Teresa Nocetti was born in Montevideo, capital of the Oriental Republic of Uruguay. She has been a retired teacher for seven years and is a mother and grandmother. She loves to travel, get to know different cultures, read and talk.
Since 2017, she has been a member of the group of international writers “Junto por las Letras,” counting hundreds of participants from different languages to date. In 2018, she published “La visita de Perseo”. She’s published in the anthologies: “Women on the brink of the abyss” (collection), “Vida de Piedra”, “When letters mature”, “A story for a smile” Volume Three, “Uniendo Fronteras” (Bolivia). In 2019 she was awarded a Special Mention from the Outstanding Women in Culture for her cultural trajectory and human values.
As of 2020, her works have been virtual. She continues to participate actively in the Virtual Book Fairs, in the virtual book Immortales, and in all the proposals of the “Juntos por las Letras” Group as Cultural Manager. They will publish her next book: “Sinuous Soul.”
Nobel Literature Laureate László Krasznahorkai and the Light Within Ruins: The Enduring Power of Literature in Times of Crisis
Emran Emon
When the Swedish Academy announces that László Krasznahorkai wins the 2025 Nobel Prize in Literature, the citation—“for his compelling and visionary oeuvre that, in the midst of apocalyptic terror, reaffirms the power of art”—resonates with remarkable timeliness. In an era marked by uncertainty, war, climate anxiety, and the slow erosion of collective meaning, the Academy’s choice of the Hungarian novelist feels almost prophetic. Krasznahorkai, often called the “writer of the apocalypse,” has long been the literary chronicler of chaos—yet he is also, paradoxically, one of its most powerful antidotes.
Born in 1954 in Gyula, Hungary, Krasznahorkai belongs to a Central European lineage haunted by totalitarianism, despair, and disillusionment. He follows the literary footsteps of Kafka, Musil, and Bernhard—writers who dissected the human psyche amid societal collapse. With this Nobel Prize, he becomes the second Hungarian laureate, after Imre Kertész in 2002, whose own work bore the moral scars of the Holocaust. But whereas Kertész chronicled survival under tyranny, Krasznahorkai explores the spiritual desolation that follows it.
His debut novel, Satantango (1985), which took seven years to publish due to censorship, announced the arrival of a writer unlike any other. This postmodern masterpiece portrays a decaying village awaiting the return of a mysterious figure—a narrative of false prophecy, collective delusion, and moral decay. The story unfolds through pages-long sentences, each a labyrinthine reflection of confusion and decay. When Béla Tarr adapted the novel into a seven-hour cinematic epic in 1994, the two artists became inseparable in the public imagination—Tarr giving visual form to Krasznahorkai’s textual apocalypse.
Krasznahorkai’s prose style is both ‘his weapon and his world.’ His sentences are famously long, unbroken, and rhythmically relentless, sometimes extending across several pages. To read him is to enter a current that refuses to let go—a sustained meditation, an intellectual marathon. This stylistic audacity is not ornamental; it is existential. His syntax mirrors the chaotic continuity of consciousness, the endless unraveling of perception. In his world, there are no safe pauses. The absence of paragraph breaks traps readers in the same feverish continuum that entraps his characters. The result is hypnotic—exhausting, yes, but profoundly immersive.
Critics have called this approach “obsessive.” Krasznahorkai once responded by describing his method as “reality examined to the point of madness.” Indeed, his writing feels like an inquiry stretched to its breaking point—a sustained stare into the abyss until form itself begins to tremble.
In this respect, Krasznahorkai’s art recalls Proust’s interior infinity and Faulkner’s density, yet it is distinctly his own: not memory’s labyrinth, but apocalypse’s slow unfolding. His syntax makes the reader experience disorientation as a moral act—forcing us to inhabit confusion rather than flee from it. If one were to distill the essence of Krasznahorkai’s fiction, it would be the persistent nearness of collapse. His worlds are suspended between hope and ruin—often rural, provincial spaces that serve as microcosms for humanity’s larger failures.
