Sometimes fate inflicted hardship and baseness upon me,
Like my fortune, it made me weak in every matter.
Sometimes it guided me towards fulfillment (or pleasure),
In short, it acted very chameleon-like.
●Translation by Shukurilloyeva Lazzatoy
Lazzatoy Shamshodovna Shukurilloyeva
Student of the Uzbekistan State World Languages University, 1st year.
Speaks Uzbek, English, Russian, French, and Persian-Tajik. Holds an IELTS international certificate (2023) and Uzbek national language certificates (2024).
Winner of district, city, and republican-level Olympiads.
Her creative works began to be published in newspapers during her school years, and in 2024, her creative works were included in the collection titled “Bridge of Creators,” published by Lulu Press in the USA. As an active member of the American “Foyle Young Poets” association of young poets and the Argentinian “Juntos Por las Letras” science and literature association, she actively participated in the international conference held on October 19th of this year, reading her poems in Uzbek. Many of her scientific articles been approved and published in prestigious journals. In 2025 been participated with her outstanding article in international conference devoted to Alisher Navoi.
Participant of the “IYC 2024” conference held in New York.
Serves as a “GLOBAL PEACE AMBASSADOR” and “Child Rescue AMBASSADOR” with India’s “Iqra Foundation,” working in the field of peace and child rights advocacy.
She is also an active member of the “Òzlidep” Democratic Party of Uzbekistan.
In the interspace, the joyful assaults of the day are repelled,
the sunlight filters weakly, like broken dreams,
silence reigns supreme, among persistent shadows,
where the noises of the world become distant.
Here, between walls of suspended time,
the mind takes refuge, in search of quiet,
a place of calm, a shelter defended,
from the screams of the day, from disturbing anxieties.
But even in the shadow, a small ray,
insinuates itself, bringing a faint hope,
a promise of peace, in the heart, a glow.
Oh, interspace, guardian of serenity,
protect the soul from nameless storms,
and let silence soothe every pain.
Lidia Popa was born in Romania in the locality of Piatra Șoimului, in the county of Neamț, on 16th April, 1964. She finished her studies in Piatra Neamț, Romania with a high school diploma and other administrative courses, where she worked until she decided to emigrate to Italy.
She has been living for 23 years and worked in Rome as part of the wave of intellectual emigrants since the fall of the Berlin Wall.
She wrote her first poem at her age of seven. She is a poet, essayist, storyteller, recognized in Italy and in other countries for her literary activities. She collaborates with cultural associations, literary cenacles, literary magazines and paper and online publications of Romanian, Italian and international literature. She writes in Romanian, Italian and also in other languages as an exercise in knowledge.
BOOKS
She has published her poems in six books:
in Italy:
1. ” Point different ( to be ) ” – ed. Italian and
2.” In the den of my thoughts ( Dacia ) ” – ed. bilingual Romanian/ Italian AlettiEditore 2016,
4. ” The soul of words” ed. bilingual Romanian/ Albanian Amanda Edit Verlag 2021,
5.” Syntagms with longing for clover ” ed. Romanian, EdituraMinela 2021.
6.” The Voice interior ” LidiaPopa and BakiYmeri ed. bilingual Romanian/Italian, Amanda Edit Verlag 2022.
Her poems featured in more than 50 literary anthologies and literary magazines on line from 2014 to 2023 in Italy, Romania, Spain, Canada, Serbia, Bangladesh, United Kingdom, Liban,USA,etc.
Her poems are translated into Italian, French, English, Spanish, Arabic, German, Bangladesh, Portuguese, Serbian, Urdu, Dari, Tamil, etc.
Her writings are published regularly with some magazines in Romania, Italy and abroad.
She is a promoter of Romanian, Italian and international literature, and is part of the juries of the competitions.
She translates from classical or contemporary authors who strike for the refinement and quality of their verses in the languages: Italian, Romanian, English, Spanish, French, German, stating that “it is just a writing exercise to learn and evolve as a person with love for humanity, for art, poetry and literature “.
SHE IS
*Member of the Italian Federation of Writers (FUIS)
*Honorary member of the International Literary Society Casa PoeticaMagia y Plumas Republic of Colombia,
*Member of Hispanomundial Union of Writers (Union Hispanomundial de Escritores) (UHE) and Thousands Minds For Mexico (MMMEX)
*President UHE and MMMEX Romania, August 21, 2021
*She had come power of attorney Vice-president UHE Romania, Mars18, 2021- August 21, 2021
*President UHE and MMMEX Romania, August 21, 2021
*Counselor from Italy for Suryodaya Literary Foundation Odisha India,
*Director from Italy for Alìanza Cultural Universal (ACU) Argentina
*Member Motivational Strips Oman,a member of numerous other literary groups at the level internationally,
*Director of Poetry and Literature World Vision Board of Directors (PLWV) Bangladesh
*Membership of ANGEENA INTERNATIONAL NON PROFIT ORGANISATION of Canada
International Peace Ambassador of The Daily Global Nation International Independent Newspaper from Dhaka Bangladesh – 2023
*Founder literary group Lido dell’anima with LIDO DELL’ANIMA AWARDS
*Founder LIDO DELL’ANIMA Italian magazine
*Founder SILVAE VERBORUM INTERNATIONAL multilingual magazine
Ozod Sharafiddinov – The Star of Uzbek Literature After Navoi
Ozod Sharafiddinov, a distinguished figure in Uzbek literary criticism and philology, has left an indelible mark on the field. His creative and scholarly legacy remains highly relevant today. He was not only a literary critic but also a translator, publicist, and an enlightened intellectual.
