Pouring the Isle of “You smile all the time” in Titanic Chugged Cruiser: ‘The Way We Were’—-A Decanter of Obituaryfest Through Filmic Literature

Z I Mahmud, Alma Mater, English Department, University of Delhi, India

Silver screen mountain lion of Utah—Robert Redford and lioness glamour girl—Barbra Streisand manifest character arcs within claustrophobic debonair … As Rooseveltian romantic lovers, the chameleon couple is exposed to being infested and pestered through an ensemble of aural-visual on-screen framework enculturated within psychodrama ; thus marooned within the shipwreck of unamnesiac anathema. Sydney Pollack embodies francophone aboriginality and diasporic expatriate postnationalist postcoloniality Bunyanesquing— [Bunyanesquing is a neologism, insomuch and inasmuch of psychologizing and sexualizing filmic repertoire and that is this line of argument can be phrased as projections of extended personalities from curatorial directorship perspectivity] a laurel wreathed in romantic tenor filmic production. Erens, Patricia, and Sydney Pollack. “SYDNEY POLLACK: THE WAY WEARE.” Film Comment 11, no. 5
(1975): 24–29.

Katie Morosky puts forth the rhetoric of Rooseveltistic welfarism and unionization —raking over the coals anti-Cold War tensions and anti-McCarthyism in controversial conversation with fellow travelers and socialist compatriots of the motion picture industry.
Without cineversing hat on a hat, Barbra Streisand roasts arguments to watch their melting faces drip off their worthless faces as explained in the article by Matelski, Marilyn J. “‘The Way We Were. . .’ and Wish We Weren’t: A Hollywood Memoir of Blacklisting in America.” Studies in Popular Culture 24, no. 2 (2001): 79–98. Herein the interpolation of Rooseveltistic sympathizer cast Streisand in highlights of liberalistic Americanism.

Her husband is dead! Dead!!! Yes, Mrs. Roosevelt went down into the mines. And when they asked her why, she said, “I am my husband’s legs.” Did you tell the crippled jokes, too? Is there anything that isn’t a joke to you people?”

Hubbell and Morosky star studded casts pacifist egalitarianism transition toward flashforwards of retrospective grain of salt : ‘but making a blessed buck’ and ‘PEOPLE—are more important than any goddamn witch-hunt’.

Crystalline Jewishness of Katie Morosky [Barbra Streisand] surmountingly triumphs with conquest of a bagel of appreciation. Because of her creditworthy work ethics, passion, intelligence and marvel —- heartmelting observance of Jewish American lady persona in Hubbell Gardner [Robert Redford] backstage is fruitified in PICKETTE, SAMANTHA. “‘When You’re a Funny Girl’: Confirming and Complicating Accepted Cultural Images of Jewish Femininity in the Films of Barbra Streisand.” In Jews and Gender, edited by Leonard J. Greenspoon, 245–70. Purdue University Press, 2021. Both masculinization and feminization are characteristic traits of wave of womanist revolutionary blueprint of Jewishness and Samantha Pickette situates Streisand framework consolidating ‘feminine’ and ‘masculine’ to undermine ideals of a hierarchical society governed by hegemonic gendered expectations.

However, commie to saddie stock caricature imperils this governance of femininity. For the sake of argumentative emphasis, castration threat faced by the heroine is an unheimlich torrent in the vein of imaginary eugenics agrophobia—- superimposed upon the hero’s egomaniacal masculinity and psychic virility.
‘You and me. Not causes. Not principles’—-depoliticizes her political partisanship and disenfranchises female empowerment. After all, undertones and undercurrents of power struggles derelict the relationship between the couple with Katie’s clash of counterback, “Hubbell, people are their principles.” For Hubbell Katie’s reformer sage-like personality for thriving and striving the way of the world is a utopian idealism. Despite platonic romance Hubbell-Katie is a doomed pair—- stranded in dysfunctional marriage—– recoils into a shuddered wedding. If Katie doesn’t sell her soul for the sake of the American dream as extrapolated from the literary critic Letty
Cottin Pogrebin’s point of view, then I wish to argue what Samantha Pickette’s illustrative scholarship eschews. Hubbell Americanizes Judaism to the hinges and fringes of Christianity for the sake of the American Dream by permutation of plot twist and storyline. The transposition of a divorce petition springs forth within the cellar of the fourth wall.