In The Melancholy of Resistance (1989), the arrival of a mysterious circus and a dead whale in a small Hungarian town triggers chaos, paranoia, and moral dissolution. The novel’s absurd premise unfolds into a profound allegory about society’s vulnerability to hysteria and demagoguery. Adapted by Béla Tarr into the film Werckmeister Harmonies, the story becomes almost biblical in tone—a meditation on collective blindness and the failure of enlightenment.
For Krasznahorkai, apocalypse is not a future event but a permanent condition of existence. His characters—fallen intellectuals, wanderers, monks, derelicts—inhabit a world perpetually on the verge of collapse. Yet, he resists nihilism. Beneath his darkness lies a persistent belief in the redemptive force of art and moral contemplation. His more recent works, such as Seiobo There Below (2008) and A Mountain to the North, a Lake to the South, Paths to the West, a River to the East (2018), signal a spiritual evolution. Moving beyond European decay, these texts draw on Japanese and Buddhist aesthetics, embracing the idea of eternal recurrence, sacred precision, and aesthetic humility. Through them, Krasznahorkai seems to shift from apocalypse toward illumination—from despair to the fragile beauty of being.
The Nobel Committee’s phrasing—“reaffirms the power of art”—is crucial. Krasznahorkai’s worldview, though soaked in ruin, insists that art remains the final refuge of meaning. His works argue that literature’s endurance lies precisely in its ability to face darkness without flinching.
In his 2015 Man Booker International Prize acceptance speech, Krasznahorkai said that literature is the last space where “the complexity of the human soul is still allowed to exist.” This conviction radiates through every sentence he writes. His novels challenge a world of simplification and speed—a world increasingly allergic to ambiguity. His art is not escapist; it is resistant. It resists simplification, commodification, the flattening of experience. In that resistance lies a politics of the spirit—a subtle defiance against conformity and amnesia. By making readers dwell in discomfort, Krasznahorkai reminds us that true art should disturb before it consoles.
No discussion of Krasznahorkai is complete without acknowledging his deep collaboration with filmmaker Béla Tarr, whose visual language mirrors the author’s prose. Films such as Satantango and Werckmeister Harmonies are not mere adaptations; they are extensions of a shared vision—long takes, grayscale landscapes, and slow pacing echo the rhythm of Krasznahorkai’s sentences. This partnership between writer and filmmaker redefined how literature and cinema can converse. Tarr’s camera, like Krasznahorkai’s pen, denies instant gratification. Both invite the viewer—or reader—to confront time itself, to witness the erosion of meaning and the endurance of beauty in the same frame.
The Nobel Committee described Krasznahorkai as “a great epic writer in the Central European tradition that extends through Kafka to Thomas Bernhard.” Indeed, Krasznahorkai redefines what “epic” means in the modern age. Gone are the heroes, the conquests, and the gods. In their place stand weary villagers, failed intellectuals, anonymous bureaucrats—all trapped within absurd systems or meaningless waiting. His epics unfold not across battlefields but across the corridors of consciousness, where doubt replaces destiny.
In this, Krasznahorkai revives the moral grandeur of the epic form within the despair of the modern condition. His protagonists may not triumph, but their persistence to perceive—to see clearly even in darkness—becomes its own kind of heroism. Though deeply rooted in Hungarian soil, Krasznahorkai’s imagination is global. His later works draw inspiration from Japanese temples, Chinese landscapes, and Buddhist philosophy. This cosmopolitan evolution positions him as a rare bridge between Western metaphysical pessimism and Eastern contemplative serenity.
Whereas his early novels depict the failure of human systems, his later ones seek harmony beyond them. In Seiobo There Below, art itself becomes divine—a force through which human beings glimpse eternity. The novel’s episodic structure, spanning from Kyoto to Venice, portrays art as an act of devotion, not production. This Eastward gaze expands the emotional and philosophical scope of European modernism. It suggests that the answer to apocalypse may not lie in reconstruction but in attentive stillness—in seeing, in silence, in art.