Looking at his life path, he was born on March 1, 1929, in the village of Okhunqaynar, near Kokand. He graduated from the Faculty of Philology at the Central Asian State University. His thirst for knowledge led him to complete postgraduate studies in Moscow, where he earned a PhD in 1955. Later, he continued his work at the Academy of Sciences of Uzbekistan, conducting in-depth research in literary studies.
Ozod Sharafiddinov’s works focus on the development of Uzbek literature, creative freedom, and the study of talented writers. He authored numerous literary-critical articles and monographs. One notable example is the book “Zamon. Qalb. Poeziya” (“Time. Soul. Poetry”), which analyzes the essence of Uzbek poetry and the emotional depth of poets.
Another book that deeply impressed me is “Iste’dod jilolari” (“The Sparkles of Talent”, 1976). This work explores the creativity of gifted Uzbek poets and writers. Sharafiddinov examines their writing style, mastery, and role in the literary process. The book provides an in-depth study of writers such as Oybek, G‘afur G‘ulom, and Abdulla Qahhor.
His work “Adabiy etyudlar” (“Literary Etudes”, 1968) discusses the relationship between literature and society, creative freedom, and the role of literary criticism. Sharafiddinov emphasizes that literary criticism should not only highlight shortcomings but also serve as a tool for the development of writers.
Another remarkable book, “So‘nggi satr Vatan shoniga aylandi” (“The Last Line Became the Glory of the Homeland”) delves into the theme of patriotism, explaining its artistic and spiritual significance.
Sharafiddinov also made significant contributions as a translator. He translated many masterpieces of world literature into Uzbek. Among his notable translations are Leo Tolstoy’s “Confession”, Paulo Coelho’s famous novel “The Alchemist”, and Anton Chekhov’s psychological short stories. His translations preserve the artistic and spiritual essence of the original works, making them accessible to Uzbek readers.
His contributions to Uzbek literature were highly esteemed. On August 23, 2002, he was awarded the title of “Hero of Uzbekistan.”
In his works, Ozod Sharafiddinov not only analyzed the artistic aspects of literature but also examined its social significance. He established himself as a leading literary scholar and a master of criticism. His scientific and artistic legacy solidified his position as one of the greatest figures in Uzbek literature after Navoi. His contributions played a key role in shaping new directions in literature beyond Navoi’s era. Today, Sharafiddinov remains one of the brightest representatives of Uzbek literature, and his academic and creative legacy continues to be relevant. His works are not only valuable for literary scholars but also for writers and readers.
In conclusion, I must say that reading Ozod Sharafiddinov’s works has been a true intellectual and spiritual nourishment for me. Each book deepened my perspective on literature and enriched my thoughts. I highly recommend exploring his works, as they offer not only knowledge but also profound enrichment for the soul.
Odina A’zamqulova
1st-year student at the University of Journalism and Mass Communications of Uzbekistan
Abstract: The article explores the works of Alexander Arkadyevich Feinberg, a renowned People’s Poet of Uzbekistan. Poetry, by its very nature, is concise and often carries a significant degree of social critique. In contrast, prose, being a more expansive and explicit genre, struggles to endure the scrutiny of those who seek moral purity, even when addressing similar critiques.
Keywords: Alexander Feinberg, uzbek literature, topographical expeditions, internationalism, spiritual boundaries, life portrait.
Introduction
The charm of Alexander Feinberg’s poetry, which shines in the sky of Uzbek and Russian poets, has won the hearts of people of different ages, views, and feats. Alexander Arkadyevich Feinberg is the author of 15 collections of poetry, including a posthumous two-volume edition, published in Tashkent, Moscow, and St. Petersburg, magazines called “New World”, “Youth”, “Mega Polis”, “Star of the East”, “New Volga”, “Arion”, as well as in periodicals on both sides of the Atlantic.
Research materials and Methodology
The memoir book about poet Alexander Feinberg, featuring contributions from 48 authors, presents a collective life portrait that goes beyond his identity as a poet, gifted essayist, and screenwriter. More than anything, it vividly portrays him as a contemporary and fellow Tashkent native, showcasing his diverse personality and creative versatility. Through the pages of this book, friends of the poet share insights into his strengths and weaknesses, his bold determination to overcome life’s challenges, his humble remorse for both intentional and unintentional mistakes, his deep devotion to his homeland, his affection for animals, and his unwavering commitment to his true calling-Poetry.