Wasn’t Samantha Pickette walking on egg shells with confession in the performative gender of bolstering feminine body polity that after all she shrugs off her standpoint in the teleological ontology tracing Barbra Streisand’s happy endings— as transgressive nature of
feisty womanist Jewishness betide through poetic justice in the consequential aftermath of breaking off ritualization of interreligious institution.

Later the erudite scholarly critic nails the coffin in Katie Morosky’s everywoman struggles for restoration of family building by sheltering in the refuge of lyrical poetic fairy tale tradition of angel of the hearth. Dissolution of marriage coincided since salt of the earth Hubbell wanted care-free reliable family reconciliation within screen writing career; however Hubbell’s angel of the hearth was always waiting for the next shoe to drop in this mores of the nuclear disarmament campaign. In a nutshell, nostalgic glorification behind succumbment of the rack and ruin pair is likewise opening a can of worms amongst star-crossed and unrequited lovers.

The Way We Were transcendentally nostalgizes as symbolic epitome —in the heartfelt memoiristic reminiscences of Barbra Streisand for being cultural lightning in a bottled remembrance—memorial services of star-studded goodbye Hollywood has seen in decades. We are talking about a man who didn’t just act. He discovered talents. He nurtured careers. He changed the entire landscape of independent filmmaking. After all, as much as you can and as long as you can, philosophy floods with the memorabilia chemistry of this on-screen
couple—outlasting impressions of idolization of the entertainment industry alongside film studies and film criticism. ‘The double helix of the star wattage heyday lionizes tussled blonde locks, granite jaw and million dollar smiles’ as star cast reviewed by Robert Redford’s Funeral, Barbara Streisand’s TRIBUTE Is STUNNING!

Robert Redford elevated the powerhouse actress like Streisand through the enduring magical caprice of the popcorn classic The Way We Were. ‘That film, that performance, that chemistry between Redford and Streisand, it captured something eternal about love and loss, and the way time changes everything … As Barbra Streisand takes her leather gloved hand and pushes her summer boy Sandie blonde hair from Robert Redford’s forehead and he clasps her
wrist gently pulling her into a final embrace. An inevitable farewell, the audience sobbed.’

Redford resurrects in her epitaphic memorial as the times she remembered the fun they had commenting upon the Oprah Winfrey interviewing him, “I remember liking her energy and her spirit. It was wonderful to play off of. I also really enjoyed kidding her. She was fun to kid.”

From touching every corner of the entertainment industry, the actors he worked with, the directors he discovered and causes he championed…devotion to conservation, life, vision and
lasting contribution to Utah…feelings he inspired, dreams he encourages, independent voices he amplified through Sundance, lives he touched, careers he launched, the storytelling craft…loyalty, trustworthiness, principles, looks, commitment to excellence… and so on and so forth. Streisand’s onscreen heroization of Redford shall outlive real marriages through the relationship strands between Katie-Hubbell pair—-beauty with substance and stardom with
purpose helming the filmworld—-recognizing his worth, celebrating his talent, maintaining the everlasting bond throughout decades.

Photography Acknowledgement
THE WAY WE WERE Starring Barbra Streisand & Robert Redford. October 16, 1973. Picture, taken on set during the filming in 1972. Eoghan. Barbra Streisand Fan’s World Page
Robert Redford and Barbra Streisand, who starred together in 1973’s ‘The Way We Were’.

💜Smooth Radio
Robert Redford In ‘The Way We Were’
Barbara Streisand and Robert Redford sit smiling looking forward in a scene from the film ‘The Way We Were’, 1973. (Photo by Columbia Pictures/Getty Images)

Streisand & Redford In ‘The Way We Were’
View of American actors Barbra Streisand and Robert Redford as they lie in bed in a scene from the film ‘The Way We Were’ (directed by Sydney Pollack), Los Angeles, California, 1972. (Photo
by Steve Schapiro/Corbis via Getty Images)

Redford & Streisand In ‘The Way We Were’
View of American actors Robert Redford and Barbra Streisand as they face one another in a scene from the film ‘The Way We Were’ (directed by Sydney Pollack), Los Angeles, California, (Photo by Steve Schapiro/Corbis via Getty Images) 1972.