The Nobel Prize now secures Krasznahorkai’s position among the literary titans of our age. But his true legacy lies not in institutional recognition, rather in his courage to write against the grain of the times. In an age of brevity, he writes long sentences. In an age of clarity, he embraces confusion. In an age of distraction, he demands attention. His art thus becomes an act of resistance—not only against despair but against superficiality.
His readers, scattered across languages and continents, share a common experience: the exhaustion that gives way to revelation. Reading Krasznahorkai is to endure, but in that endurance, one feels the renewal of attention, the recovery of depth, the reawakening of wonder.
The world of 2025—fractured by wars, rising authoritarianism, digital addiction, and ecological grief—may seem far from the obscure villages of Krasznahorkai’s fiction. Yet his novels speak directly to our condition. When the social order disintegrates, when meaning feels lost, what remains? For Krasznahorkai, art remains. The act of describing, of perceiving—of refusing to turn away—is itself a moral stance. His literature becomes both a mirror and a sanctuary: it reflects collapse but also shelters the human capacity for awe.
In awarding him the Nobel Prize, the Swedish Academy implicitly recognized this truth: that art’s endurance amid ruin is not decorative but essential. Krasznahorkai’s fiction does not escape catastrophe; it redeems it through attention. In every long sentence, every moment of delay, there is resistance to erasure.
László Krasznahorkai is the writer of the end who writes for the future. His Nobel Prize is not only a triumph for Hungarian letters but for the idea of literature as a spiritual vocation. His works are reminders that art’s highest duty is not entertainment but revelation—to confront, to clarify, to sustain. He has shown that even amid “apocalyptic terror,” the written word can remain a light—trembling, flickering, but unextinguished. And perhaps that is his ultimate gift: the belief that beauty endures, even when the world does not. As the great Hungarian laureate once said, “The apocalypse is not coming—it has already arrived.” But in his prose, we discover something else, something the Nobel Committee, too, must have felt—that in the very ruins of language, there still rises the stubborn flame of art.
Emran Emon is an eminent journalist, columnist and global affairs analyst.
Formation of creativity and thinking in preschool children
Abstract
This article analyzes the theoretical foundations of the process of forming creativity and thinking in preschool children, pedagogical conditions, and advanced approaches used in world practice. The importance of play activities, art, fiction, modern information technologies, and parental cooperation in the development of creative thinking in children is highlighted.
In the context of today’s globalization, the development of human capital, the formation of a broad-minded and creative personality is one of the priorities of state policy. In particular, the preschool period is a decisive stage in the personal development of a child, in which the formation of creativity and thinking directly affects the effectiveness of future education and social activity.
According to the scientific views of psychologists J. Piaget, L.S. Vygotsky, E. Torrens, the period from 3 to 6 years is considered the period of active formation of a child’s thinking and imagination. During this period, the child not only acquires knowledge, but also forms their own views, strives for independent thinking. Therefore, ensuring the development of creative thinking in the preschool education system is one of the most pressing tasks of modern pedagogy.
Main part
The concepts of creativity and thinking are interpreted differently in pedagogical and psychological literature. Creativity allows a child to create something new,
if there is an ability to freely express one’s ideas, then thinking is its ability to comprehend reality, draw logical conclusions, and
means the activity of finding solutions in problematic situations. In preschool age, these two processes develop harmoniously.
The role of game activity in the formation of creativity is invaluable. Role-playing games enrich the child’s social experience.
allows you to try out roles and find creative solutions. Construction-games and constructors allow a child to develop spatial thinking and engineering skills.
develops their abilities. In the “Kodomo Challenge” program, used in Japan, children encounter problem situations through play,
to independently find a solution.
Art activity is also an important means of developing creativity. Through drawing, handicrafts, music, and singing, the child develops their own
expresses feelings, enriches imagination. According to UNESCO, the widespread use of artistic activities in preschool children
develops their aesthetic taste and intellectual potential. Also, methods of reading and compiling fairy tales, figurative thinking of the child.
and is an effective tool for enriching speech.
