The Brook

Sim Woo Ki

It looked shallow—

crossing,
I slipped,

both ankles caught.

실개울

심우기

너무 얕아 보여  

내를 건너다, 그만 

두 발목을 빠뜨리고 말았다

The Stake

Sim Woo Ki

For a young black goat,
strength is the stake.

Even when horns sprout
and its coat grows coarse,
it cannot cross the tether tied to the stake.

With powerful hind legs
and broad shoulders,
it still cannot pull it out—
the stake is God.

Though it knows
it is a losing battle,
stubbornness—
that is a goat’s way.

It circles back, round and round,
even if the rope winds tight around its neck
until it can no longer move,

it goes as far as it can.

For a goat whose world
is only the length of the rope,
the stake is the center of the world.

It is power.

Still,
the goat goes round and round.

말뚝

어린 흑염소에겐 힘은 말뚝이다

뿔이 나고 털이 억세져도

말뚝의 끈을 넘지 못한다

강한 뒷다리와 넓은 어깨로도

뽑지 못하는 말뚝은 신

늘 지는 싸움인 줄 알지만

고집은 염소고집

돌아와 빙글빙글 돌다

제 목을 감아 옴짝달싹 못하게 될지라도

갈 데까지 가고 본다

밧줄의 길이만큼이 세상인 염소에게

말뚝은 세상의 중심이다

권력이다

그래도 염소는 뱅글뱅글 돈다

Black Man
Sim Woo Ki

Because the skin was black,
there was an ignorance
that believed even the blood would be black.

The gaze that did not retreat
even before the red muzzle—
we have long misunderstood it,
hiding behind the name Africa.

Descriptions of thick lips and heavy hair
were, in truth,
cowardly adjectives
summoned to conceal the invader’s fear—
this we know only now.

Before a language we could not understand,
before an unfamiliar laughter,
we always stood closer to guns
than to understanding.

When sunlight slips
across skin like black velvet,
even that praise—“its sheen”—
was a metaphor we had stolen.

We said only the teeth and palms were white,
that clapping made the primal rhythm—
but in truth,
it was not a place untouched by civilization,
but where arrogant civilization had stalled.

The fathers of fathers—
time flowing above them,
an erased chronicle, unrecorded.

Calling the scent of sweat and soil “savage,”
we hid, with effort,
the stench of blood
that came from our own side.

Those whose hearts were darker than skin
set fire to forests and raised their guns;
God was silent,
the forest became a table,
and people returned to the earth
before beasts did.

What was called a scream,
what was written as a howl—
it was the oldest tactic,
reading the trajectory of bullets
with the whole body.

When barefoot warriors drew circles of blood and danced,
they were not calling God
they were calling
the names that must survive.

Africa, Africa—
this repetition is not incantation
but a desperate calling
not to be erased.

When the earth trembles
like the ankle of an elephant,
when history charges
like a rhinoceros,
those who stand, precarious,
between god and beast—
they are not savages,
but those who first chose to be human.

When poisoned arrows are loosed at invaders,
when broad-chested women dance,
it is not a cry of victory,
but a solemn gesture
postponing their own funerals.

I still speak of Africa,
but perhaps
I am only tracing, at last,
the shadow
of the darkness within me.

블랙맨




피부가 검으니
피조차 검을 것이라 믿어온 무지(無知)가 있었다
붉은 총구 앞에서도 물러서지 않던 그 눈빛을
우리는 오래도록 오해해 왔다,
아프리카라는 이름 뒤에 숨어


털이 많고 입술이 두텁다는 묘사는
사실 침입자의 두려움을 감추기 위해 동원된
비겁한 형용사였음을 이제야 안다


알아들을 수 없는 언어와
낯선 웃음 앞에서 우리는 늘 이해보다
총에 더 가까이 서 있었다
검은 비로드 같은 피부 위로 햇살이 미끄러질 때
그 ‘윤기’라는 찬사조차
우리가 훔쳐온 비유였음을 고백한다


하얀 것은 이빨과 손바닥뿐이라며
박수로 태초의 리듬을 만든다고 말했지만
사실 그것은 문명이 닿지 않은 곳이 아니라
오만한 문명이 멈춰 선 자리였다