Z. I. Mahmud [email: zimahmud_anan@yahoo.com] is a Bangladeshi scholar, creative writer, and B.A. (Honours) alumnus in English from Satyawati College, University of Delhi. He has recently submitted an essay for the Keats Shelley Memorial Prize titled, The Utopian Enlightenment of Romantic Sublime Dissolves Into Dystopian Apocalypse Within Mary Shelley’s Last Man. His research and creative work explore literature’s intersections with history, imagination, and cultural reception. Mahmud’s abstract, Dungeon-Castle and Demonic Downfall: Traumatizing Horroresque Gothicization of the Medievalist Halloween, has been selected for panel presentation at the virtual conference Confound the Time: Reception in Medieval & Early Modern Studies, 24–25 January 2026.

Rainbow

This is my colourful hope

Waiting the rain

And after the rainbow

So many colours

Can speak to my heart

So many happiness in the sky above

Look at the rainbow

Remember it’s a circle

Everything isn’t permanent

What is hard now

It’s going to be easy the next day

Eva Petropoulou Lianou 🇬🇷………

Friends

Peace

Become just words

This darkness have put a screen between

You sent like

And you don’t say

I love you

Your words are lost because Artificial intelligence taken away

But what about the soul?

Nobody can explain what soul is

Only God the creator

Knows

Only the human hearts can feel

Don’t let your words to be stolen

Peace

Friends

Are our pillar of ethics

that makes us stronger everyday

EVA Petropoulou Lianou 🇬🇷

Education in Human-Machine Collaboration: A New Era in Foreign Language Learning

Nurdinjonova Rayhona

Student of Ishoqxon Namangan State Institute of Foreign Languages

Introduction

In the modern era, artificial intelligence (AI) is no longer a distant concept—it is a vital part of almost every human activity. Education, particularly foreign language learning, has seen profound transformations with the integration of AI tools and platforms. AI has revolutionized how learners acquire, practice, and refine their linguistic abilities, enabling a more interactive, personalized, and efficient learning experience.

Through human-machine collaboration, students can develop not only linguistic knowledge but also critical thinking, creativity, and digital literacy skills. Moreover, AI-based systems provide opportunities for autonomous learning, immediate feedback, and real-time communication, turning traditional classrooms into dynamic environments. As a result, the relationship between teachers and learners is evolving, with AI serving as a supportive partner rather than a replacement for human intellect.

Main Part

1. The Role of AI in Foreign Language Teaching

Artificial Intelligence plays a significant role in transforming language education into a more adaptive and personalized experience. AI-driven tools such as Duolingo Max, Grammarly, ChatGPT, and Replika AI act as virtual assistants that analyze learners’ progress and provide tailored feedback. For example, a student using Duolingo Max can receive instant corrections and explanations for grammar mistakes, while Grammarly improves their writing by offering context-aware suggestions. Similarly, ChatGPT can simulate real-life conversations, helping students enhance their speaking and comprehension skills in a natural dialogue setting. This form of learning fosters independent study and builds confidence, as learners actively participate in their development process rather than passively absorbing information.

2. Advantages of Learning with Machine Collaboration

AI enables learners to move beyond traditional rote learning by creating an engaging, interactive environment. Through adaptive algorithms, AI systems automatically adjust the difficulty level of exercises based on a learner’s performance. This ensures that each student studies at a comfortable pace, reducing stress and enhancing motivation. Moreover, AI facilitates communication practice by generating real-life scenarios—for instance, role-playing exercises where students can practice ordering food in a restaurant or discussing travel plans. Teachers, on the other hand, can use AI analytics to monitor student progress, detect weaknesses, and personalize instruction accordingly. This collaboration allows teachers to focus on creativity, mentorship, and emotional support—areas where human input remains irreplaceable.

3. The Potential of AI in Literature Education

AI can also play an innovative role in literature classes by assisting students in text analysis and interpretation. Natural language processing technologies can analyze the tone, themes, and stylistic elements of literary works. For instance, a learner studying Shakespeare can use AI software to compare linguistic patterns across different plays, while another might explore the emotional depth of a novel using sentiment analysis tools. Furthermore, interactive chatbots can be designed to mimic literary characters, allowing students to ‘converse’ with figures such as Hamlet or Elizabeth Bennet to better understand their motivations and conflicts. Such applications nurture creativity, deepen comprehension, and make classical literature more relatable to modern students.