In addition, national values and traditional games also play an important role in the development of creativity. For example, folk tales
singing national songs and playing folk games broadens a child’s worldview and strengthens their national self-awareness.
Handicraft activities – carpet weaving, making items from clay, and the use of national ornaments not only develop the child’s creative abilities,
but also develops patience and fine motor skills.
The STEAM (Science, Technology, Engineering, Arts, Mathematics) approach is of great importance in the modern educational process. USA, Finland
and STEAM projects in preschool institutions in South Korea allow children to experience simple experiences, technological activities, and creativity.
through assignments, they learn new approaches. STEAM elements are also being gradually introduced in Uzbekistan, and this creativity
serves as an effective tool for developing thinking.
Information technologies are another effective tool for supporting creative thinking. Interactive programs, virtual constructors and
educational cartoons arouse children’s interest, directing them to create something new. However, excessive technology addiction is a child’s
), it should be used in moderation.
In the formation of creative thinking, the cooperation of parents and educators is of great importance. Creating a creative atmosphere in the family, free for the child
asking questions and supporting their interests stimulates independent thinking in the child. The teacher is creative in the lessons.
By applying assignments and valuing the child’s thoughts, they reveal their abilities. Parents and children in the experience of Israel
joint participation in classes and joint implementation of creative activities yielded good results.
From a psychological point of view, creating an environment that encourages creativity is very
is important. Search for news without fear of mistakes
If they have the opportunity, they can freely demonstrate their abilities. Therefore, educators and parents should not allow the child to make mistakes.
Instead of punishing them, they should teach them to accept it as an experiment. This approach increases the child’s self-confidence and creativity.
directs.
Also, various international pedagogical approaches – Montessori, Reggio Emilia, Waldorf systems – are aimed at developing the creative abilities of children.
is widely used in development. For example, in the Montessori method, the child is given freedom and chooses activities according to their interests.
In the Reggio Emilia approach, creative forms of expression are widely used based on the principle that “a child is the owner of a hundred languages.” In the Waldorf method, art
and nature, creative abilities are developed.
As practical recommendations, it is possible to organize small projects for the development of creative thinking in children. For example, family album
creation, staging small performances, observing natural phenomena and discussing the results, conducting simple experiments – all of this
increases the child’s creative interests. At the same time, creative tasks allow the child to make independent decisions, work in a group.
strengthens their skills and social activity.
In general, the formation of creativity and thinking is a multifaceted process, in which games, art, national values, modern technologies,
high effectiveness is achieved only through the harmonious application of parental and educator cooperation, as well as international pedagogical experience.
Conclusion
The formation of creativity and thinking in preschool children is of great importance in their personal, intellectual, and social development. Studies show that children raised in a creative environment are characterized by high academic performance, independent thinking, and a striving for innovation later in school.
Despite the fact that significant reforms are being carried out in the preschool education system of Uzbekistan, the study and implementation of world experience will further improve the process. In particular, important tasks include increasing the methodological literacy of educators, the widespread introduction of STEAM approaches, promoting the creation of a creative environment in family education, and providing preschool educational institutions with modern didactic tools.
Thus, the development of creativity and thinking in preschool age not only increases the effectiveness of the educational process, but also serves to strengthen the intellectual and innovative potential of society.
References
1. Decree of the President of the Republic of Uzbekistan “On Measures for the Fundamental Improvement of the Preschool Education System.” – Тошкент, 2017.
2. State Program of Preschool Education “Ilk Kadam.” – Tashkent: Ministry of Preschool Education, 2018.
3. Vygotsky, L.S. Imagination and Creativity in Childhood. – Moscow: Prosveshcheniye, 1991.
Piaget, J. The Language and Thought of the Child. New York: Routledge, 2005.
5. Torrance, E.P. *Creativity: Prospects for the Twenty-First Century*. Westport, 1993.
Gardner, H. Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books, 2011.
7. Runco, M.A., & Acar, S. Divergent Thinking as an Indicator of Creative Potential. Creativity Research Journal, 2012, 24 (1).