아버지의 아버지, 그 위로 흐르는 시간은
기록되지 못한 채 지워진 연대기
땀과 흙의 체취를 야만이라 부르며
내 쪽에서 흐르는 피비린내를 애써 숨겼다


피부보다 더 시커먼 마음을 가진 자들이
숲에 불을 놓고 총을 들 때
신은 침묵했고 숲은 밥상이 되었으며
사람은 짐승보다 먼저 흙으로 돌아갔다


괴성이라 불린 소리, 울부짖음이라 적힌 목소리
그것은 날아오는 탄환의 궤적을
온몸으로 읽어내는 가장 오래된 전술이었다


맨발의 전사들이 피의 원을 그리며 춤출 때
그들은 신을 부른 것이 아니라
서로의 살아남을 이름을 불렀을 뿐이다


아프리카, 아프리카 이 반복은 주술이 아니라
지워지지 않기 위한 처절한 호명(呼名)


코끼리의 발목처럼 땅이 진동하고
역사가 코뿔소처럼 돌진해 올 때
신과 동물의 경계에 위태롭게 선 이들은
야만이 아니라 가장 먼저 인간이기를 선택한 존재들


침입자를 향해 독화살을 날리고
가슴 큰 여자들이 춤을 출 때
그것은 승리의 환호가 아니라
자신의 장례를 잠시 미루는 비장한 몸짓이었다


나는 아직도 아프리카를 말하고 있지만
사실은 내가 가진 검은 마음의 그늘을
겨우 더듬고 있는지도 모른다

Biography of Poet Sim Wooki

Poet Sim Wooki was born on July 4, 1964, in Hamyeol, Jeollabuk-do, South Korea. He completed his doctoral coursework in English Literature at Gachon University in 2013.

His literary debut came in 2011 with the publication of his work in Poetry Literature. In 2012, he was awarded a creative writing grant from the Seoul Foundation for Arts and Culture. In 2013, he published his first poetry collection, Thirteen Ways of Seeing a Black Flower, which was selected as a Sejong Outstanding Book in 2014.

In 2016, he expanded his literary reach with the publication of his poetry collection in English, Read My Love, You. Over the years, he has authored several additional works, including his second collection Secret Envoy, as well as Ice Pillar of Fireand The Day the First Snow Falls, the latter co-authored.

In addition to his writing, Sim Wooki has contributed to academia by teaching at Kyungwon University, Inha Technical College, and Gachon University.

Why Do I Write: What’s in it for Me?

Why do I write creative fiction? That was a question posed to me by a cousin I was once close to. I had told Sherry that I was getting more and more involved in scribbling poems and stories and essays and the like, and she seemed mildly amused at first. Then, when she saw I was in earnest, she became increasingly perplexed as to my motivation. I had told her I made almost no money for my efforts and this seemed to rub her the wrong way.

“Why, then,” she asked in bewilderment, “do you do it?”

Until that very moment I hadn’t given it a lot of serious thought. Writing exercised what Hercule Poirot called “the little gray cells” and made me more alert, more aware, more interested in life. Moreover, it made me feel good. I was retired and had little else going on. Most of my friends were deceased or moved away.

“Billy,” she said with a frown, “if you don’t get paid for writing, then it is a waste of time and effort.”

During the same conversation, Sherry had asked me how I was “progressing” in a relationship I was in at the time. When I was noncommittal, she got down to it: “Have you scored yet?”

“Not everything,” I told her, “is so transactional.”

When she “humphed,” I continued, “Not every activity has to result in a paycheck to be considered worthwhile.” Before she could go on, I added, “And not every personal relationship has to wind up between the sheets to be fundamentally sound. No one is keeping ‘score,’ cousin, so just cool your jets.”

That was two years ago, but the question remains: why do I write?”

I think it’s because when I write, I am master of my universe. I decide who succeeds and who fails, who lives and who dies, who lives happily ever after and who burns for an eternity in hell. This is quite an ego trip. I know a little of what God must feel like. I know what everyone’s thinking, what moves them, and how they will accept either failure or success.

