripes of radical freedom

with what queer jesters they have to do

With black-eyed Oedipus they seek the cause

they disregard the Sphinx’s leonine muscles, glistening

pelt that roars with lies

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

the fortunes of heroes shorn like the head of Orpheus

Descending beneath the earth, as the jaws of destiny

close about him…

An alchemist of sorrow, he turns the Midas touch

against itself, mourning perpetual dawns.

και εμπνευσμένου μετά του Μπωντλέρ

“As the Orpheus of all secret misery,

he is greater than anyone:”-

Friedrich Nietzsche, Die fröhliche Wissenschaft

Στέκεται ως σταγόνα φεγγαριού

Κόντρα στον κρυφό σηκό σκιάς.

τις αράχνες εγκαθορεί, όπως διασπώνται

στην καπνισμένη ομίχλη της βροχής.

Αποθαυμάζει την πανηγυρική λιτανεία

μαρμάρινων αγγέλων που παρασύρουν

ανάποδα τον κόσμο σκουπίζοντας

διαγώνια το είδωλο καθρέπτη.

Πεπλεγμένη αρχιτεκτονική από γίγαντες

παγετώνες με στιλβωμένο βλέμμα

Καταπάνω στο γαλακτικό μάτι του νόμου.

Η μοιραία συμμετρία στο ουράνιο τόξο

παγοθραυστικού, αλματώδης πάραυτα

και γοργόπλοος ο στόλος τ’ Οδυσσέα.

Τ’ άνθη επικονίασε με έθνη μαγισσών

μες απ’ τη δόκιμο φωλιά της Κίρκης

Στον μονόφθαλμο Πολύφημο ανακάλυψε το

μάτι και τη γλυφή ενός βωμού κακοδαίμονος.

Οι σπηλαιογραφίες τελετουργούν ακόμα

τα Ορφικά Μυστήρια, το ξέσκισμα

του διαμελισμένου Βάκχου, και την

επανένωση του κορμιού εις σάρκα μία

Ως ένα αυτεξούσιο έργο τέχνης, το

κεφάλι του εστεφανώθη την κορώνη

Από την εωθινή Ηώ της βίας,

Απ’ τη μενεξελί πορφύρα της αυγής

Απ’ το λυκόφως του Αρθούρου Ρεμπώ,

Όπως το κουφάρι του Λεβιάθαν σάπιο

παρασύρεται στ’ αγγειόσπερμα αστεριών

Όπως μια αυτοκρατορία μαυροφορεμένων

που πήζουν τον θρόμβο παλαιών πληγών

θωρώντας τα τρυφερά χνάρια στα φεγγάρια

Όπως το πληγωμένο ελάφι τρέμει από τις

αιρετικές προσαυξήσεις των μετακυβιστών

Όμως, υπάκουο υπομένει στη μέγα τελετή μύησης

-τη Θεά Αρτέμη- σώνοντας εν τέλει τη ζωή του

Όχι. ακόμα. Όχι. στην αιωνιότητα του ακόμα.

Οι καρδιές μας αντλούν οξυγόνο απ’ τα

αφανέρωτα ιστία του μυστικού ήλιου

Αναπνέουμε με πνεύμονες φτιαγμένους

απ’ τους ασκούς του Αιόλου με τα φτερά

μας κόντρα στον κουρνιαχτό της τρέλας

Πετάμε στην άβυσσο της κόλασης καθιστοί

σε ισορροπία πάνω σ’ έναν μικρό πλανήτη,

Ταχυδακτυλουργώντας με κρίκους αστεριών.