8. Sawyer, R.K. Explaining Creativity: The Science of Human Innovation. – Oxford University Press, 2012.
Craft, A. Creativity in Education. London: Continuum, 2005.
Edwards, C., Gandini, L., & Forman, G. The Hundred Languages of Children: The Reggio Emilia Approach. – Тошкент, 2012.
Robinson, K. Out of Our Minds: Learning to be Creative. – Тошкент, 2021.
12. UNESCO. Arts Education for the Development of the Whole Child. – Тошкент, 2019.
13. Ministry of Preschool Education of the Republic of Uzbekistan. Innovative approaches in preschool education. – Тошкент, 2021.
14. Kim, K.H. The Creativity Crisis: The Decrease in Creative Thinking Scores on the Torrance Tests of Creative Thinking. Creativity Research Journal.
15. Decree of the President of the Republic of Uzbekistan “On the Development Strategy of New Uzbekistan for 2022-2026.” – Тошкент, 2022.
Abdirashidova Ozoda, Born in Chiraqchi district of Kashkadarya region, studied at the Pedagogical Faculty of Karshi State University, majoring in Preschool Education. Ambassador and member of international organizations. Holder of international certificates.
spilling from the eyes of a retiree cat on the stairs.
My form now a kettle
boiling with longing.
My voice, cracked and dry,
from pleading too long in mud.
Put flowers not on a grave
but on the dinner plate
for I will join you there,
in the bread,
in the steam of coffee,
in laughter bursting too soon
like a mirror too fragile for love.
If you wish to speak,
speak to the wind all tangled in curtains.
If you wish to cry,
I will harvest your tears
and plant them behind the house.
One day, a tree will bloom
its leaves whispering with my voice,
its shadow resembling
somebody you still cherish.
H.MAR
Brunei
The Empty Chair that Hugs Your Breath
The chair is still warm,
although you vanished yesterday.
Even the sky is guilty:
why will the pillow not own up to its loss?
I rest in your memory
an empty space that’s forgotten how to remember.
The floorboards creak,
not beneath footsteps,
but beneath prayers that never learned to find their way out of the throat.
A cup of tea goes cold,
even though I fill remembrance into it each morning.
And that chair
still retains your breath,
like air refusing to be released.
H.MAR
Brunei
Author Biography
Dr. Haji Mohd Ali bin Haji Radin, known by his pen name H.MAR, was born on 5 August 1968 in Brunei Darussalam. He holds a Doctor of Philosophy (Ph.D.) in Malay Literature from Universiti Brunei Darussalam and currently serves as a Senior Language Officer at Language and Literature Bureau, under the Ministry of Culture, Youth and Sports, Brunei Darussalam. He began writing in 1984, producing works across various genres including poetry, short stories, novels, drama, and essays. His literary works have been published both domestically and internationally, and translated into multiple languages worldwide.
His local publications include Hidup Yang Mati (Anthology of Poems and Short Stories, 1996), Kota Kaca (Novel, 2003 & 2020), Taman ‘O’ (Anthology of Drama and Short Stories, 2003), Gelora (Poetry Collection, 2011 & 2023), Exotis (Short Story Collection, 2018), Taman Mimpi (Drama Collection, 2021) and Pemanah Bulan (Poetry Collection, 2025), all published by Dewan Bahasa dan Pustaka, Brunei. Internationally, his works include حديقة الفلسفة / Philosophy Garden (Poetry Collection, Morocco, 2022, The Association La Vague Culturelle), Jardins Du Rire (Drama Collection, Egypt, 2023, Diwan Al Arab), Garden X (Short Pieces Collection, Egypt, 2023, Diwan Al Arab), KAMEO Y Las Cartas Perdidas (Short Story Collection, Egypt, 2023, Diwan Al Arab), Moon Archer (Poetry Collection, Egypt, 2023, Diwan Al Arab), Taman O (Drama Collection, Malaysia, 2024, Nusa Centre), Arciere della Luna (Poetry Collection, Egypt, 2025, Diwan Al Arab), and قمرٌ دمويّ / Bloody Moon (Poetry Collection, Egypt, 2025, Diwan Al Arab).