I can revisit my high school years and rewrite the events as they did not transpire. I can ask out the prettiest but most demure girl and she’ll say yes. And I’ll have the dough to take her out. I’ll have a car–a hotrod of course–or maybe one of those low-slung English sports car. Nothing is too much.

I’ll fashion myself into a record-setting student athlete and bask in the admiration of my fellow students. I’ll get an A in calculus rather than a D. I’ll try out for and grab the lead in the school play. It’ll be a musical, because unlike reality as I lived it, I’ll be able to sing. And join a garage band and wind up with a record contract.

I’ll stand up to my abusive brother and fight back and kick his ass. I’ll get the after-school job I could never get and earn money to take out more pretty girls. In college I’ll study and not party but for the spring breaks in Florida that I could never afford to attend. I’ll make my parents proud and they’ll never have to bail me out.

I’ll say none of the stupid things in life that I did say. I won’t hurt anybody’s feelings and won’t allow either of my two cats to die and my best friend won’t have abusive parents. I won’t be teased for having Tourette’s or being disabled with Parkinson’s Disease and peripheral artery disease and poor eyesight and hearing and all the rest. I’ll still be able to lift my weight and play soccer and run five miles. If not myself, then others will carry the banner and succeed where I failed abysmally.

I write so that things turn out right, and not to shit. I live vicariously through my characters; I learn lessons I was too stubborn or dense to heed before. I am a normal child, teen, and now old man. I have children and grandchildren who flock around me in my dotage, rather than live alone in a hovel in the American Midwest. That’s why I write.

Sherry and I have not spoken since she posed her question, but I’m alright with it. I’ll know now what to tell her, should she ever call again. But she’ll not be argumentative this time, since I’ll be writing the script.

Charos Yusupboyeva was born on July 10, 2010, in Qirqqizobod mahalla, Ellikqal’a district, Republic of Karakalpakstan. Despite her young age, she stands out for her active involvement in educational activities, promoting reading culture, and encouraging young people to pursue knowledge.She is currently the founder of the “Qirqqizobod” journal. Through her “Book Readers Club” project, she has brought together around 200 students, creating a strong community of young readers. She is also a prize winner of the republican stage of the “Zulfiyaxonim Izdoshlari” competition and a young writer whose poems have been published in international journals. Through her passion for learning and strong initiative, she continues to inspire her peers.

Bridging the Distance: The Transformative Role of Online Education in Remote Areas

In the contemporary world, education has become one of the most powerful instruments for social progress and sustainable development. However, geographical isolation continues to limit access to quality education for many learners living in remote areas. With the rapid advancement of digital technologies, organizing online education has emerged as an effective solution to reduce educational inequality. When properly implemented, it not only overcomes physical barriers but also creates new opportunities for students and teachers.

One of the most significant factors influencing the organization of online education in remote regions is the availability of reliable internet infrastructure. Without stable connectivity, digital learning platforms cannot function effectively. Therefore, improving broadband networks and expanding internet coverage are essential steps toward making online learning accessible to everyone.

Governments and technology providers must collaborate to ensure that even the most distant communities can benefit from modern communication technologies.Another crucial aspect is the provision of digital technology for both students and teachers. Access to devices such as laptops, tablets, or smartphones allows learners to participate actively in virtual classrooms. Equally important is equipping teachers with the necessary technological tools and training so that they can deliver high-quality lessons. When educators are confident in using digital platforms, they can create interactive learning environments that encourage creativity, critical thinking, and collaboration.

The impact of organizing online education in remote areas can be profound. First and foremost, it significantly expands educational opportunities. Students who previously faced limitations due to distance or lack of resources can now access a wide range of courses, educational materials, and global knowledge networks. This not only improves academic achievement but also empowers young people to pursue their ambitions and contribute meaningfully to society.

Moreover, online education fosters lifelong learning and professional development. Adults living in rural communities can acquire new skills, participate in training programs, and adapt to changing economic conditions without leaving their homes. As a result, communities become more resilient, innovative, and economically active.