με ριγέ κυματισμούς ριζοσπαστικής ελευθερίας

για την κατάντια του ετεροδιαφορετικού ζογκλέρ

για την αιτία στα μαυρισμένα μάτια του Οιδίποδα

Γιατί οι ανόητοι αγνοούν τα λιονταρίσια μούσκουλα

της Σφίγγας, που με αστραφτερή δορά ψεύτικα βρυχάται

Καθώς, συντρίβονται οι μωροί, στον όρμο της Σειρήνας

Πνίγονται, εκεί, οι ναυτικοί με την κοντοκουρεμένη

ειμαρμένη των ηρώων, σαν το κεφάλι του Ορφέα

που σκύβει κατεβαίνοντας στον Κάτω Κόσμο, τα

σαγόνια του πεπρωμένου συνθλίβονται σιμά του

Ο Αλχημιστής της θλίψης, αποστρέφει το

άγγιγμα του Μίδα ενάντια στον εαυτό του,

εις το διηνεκές θρηνεί για τη χαραυγή του…

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

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

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

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

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

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

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

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

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

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

Problems and Analysis Methods of Translation Practice in the  Exercise  

 Student of Andijan State Institute of Foreign Languages   Abdullajonova Rayhona Arabjon qizi  Abdullajonovarayhona874 @gmail.com  +998886630603 

 Supervisor: Kadirova Nargiza  

Annotation.In diesem Beitrag werden ein breites Spektrum von Problemen in der  Übersetzungspraxis, die Gründe für ihre Entstehung und die Methoden der Analyse  ausführlich diskutiert. Insbesondere die grammatikalischen, lexikalischen,  stilistischen und kulturellen Unterschiede zwischen der usbekischen und der  deutschen Sprache beeinflussen den Übersetzungsprozess und welche  wissenschaftlichen Methoden zur Überwindung dieser Unterschiede eingesetzt  werden sollten. Ausgehend von den Leitgedanken der Übersetzungstheorie werden  praktische und theoretische Ansätze analysiert, die für den Übersetzer notwendigen  Qualifikationen, Fähigkeiten und Strategien diskutiert. 

Annotation. This article discusses in detail a wide range of problems in translation  practice, the reasons for their origin and methods of analysis. In particular, the  grammatical, lexical, stylistic and cultural differences between the Uzbek and  German languages affect the translation process, and what scientific methods should  be used to overcome these differences. On the basis of the leading ideas of translation  theory, practical and theoretical approaches are analyzed, the qualifications, skills  and strategies necessary for the translator are discussed. 

Schlüsselwörter. Übersetzungspraxis, Übersetzungstheorie, Deutsche Sprache,  Usbekische Sprache, Analysemethoden, grammatikalische Unterschiede,  lexikalische Unterschiede, kulturelle Unterschiede, pragmatische Unterschiede,  sprachlicher Ansatz, kultureller Ansatz, funktionale Äquivalenz, Transkription. 

Keywords. Translation practice, translation theory, German language, Uzbek  language, methods of analysis, grammatical differences, lexical differences, cultural  differences, pragmatic differences, linguistic approach, cultural approach, functional  equivalence, transcription. 

Translation has been one of the most important tools of intercultural communication  throughout human history. Today, the role of translation is becoming more and more  important as global connections in science, technology, literature, politics, and other  fields increase. Translation has become not only a means of transferring information 

between languages, but also of transferring spiritual and social values from one  culture to another. The structure of the Uzbek language and the German language,  the style of expression, and the cultural basis differ significantly. These differences  create many difficulties in the translation process. A translator must translate not  only literally, but also correctly convey its meaning, style, cultural context,  communicative purpose. The article comprehensively analyzes the problems  encountered in translation practice and proposes solutions based on modern  scientific methods. 

The main problems of translation practice. Lexical problems. There are significant  differences between the vocabulary and lexical structures of the Uzbek and German  languages. Whereas in Uzbek a word often has many meanings, in German there is  a specific expression for each meaning. For example, the Uzbek verb “to see”  denotes a general action and is used in different contexts: to see (with an eye), to see  (to experiment), to see (to meet). In German, various verbs are used for these cases,  such as sehen (to see with the eye), erleben (to experiment), sich treffen (to meet).  The translator should analyze the context in depth and choose the appropriate option.  Problems are also common in the translation of phraseological units. Phraseologisms  often have a cultural basis in German and appear strange or incomprehensible in  German when translated directly. For example, expressions such as “Heartbreak”  should be conveyed in translation with an appropriate equivalent or annotation. 

Grammar problems. Differences in grammatical systems create many problems in  the translation process. Uzbek language is an agglutinatable language, and  grammatical meanings are expressed by suffixes. In German, there are genders of  nouns (masculine, feminine, neutral) and are designated by the articles. In Uzbek,  the basic structure of a sentence is simple (I went to school), whereas in German the  word order is based on a strict rule (Ich bin zur Schule gegangen). Secondary verbs  and auxiliary verbs are used a lot in the sentence. In German, the form of nouns and  articles change (der Tisch – den Tisch, dem Tisch and so on) if more pronouncements  are indicated in Uzbek. Such discrepancies require structural adaptations and  grammatical transformations in translation. 