H.MAR’s literary works have been translated into English, French, Spanish, Russian, Italian, Arabic, Chinese, Mexican Spanish, Colombian Spanish, Serbian, Albanian, Macedonian, Uzbek, Turkish, Greek, Nepali, Urdu, and Korean. H.MAR is the recipient of the “Borneo Book Award” Special Book Award from the National Book Development Foundation, Kuala Lumpur, Malaysia 2025.
Mum, i’m an autistic, not a municipal transport company autistic
i know in your mother’s heart you always dreamed of settling down as a state employee,
without the worry of a time card to punch and unemployment
doing eighteen hours a week, three months off, with the anxiety of defiscalising repetition.
Ma, i am an autistic, bad luck has decided to crown, me, as a writer
no, ma, i don’t write therapeutic remedies, no invoice, like the doctor,
i have explained to you a hundred times that i deal in endiads and alliterations
i dialogue, every night, with ghosts and communicate with martians,
and, by now, like the Villa, no ma, not the baker of via Mentana
i mix latin, dialect and the average italian as a seasoned courtesan.
Ma, i’m autistic, i speak in distich, or in anapestic,
but go on, you understand, it’s not like i’ve become spastic,
at most flexible and elastic, says so even the troika,
thrown into life with a rocket like i was Laika,
victim of the artistic environment’s lack of communication
nailed, backwards, on my cenotaph the epitaph: “!Here lies an autistic man”,
since no one can catch me in any verse
or ma, don’t bother me, i’m a deviant.
BEYOND THE BRILLO BOX
My research on the form of writing rises above the Brillo Box,
i throw my verses in the strongbox as if they were in Fort Knox,
start-up, repetition, reproduction give a life sentence to the originality
of the centenarian editors of magazines now forgetful of all abrasiveness,
after all, you know, dentures should not be solicited by intelligent concepts,
by dint of accepting canine verses carmina dant panem only to their teeth,
if we, forty year-old teenagers, have to do Professor Birkermaier’s diet
for them, octogenarian children, it would be time to diagnose a shred of Alzheimer’s.
The current fashion of the granted critic is to bark against the successes of minimalism
milanese or Roman, inn istèss, and we, 1970s ghosts, in search of the coveted minimum space,
because to change the world we could useful the energetic vigour of maximalism,
reading verses in rollian endecasyllables, in 2016, one feels like the victim of an odyssey in agony,
and the punishment of our no-future generations is to make the avant-garde in their forties
intent on claiming a Lebensraum that does not end in Anschluss,
we Heermann condemned by flexibility to never blossom into arimanni,
find ourselves re-knotting catheters to old specialists in trobar clus .
What do we have to do in order to achieve our fifteen seconds of fame
show our asses on Barbara D’Urso, edit the cultural columns of L’Unità
or patent rhymes that you mere mortals wouldn’t even dare to imagine
barking dog does not sleep and asleep – as you would like us – does not help us bite,
is woken by the caresses of an emir the late-modern Sleeping Beauty by cocaine
available to suck US gal of black gold like a petrol pump,
ladies, transgenders and gentlemen annuntio vobis gaudium magnum the fairytale is over
the generations beyond the Brillo Box will have to nibble leftovers food under the laden table
THE BALLAD OF LUIGINO: SAVINGS BANK
Luigino, sixty-eight years old, was killed
strangled by a ‘save-bank’ decree invented by a state
victim, always interested, of the fear of sanctions established by the EU with an ordinance
and uncaring, on the other, when sanctions came for years on the absence of citizenship income,
a camorrist state that throws itself at bailing out banks
and citizens are left to hope for the intervention of the Malebranche group,
in the Malebolge of the italian credit system, as in the case of Banca Etruria,
130,000 idiots to save the bank, and nine or ten to share slices of watermelon.