This deeply personal memoir swiftly secured its place in the history of Russian and Uzbek literature, offering a multifaceted portrayal of A. Feinberg’s era at the turn of the 20th and 21st centuries. Zoya Tumanova poignantly asks:
What signs of the times shine through the poet’s realities?
The book holds significance not only for contemporary readers but also for future generations. For any reader, it is crucial to accurately and thoroughly capture the essence of a writer’s time. This memoir vividly depicts everyday life—how people lived, their earnings, attire, and the traditions of hospitality in the East, where both expected and unexpected guests were received with warmth. It details what people ate and drank, painting a sensory-rich picture reminiscent of Flemish painters who celebrated the joys of abundance and simple pleasures. As A. Feinberg himself wrote:
“The mighty chill of aspic quivers,
Cucumber rings shimmer bright,
Salt flakes descend like tiny snowflakes,
And pepper’s black dust takes flight.”
This memoir serves as a concise encyclopedia of the poet’s life, offering insight into how Alexander Feinberg and those around him lived, loved, created, and faced the highs and lows of existence—discoveries, hardships, and creative inspiration. It introduces his close and distant friends, literary and cinematic colleagues, and even chance acquaintances from his numerous topographical expeditions, which he described in verse:
“The roads, the roads we choose to take,
They promise troubles, they threaten fate,
Both hell and paradise await.”
As Alexander Kolmogorov observed, all these individuals, bound by fate, experienced the mesmerizing artistry that seemed to run through Feinberg’s very blood. Regardless of their age, literary standing, or social position, the poet and his fellow authors shared a common and fervent passion for the written word. As Feinberg declared: “Where the word is not given, there are no rights.”
Ultimately, the memoir seeks to answer one of humanity’s most profound questions: “Why are you here on this earth?”
“Tell me, what will be your answer
When the light flickers in the night,
And with a quiet step, the eternal one
Approaches the flame of your candle?”
His close friend and colleague, the People’s Poet of Uzbekistan Abdulla Aripov, whom Feinberg described as “a true friend of the Uzbek people and a truly national poet, who paved his way to Paradise through his life and work,” echoed these reflections.
Journalist Rustam Shagaev recounted a fascinating moment from his 50th-anniversary photo exhibition, where Feinberg was present, highlighting the poet’s ability to transform even an ordinary gathering into something memorable.
Poetry, as reflected in this memoir, encapsulates everything—meaning and conscience, hope and astonishment, fear and cunning, the skill of navigating life’s challenges, and the courage to confront them directly. It embodies both the well-established principles of modern artistic thought—humanism, internationalism, and the pursuit of social justice—and the drive to transcend conventional aesthetic and spiritual boundaries, embracing the distinct nuances of national and social identity.
Conclusion
Through his words, Feinberg reminds us of the power of poetry to capture life in all its complexity, to challenge conventions, and to preserve the essence of a generation. His legacy, intertwined with the literary and cultural history of Uzbekistan and beyond, remains a guiding light for those who seek truth and beauty in the written word.
Valiyeva N. & Abdusamadov Z. N. (2022). Artistic Peculiarities of the Poetry of A. A. Fainberg. Kresna Social Science and Humanities Research, 148-149.
Sobirova A.A. Analysis of stylistic means in the translation of Alexander Feinberg’s poem “The painter” from Russian into English. Oriental Renaissance: Innovative, educational, natural and social sciences (E)ISSN: 2181-1784 4(01), Jan., 2024.
Malykhina G. “Fainberg’s poetic mine”, Tashkent, 2014
Tartakovsky P.I., Kaganovich S.F. “Russian-language poetry at the present stage”, Tashkent, 1991.
Artist in his room, the bed lamp lit, the fan running — white noise to block exterior sounds — the blinds tight shut; artist of the shadows of heart, the beating inside, the mind waking with thoughts, worries kept to oneself, the others in the house sleeping, they’ve heard it before, over and over, so let the artist suffer his insomnia rage alone; artist of the shadows, his books on the walls, his touchstones easily pulled from the shelf, a passage read, his laptop’s blue glow, tap, tap, words on the screen out into the night on the web for other artists of shadows who seek what they do not know, who dream a good night’s sleep, bright energy for a bright next day but have forgot that way of being, must love and move through the day in a molasses way, lost and not remembering, hoping clarity will come again while he wakes and sleeps, wakes and sleeps, for an hour or two receives buoyant energy, and then the mind turns to fog and anger and he will try to sleep. Strange life. Alone life. The artist whispers phrases, “I’m through with this,” “I can’t go on.” He takes the dog for a walk down the night-empty streets. The artist of the shadows returns and climbs in bed. It’s four a.m. He strokes his aching legs and swallows a pill to ease the pain…