4. Ethical and Pedagogical Considerations

Despite its many advantages, the use of AI in education raises important ethical questions. Over-reliance on technology can reduce students’ critical thinking abilities and limit their capacity for independent reasoning. Moreover, data privacy and the responsible use of AI tools must always be prioritized. Educators have the responsibility to guide learners in using AI ethically and effectively. AI should not replace teachers but rather serve as a bridge that enhances learning and makes education more accessible. By maintaining a balance between human creativity and machine precision, educators can create a holistic learning environment where technology complements human intellect.

5. Future Prospects of Human-Machine Collaboration

The future of language education lies in the continued development of intelligent systems that promote collaboration between humans and machines. AI is expected to become even more personalized, offering emotional and cultural context in addition to linguistic assistance. In the near future, AI tutors might be able to detect a student’s emotional state through voice or facial expressions and adapt the lesson accordingly. Virtual and augmented reality will further enrich the learning experience by creating immersive environments where learners can practice languages in realistic situations. However, it is essential that such innovations always remain human-centered, ensuring that technology supports, rather than dictates, the learning process.

Conclusion

In conclusion, artificial intelligence has become a transformative force in the field of foreign language education. Human-machine collaboration not only improves the quality of learning but also promotes creativity, autonomy, and inclusivity. Teachers and students alike benefit from AI’s ability to analyze, adapt, and personalize the educational process. Nevertheless, the human element—empathy, moral reasoning, and imagination—must always remain at the center of education. By embracing AI responsibly, we can shape a future where technology and humanity coexist harmoniously, enriching both language learning and the broader educational landscape.

References

1. Russell, S., & Norvig, P. (2020). Artificial Intelligence: A Modern Approach (4th ed.). Pearson Education.2. Luckin, R. (2018). Machine Learning and Human Intelligence: The Future of Education for the 21st Century. UCL Institute of Education Press.3. Holmes, W., Bialik, M., & Fadel, C. (2019). Artificial Intelligence in Education: Promises and Implications for Teaching and Learning. Center for Curriculum Redesign.4. UNESCO. (2023). AI and Education: Guidance for Policy-Makers. Paris: United Nations Educational, Scientific and Cultural Organization.5. Oxford Insights. (2024). The Global AI Index: Education and Innovation. Retrieved from https://www.oxfordinsights.com/ai-index6. Turing, A. (1950). Computing Machinery and Intelligence. Mind, 59(236), 433–460.7. Wong, G. K. W. (2023). AI-Powered Language Learning: Pedagogical Perspectives and Challenges. Journal of Educational Technology, 18(2), 45–57.

AND THEN EVERYTHING WAS THE STORM

A village siren did not exist to start startling us to the flood,
nor would one make us distrust luck to prevent it reaching me.

The deer running away made the dusk dulling the eye shine
amidst the heaps of overturned trash  with banqueting buzzards.

An indifferent moon had soothed the sunburnt arms of visitors
who had not thought they held tickets to a deadly raceway of water.

An aviary display of confused birds aligned on telephone wires
took off all at once like those assembled in Hitchcock’s story.

Headlights of escaping cars float their glint on a sudden rush of
water in what was a quiet river that now swept along trees

near the deserted parking lots, trailer clusters, and summer camps,
where a few hours before friends had gathered for a night’s bar-b-que.

And sometimes those headlights, broken one-eyed cyclops, targeted
a leaping stag before the lights expired, replaced by lightning strikes.

Those  able to wade to safety waited for the next day’s light
to reveal what would startle even the old at such new absences.

Racing overhead, cirrus clouds of accumulated water in the
heat could not hold the buildup of rain that now spiraled down.

Apparently a cheap wall calendar dropped page after page
as penciled-in weeks rode the brown water with photos and toys.

Empty hopes left together as we tried to screen out what we all
knew was coming, but maybe every fifty years or only each century.

And the wild flowers along the highways and those in the gardens
that opened for each day’s bright morning had now closed forever.
_____________________________________________________________

PHOTO FINISH

The photo I found in a plastic frame
was a close-up made by the boyfriend
of a rich girl who generously left me
a set of Hitchcock chairs taken
from her family’s heirloom barn.
Her beau, balding and too friendly,
had three cameras dangling
around his sunburnt neck
that endless day we stretched
on a beach of singing sand.
I was wearing non-tinted, rimless
glasses, and turned my head
to the dark, blinking eyes of
each instrument he aimed.
The image itself, like any process
of creation, could not be trusted,
as a property of lens and angle,
shrinking me to a visual story.
I understand more than before
those religious people who
shunned such ghost-catchers,
knowing it was so dangerous,
and each snapshot to be feared
in the dots of gray worrying
away the flesh fixed on paper,
in time without any reference
to time, true but not really
accurate, or accurate but
not true, like chaos when
the picture breaks apart,
indistinguishable from plain air.
Looking across fathomless water
we wanted to see what God
sees, but what does God see?
We had not replaced God,
only refined our all-seeing eye
in a solid sense of ourselves,
but were forced to face at last
things we prefer not to look at,
trying to control the universe’s
response, like anything we make,
even the careful crafting of love
I burned as completely as the photo.
_________________________________________________