An Enel employee, Luigino, not a senior manager of a subsidiary holding company,
go figure out the difference between an ordinary bond and a subordinated one,
that if one, without his knowledge, is liable for the debts of a large capital company,
at least he should have the right, once a year, to have brunch in a Ferrari,
the Ferrari, or the Jaguar, of the CEO expert in deceit
that, if he were Nippon, would turn a hanging into harakiri,
because the manager is European or American he has exchanged shame for courage
the courage to continue, under a new name, to collect medals of fraud and agiotage.
Luigino died with a rope around his neck
like the millions of wretches destined for slaughterhouse,
with a click from a bunker in Berlin or London the super-capital
erases an entire life by turning the consumer into a pig,
nothing is thrown away, of the consumer, the consumed-consumer is thrown away
in the Caliphate, at least,it takes three minutes for a westerner to be slaughtered,
not sixty-eight years, torn apart by the alternation of bail-out or bail-in, like slot-machines,
tel disi mi, bilòtt, inn tücc bàll would have sentenced, with a serious air, my grandmother Ines.
THEY ARE ALL BULLSHIT
The new EU directives, Deutschland über alles,
direct the leaders of each member state to cure their herpes
of failing banks with the money of the good people,
who have nothing to do with bank boards.
The infamous bank bail-in has been in force since the beginning of the year
to be interpreted by holding the criminal code in the right hand and a dictionary in the left,
every saver – vile vintage breed – will have to empty flasks of En,
in the fear that the plutocrats will screw our ‘five pippi’ like Belen’s hardcore movie,
shareholder, subordinated bondholder, ordinary bondholder, current account holder
willing to go pantyless with the nonchalance of the abused naturist,
will see their hubris lubricated in not contributing to the rise of credit consumption
while waiting for the breakthrough of their interbank deposit protection funds.
This of the European Union is a truly hyper-liberal trick
covering the banker’s hole with the asshole of every current account holder,
everyone is capable of acting like a faggot with other people’s ass
bailing out millionaires with the money of the unfortunate is not a job for scoundrels,
after having divided the cake they blame the stock market crash in Kuala Lumpur
and the savers to go the way of the Thousand in Count Cavour’s cunning strategy.
Let us get the concept straight: if the Garbatella’charcutier goes bankrupt
will those who bought caciotta and mortadella also be involved in his debts?
THE BALLAD OF POLITICALLY INCORRECT
If you end up electrocuted on the road to Damascus
in today’s conditions it will have been the logos of a russian missile,
i, fruit of a Madonna conceived by a Bergamo’s butcher
i write, maalox, emitting verses in reflux acid,
i’m not thirsty for fame or hungry for silk
with rough syntagms it does’t print a degree as a «poet»,
in Italy Fornero has increased the brain-drain
either those who remain are headless, or cling to the Bacchelli.
Damascus, the metaphor of transition, the city of the Nabateans,
today victim of the conversion of hand grenades into money,
the multinationals of weapons study the marketing of the wounded
the multinational pharmaceutical companies study the marketing of the malnourished sick
the multinationals of the Northern European Union study to reduce the debt
to the southern nations of Europe that transform themselves into refugee camps,
the multinationals of this shit study how to cover this horrible hard film
outsourcing immense multitudes of homeless people in the streets of Milan.
The universal Catholic Church is struggling with the adoptions of consenting faggots,
so much so that the IOR bankers act like fags with the holes of our current accounts,
indulgence to hulls, smugglers and skilleds, and the italian catches it in the behind,
it would be enough to unload 300,000 fake syrians on the churchyard of St. Peter’s Square
let the good Pope Francis support them all, with the sacred gold of faith,
because if Padre Pio had been on the throne he would have given us a manner rough,
kicking the asses of libyan prisoners, hotel expenses, who ask for wi-fi
and a citizen’s income for the italian who sleeps in his car ruined by the usual puppeteers.