Stylistic problems. Uzbek literary style is characterized by softer, more emotionally  rich expressions. In German, on the other hand, the emphasis is on expressing  clearly, concisely, and logically. It takes great skill to find their functional equivalent  when translating into German poetic metaphors, exaggerations, means of  expression, which are often used in Uzbek literature or in everyday speech.  Otherwise, the translation may look dry and artificial. Also, many expressions used  in the Uzbek language as part of respect and manners are divided into formal or  informal forms in German (via the forms Sie and du). Choosing the right level will  ensure the accuracy of the translation and its appropriateness to the context.

Cultural and pragmatic issues. Fundamental differences between Uzbek and  German cultures are often noticed in the translation process. For example, in Uzbek  culture special respect is given to adults and requires a lot of care in speech. In  German society, however, the principle of equality is stronger, and this is also  noticeable in the tone of speech. Since religious and national realities (for example,  “iftor”, “savob”, “Sufi”) often found in Uzbek are not exactly equivalent in German  culture, the translator must interpret these concepts or translate them with cultural  adaptation. Pragmatically, what is acceptable and acceptable in one culture may have  negative connotations in another. In such situations, the translator should use the  method of adaptation (localization), taking into account the purpose of the text and  the audience. 

Translation Analysis Methods. Linguistic analysis. Linguistic analysis is a method  of in-depth study of the interaction of language systems and elements in the  translation process. It is carried out at the level of grammatical structures, syntax,  morphology and phonetics. For example, differences such as the adaptation of the  free speech order in Uzbek to the strict order of free speech in German, or the manner  in which tenses are expressed (in Uzbek language the most accurate tense is clearly  defined, then in German tenses are often understood in context) are determined by  linguistic analysis. Cultural analysis. Cultural analysis involves the analysis of the  cultural codes, values, traditions of the translated text. The translator identifies the  differences between the source culture and the receiving culture and develops  adapted options. Cultural analysis is especially important in translating national  concepts, holidays, religious terms, and everyday customs. Functional Analysis.  Functional analysis is a translation technique that takes into account the  communicative purpose, audience, and context of a text. In this way, the translation  is done not only verbatim but also while maintaining the overall effect of the text.  For example, when translating ad text, you need to remember that its goal is to sell  the product, so it will be more important to maintain an impactful focus on your  audience, rather than translating the words correctly. 

The practice of translation is not a simple language change, but a complex cultural  and stylistic process of transfer. Translation work between Uzbek and German  should study in depth the grammatical, lexical, stylistic, and cultural differences and  apply the appropriate analysis techniques to each gap. The use of a harmonious  combination of linguistic, cultural and functional analysis methods in overcoming  translation problems is a key factor for improving the quality and effectiveness of  translation. A translator should always expand his language skills, cultural  knowledge and be aware of modern translation methodology. Translation is a  process that requires not only knowledge, but also art, patience, experience and a  creative approach.

 References 

1. Baker, Mona. In Other Words: A Coursebook on Translation. Routledge, 2018. 2. Newmark, Peter. A Textbook of Translation. Prentice Hall, 1988. 

3. House, Juliane. Translation Quality Assessment: Past and Present. Routledge,  2015. 

4. Hatim, Basil; Mason, Ian. Discourse and the Translator. Routledge, 1990. 

5. Nord, Christiane. Text Analysis in Translation: Theory, Methodology, and  Didactic Application. Rodopi, 2005. 

6. Venuti, Lawrence. The Translator’s Invisibility: A History of Translation.  Routledge, 1995. 

7. Kadyrova, M. Comparative grammar of Uzbek and German languages. Tashkent,  2015. 

8. Shukurov, B. Fundamentals of translation theory. Tashkent, 2010. 

9. Snell-Hornby, Mary. Translation Studies: An Integrated Approach. John  Benjamins, 1995. 

10. Schäffner, Christina. Translation and Intercultural Communication. Routledge,  2012.

WHOLE

To be able to use

         Both hands

To

        WASH THE DISHES.