ON THE VIGIL OF ALL HALLOWS

On the vigil of All Hallows
a tailfree, fuzzy comet
made us face the sky
as this omen’s glow burst
by a factor over a million,
not from an unknown nova,
but an object leaving our space
into a welcoming darkness
with a final, gaseous flare,
like a sign of our own good night.
Along the village byways
children hunting down treats
at the gingerbread houses of strangers
held flashlights to bathe their steps
and chanted a rote threat.
They dressed as fantasy figures;
a hint of escape and longing
clings to these flat imitations.
In time they will wear the subtle
costumes worn by their parents.
This hallowed night the parade
of original innocence
keeps at arm’s length
the spirits “roaming the world
seeking the ruin of souls.”
They await another time.

In the first light my car,
coated in sugary frost,
displays on its locked trunk
a design, a childish squiggle,
a mask of Potatohead,
a clown, or a continent,
and a child’s hand imprinted,
an enigmatic token,
like a palm on a horse’s flank
from an owner riding the prairie
or the perfect ochre outline
on a cave’s smoky vault.
The warmth of that phantom hand
had melted the ice glaze
and left a record of touch —
a blessing.

Royal Rhodes is a poet whose work has appeared in literary journals in the U.S., the U.K., Canada, and India. He lives in a small village that is close to a nature conservancy, green cemetery, and Amish farms.

Ecotourism: A Journey Not Only to Nature, but to Ourselves

In today’s rapidly globalizing world, travel has become more than just a hobby – it is a lifestyle, a symbol of freedom, and an exploration of identity. Millions of people cross borders each year to see new places, breathe in new air, and collect memories that last a lifetime.

Yet, behind the growing excitement of tourism lies a silent cry — the cry of nature struggling to breathe under the weight of human footsteps. Forests shrink. Rivers lose their purity. Wildlife retreats into silence. In such a moment, tourism cannot remain the same. The world no longer needs tourists who only consume nature — it needs travelers who protect it. This is where ecotourism rises as a new philosophy of travel.

Ecotourism is not about luxury resorts or crowded entertainment parks. It is about visiting nature with care, respect, and love. Ecotourists step lightly, listen carefully, and learn deeply. They seek not only beauty, but meaning; not only adventure, but responsibility. To travel responsibly means to understand that every leaf has value, every bird song is a story, and every river is a pulse of life.

Ecotourism reminds us that nature is not a backdrop for photos — it is the foundation of our existence. Environmental crises are no longer distant warnings; they are our daily reality. Climate change, soil degradation, water scarcity, and species extinction threaten the balance of our planet. Ecotourism is one of the most effective ways to connect humans back to the earth, raise awareness, and create economic incentives for conservation. In many countries, this industry has become a model of sustainable development. Local communities gain employment, protected areas receive funding, and travelers return home with a renewed respect for the planet.

Uzbekistan is blessed with natural diversity — from the ancient sands of Kyzylkum to the majestic Chimgan mountains, from the mysterious Ustyurt Plateau to the rising hope of the Aral Sea ecotourism zone. These places are not just landscapes; they are national treasures.

Yet natural beauty alone is not enough. We must nurture it. Promote it wisely. Protect it fiercely. A single careless campfire can turn a forest into ash; a single plastic bottle can pollute a river for decades. Ecotourism teaches us that loving our homeland begins with caring for its nature. A tree planted today becomes a shade for tomorrow. A river kept clean becomes life for generations. Protecting nature is not a duty — it is an honor.

Ecotourism shapes a culture where humans and nature grow together, hand in hand, heart in heart. Travel, but travel responsibly. Discover, but do not destroy. Touch the earth, but with kindness. Because while nature has sheltered humanity for thousands of years, now it is humanity’s turn to shelter nature.