If you end up electrocuted on the road to Damascus
or a] you are Paul of Tarsus or b] you are the CEO of Esso,
in the Italy Toyland they blind you with the shares of Monte del Pasco
Pinocchio, oh, by dint of jerking off he has become a fool,
in the Paschi, horny maremma, they buttfuck you with the abigeat
and the creative balance of multinationals is never a crime,
if Monti sharks you or they steal ten rams from you, you don’t get pissed off
from the raffle of those who grab you will be rewarded with a tax bill.
Ivan Pozzoni was born in Monza in 1976. He introduced Law and Literature in Italy and the publication of essays on Italian philosophers and on the ethics and juridical theory of the ancient world; He collaborated with several Italian and international magazines. Between 2007 and 2024, different versions of the books were published: Underground and Riserva Indiana, with A&B Editrice, Versi Introversi, Mostri, Galata morente, Carmina non dant damen, Scarti di magazzino, Qui gli austriaci sono più severi dei Borboni, Cherchez la troika e La malattia invettiva con Limina Mentis, Lame da rasoi, with Joker, Il Guastatore, with Cleup, Patroclo non deve morire, with deComporre Edizioni and Kolektivne NSEAE with Divinafollia. He was the founder and director of the literary magazine Il Guastatore – «neon»-avant-garde notebooks; he was the founder and director of the literary magazine L’Arrivista; he is the editor and chef of the international philosophical magazine Información Filosófica. It contains a fortnight of autogérées socialistes edition houses.
He wrote 150 volumes, wrote 1000 essays, founded an avant-garde movement (NéoN-avant-gardisme, approved by Zygmunt Bauman), and wrote an Anti-manifesto NéoN-Avant-gardiste. This is mentioned in the main university manuals of literature history, philosophical history and in the main volumes of literary criticism. His book La malattia invettiva wins Raduga, mention of the critique of Montano et Strega. He is included in the Atlas of contemporary Italian poets of the University of Bologne and is included several times in the major international literature magazine, Gradiva. His verses are translated into 25 languages. In 2024, after six years of total retrait of academic studies, he return to the Italian artistic world and melts the NSEAE Kolektivne (New socio/ethno/aesthetic anthropology) [https://kolektivnenseae.wordpress.com/].
a bent nail, a handful of mulch two mismatched buttons
and no explanation at all
Rain at Tipperary Station
I left the city before dawn,
bags light but exhausted
a sheep grazes by the fence
no timetable posted
the train comes once a week
or maybe not at all
I approach the small brick building
stone platform damp with moss
Tipperary sign flaking green paint
rails dark with rain
cupping my hands
to breathe warmth
into the cold iron smell
a single gull drifts over the hill
and disappears into fog
in my coat pocket
a ring of keys I forgot to return
the station clock still ticks
but no one waits
only a paper cup rolling
end to end along the platform
rain my only company
Obedience
I found myself sitting still
the litter box in the corner
hours gone before I noticed
the sour aroma rising
I had not moved to clean it
the cat began to watch me
a calm stare unblinking
as if he understood the change
his eyes fixed steady on mine
quietly saying obey me
soon I was skipping work
to refill his dish with chicken
ordering catnip in bulk
canceling dates and dinners
for extra hours of petting
my mother wrinkled her nose
father scowled at the box
he said this is no joke
toxoplasma gondii lives in there
it gets inside and bends the will
he spoke of rodents drawn to cats
of lives cut short in teeth and claws
I only stroked the warm fur
calm as a priest at prayer
my father said one day you will not know
where the parasite ends and you begin
I shouted for them to leave
kicked the door shut
their footsteps fading on the stairs
perhaps it is my own desire
to serve this harmless pet
or perhaps it is a parasite
humming in my head
telling me I am happiest this way
Baskin Cooper is a poet and visual artist based in Chatham County, North Carolina. A PhD in psychology who lived in Cork, Ireland, he explores folklore, lyricism, and personal history through multiple art forms. His work has appeared in Ink & Oak, Verse-Virtual, O2 Haiku, and ONE ART, with new work forthcoming in The Khaotic Good and The Woodside Review.