To be able to walk

Without having

To think about

       How to walk.

Since my stroke

Twelve years ago

I have been hemipelagic,

My left arm and left leg

Were left paralyzed.

Meaning that medically

I am considered

       Half

 Not

     Whole

Oh, to be Whole again

But in losing the use of my arm and leg

I have grown one appendage for

       Compassion

And another for

       Empathy

Although, because the stroke altered how

       I speak.

      I sound

       Gruff, short, and angry

To others

Despite being only

       Half.

I like

      And treat

Myself and others

      A whole

Lot

Better than

 I did before

When I really was

              Whole.

SUNSET WALK

On tonight’s unsteady sunset walk

The crows squawked, the crickets chirped, 

and even the blue birds were screaming at me

 to fall and die. 

To provide a bigger meal than the roadkill rabbit at the end of the drive.

UP ON THE ROOF

When my medications make me feel like jumping off a roof

I Can’t tell the difference between my emotions and the medications

How do I convince myself that it is 

The meds not me?

That my feelings are a chemical reaction.

Not a true reflection

 of my inner life

In time, after conversations with my wife, friends, and dog

I am able to distinguish my feelings from those generated by the drugs.

And I talk myself down 

“Stay off the roof, stay off the roof.” I tell myself as I lie in bed under a cover.

When I realize a fall from the roof

 will only make things worse 

and require more drugs

I settle down with the dog,

Fall asleep, 

and dream of flying.

ERIC BARR taught acting and directing at University of California, Riverside. He was the Founding Director of the UCR Palm Desert MFA in Creative Writing and Writing for the Performing Arts.

Barr has written in a number of different genres, from screenplays to poetry.  His work has appeared in Connotation Press and The Journal of Radical wonder. He was a co-writer on the feature film, A Thousand Cuts.

In addition to his writing, Barr worked as a theatre director and acting coach.   He was the Artistic Director of the Porthouse Theatre in Cleveland, taught movement for actors at the Stella Adler Conservatory of Acting in Los Angeles, and worked as an acting coach with the National Theatre of the Deaf. 

Since surviving a series of strokes Barr has written and performed his one-man show, A Piece Of My Mind”, about his surgeries, hospitalizations, and rehab around the country.  His podcasts on stroke recovery can be found at http/www.apieceofmymind.net 

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

My mind is bored

With the fragrance of flowers,

The harp of the clouds rises and rings

To the rhythm of the swaralipi.

Seeing the mountains, my heart is fascinated

With the green call,

Come to the air,

The sun sinks into the ocean water

The evening lamp sets.

At night, on the blue sheet,

The water is painted with the colors of the lotus,

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

My mind is a poet

Sincerely Signature

My Signature hides in my skin

in places it could not see

when I didn’t want to

but hah!

I could feel them dripping inky blue luminescent stuff

My Signature does everything but lie flat

so now it is the flapping label

on my stomach

announcing bitterly that it was me

to which I wonder if

anyone is surprised

and if they want anything different from me.

And when they read my signature 

does it flip their switches

or pump magic ooze

How do I figure out

what my signature is for

And who’s going to tell me

what my signature is?

Sky Fall into Sticks

(1)

3 hours after midnight

not caring about the absence of sleep

on a bare mattress left behind

in a room with the ceiling blown off

from when they struck nightly raids

the weather staying the same

a forever stillness waiting

for bombs to fall again and again.

(2)

Pretending candles floating in the air

sweet scents of yesterday

when all was good

seemingly

our kiss-locks squeezing into ecstasy

glowing with no fear

a gift of confidence

with chains quietly attaching.

(3)

Now a prisoner left to rot

drunk with nostrils baked with smoke

college stoned years ago

ego believing

truth expanding

since that’s all there is

on the beginner’s level

which I will rise above when my wings grow.

(4)

Chest hurting

aligning with my backbone

headaches from bubbles in the brain

memories of child and teenage

wet rags on hilltops of rage

dripping down between my legs

consciousness welling into inner storms

capable of winning wars.

(5)

I kick my feet up and out

with a snarl

ready to fight

storm clouds making a fuss above

but I am now

not afraid

out into the world

biting off the head of the snake!