Dildora Xojyozova is a young geography student and environmental enthusiast from Uzbekistan. Passionate about sustainable development and nature conservation, she actively participates in academic, social, and ecological initiatives. Dildora promotes environmental awareness among youth and dreams of contributing to global eco-tourism development. With a strong dedication to education and research, she aims to become a leading specialist in geography and sustainable tourism.

———————————————————————–

at a hospital

cold sunshine

must be another

day stuck at a

hospital for

testing

a cough of death

behind me in the

waiting area

i learned at an

early age no place

on earth can get

you sick like

a hospital

no wonder my

mother would

prefer to die

at home

———————————————————–

ever really existed

nearly four in the morning

struggling to find the words

you have stumbled into

a dream that a little boy

once had where his

demons allowed him

to go out and play and

discover if fun ever

really existed

a trap where there never

is a right answer

and that’s where we

fall back into reality

all these questions

all these zombies

and then let the drugs

calm you

cradle you into the light

a soft, majestic embrace

two more trips around

the sun and then we

shall celebrate

a new beginning

once again

—————————————————————

all the naughty fun to be had

i remember that night

in chicago

that tall beautiful black

woman on stage

talked with the kind of

accent that immediately

made you think of some

island thousands of miles

away and all the naughty

fun to be had on a beach

after a few drinks, swear

she was making eyes with

me

of course, her six foot five

white boyfriend was standing

right behind me

i quickly figured out whom

the eyes were for

i went to the bar and ordered

a double, sat down and laughed

even with the little confidence

i had in my 20’s, there’s no

fucking way a woman like

that would be going for me

a quarter century later

not much has fucking

changed

——————————————————————–

paper and pen

everyone buried

in their phones

yet i’m the weird

fuck using paper

and pen

scribbling poems

making himself

laugh with a funny

line

if i was as weird

as people think

i would never

go out in public

and from the looks

of a few people

they wouldn’t

mind that

————————————————————-

any amount of power

and here comes the raging

underbelly of america

election day

no use trusting anyone

with any amount of

power

and all i ever wanted

to know

who is going to get all

those fucking signs off

the side of the roads

i don’t need to see the

names of the losers peeking

through the snow in a few

weeks from now

i remember telling a friend

in high school if i ever run

for office, that would be

my only promise

the day after the election

i would take down every

one of my signs

sadly, given the current

state of politics

that might actually work

JJ Campbell (1976 – ?) is stuck in suburbia, plotting his escape. He’s been widely published over the years, most recently at The Beatnik Cowboy, Disturb the Universe Magazine, The Rye Whiskey Review, Misfit Magazine and Yellow Mama. You can find him most days taking care of his disabled mother while trying to do everything else at the same time. He tries to maintain his blog, although he rarely has time to write on it. (https://evildelights.blogspot.com)

Mrs. Ufere 

Mrs Ufere said you were the best pupil in the whole school but why didn’t you buy her a gift like some of the other pupils did? Like some of their parents did? It was the last day in school. Everyone was leaving, and many people were buying gifts, but Mrs Ufere wasn’t angry or upset. She was just smiling, and you wondered if there was more she wanted to say.You and Mrs Ufere had been like mother and son. You took the first position for the whole three terms with almost-impossible average scores ranging from 96. You wrote the notes on the black board even when Mrs Ufere was in class.

One day the headmaster saw you and marveled, and you would know that he kept thinking about you because the day you came to take your school testimonial, he went into his office, packed out children’s novels and books that were labelled ‘Not to be sold or given out’ and he gave them to you. Eddie Iro’s Without A Silver Spoon was one of the novels he gave you, a novel that teaches about honesty in the midst of hardships. Riverside Primary School molded you, shaped you.

For two years before you came out, you marked tests which only teachers marked. You helped Mrs Ufere write the results into report cards. You knew who took which position in class at the end of every school term. You always took the first position of course, but then you knew who took second, third, fourth and so on. You also knew that Mrs Ufere was a member of The Cherubim And Seraphim Church, a church which many people considered very strange.

Mrs Ufere held your hand as you two walked towards the class from the headmaster’s office. And both of you knew it would be the last time you would really hold hands, because very soon you would leave, and you won’t see Mrs Ufere again.

Isaac Dominion Aju is a Best Of The Net Nominee who lives in Nigeria. He’s appeared on Poetry X Hunger and Flapper Press. His work appears in the upcoming anthology by African Narratives Writing Program.