In conclusion, organizing online education in remote areas is a transformative step toward building a more inclusive and knowledge-based society. By improving internet infrastructure, providing digital technologies, and supporting both students and teachers, societies can ensure that education reaches every corner of the world.

Ultimately, the expansion of online learning does not merely connect people to information—it opens doors to opportunity, empowerment, and a brighter future for entire communities.

Key words:Online education, remote areas, digital technology, internet infrastructure, students and teachers, virtual learning, educational opportunities, lifelong learning, digital literacy, community development

The Tree House

By Jacques Fleury

 [From Fleury’s book: Chain Letter To America: The One Thing You Can Do To End Racism:

A Collection of Essays, Fiction and Poetry Celebrating Multiculturalism]

While the butterfly hovers and the bird sways…

I take tepid steps around the forest

So not to disturb the natural way of things;

Night time in the woods,

I stroll into its evening with a lantern,

So dark a night I can only see what

The light will allow;

I can feel earthly debris crunching

Beneath my feet, the sounds echo in the distance,

I see the dilapidated treehouse that

Father and I built, a once buxom structure

Now barely standing with little nurturing…

Yet still I climb the ladder leading up to it,

The rungs creak beneath  my feet,

I get into the pungent pad on the floor

And lay next to the spot where father

Once leisurely reposed while we talked into the night

Listening to at times tiresome benedictions:

The eternal noise of crickets and other cryptic night noises;

We spoke of traveling and transcending,

Navigating and never minding…

He spoke of his epistolary love with mother

And how they got together,

How glad he was when I saw light for the first time,

And how he would always be by my side,

“Promise?”

“Promise!”

“Cross your heart and hope to die?”

“Promise.”

I can hear the leaves rustling in the wind,

As a gentle swaying of the treehouse that

Father and I built rocks me to sleep…

Jacques Fleury is a Boston Globe featured Haitian American Poet, Educator, Author of four books and 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 Spirit of Change Magazine, 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.–

THE CHARITABLE HAND 

Life is like a festival of ‘basant’

At which,

Young kids fly kites

And don’t mind using the china twine

Which has a high killer potential.

Govt announcements apart,

Who bothers about life,

That too of others,

When their own joy 

Is at stake? 

While having a post-dinner stroll

We came across a pigeon

Trying hard to fly

But caught in a twine

Which did not oblige. 

We caught the pigeon

And to our horror,

The twine had got round

And round and round

Its body, and clipped its wings.

The pigeon now was scared

The poor thing didn’t know for what

He had been trapped.

Would this hand wrench its neck

And boil it the next moment.

Ohh! The poor thing was 

In the hands of mercy.

We brought a pair of scissors

And started cutting the twine

It was badly wrapped around its wings.

At last the twine was cut,

But it had impaired his wings,

And when we left it free,

It could only move,

And failed to fly. 

We brought it home,

And offered it all it liked to eat.

It is still in our balcony,

But still not able to fly

But it knows what is care and safety.

The story held a lesson for me.

The twine represents the little misses

That we make, 

Which then wrap around our neck

And our wings, and halt our flight.

Rather, they cut our wings sometimes

And we are made vulnerable 

To the vultures,

A moment with a cat 

Was enough to do it in.

Desires, passions, unfilled dreams

Keep us trapped like this twine

And impair our freedom,

Rather put our very life in danger.

Christ is not born in every manger.

Atmospherics

Then the lights came on; &,

in the glare, a handful of 

singers squabbling over

who was the first to use

those lyrics in a song.

For Varg Veum

Almost as if there was a

paragraph, or a page, or

a chapter in the book in

which the identity of the

perpetrator was heavily

hinted at, but that partic-

ular part seems to have

been omitted, & you are

left puzzled by the ease

with which the detective 

identified the culprit with 

no obvious facts at hand.  

The Spice Girls Regroup

law infractions that occurred early on Tuesday morning, under a plan which will see settlement temporary neighborhood prepared a 10-year-old Palestinian boy inside a base. Police for “most racist state” in the developed world said ultra-Orthodox Russian President Vladimir Putin praised his Palestinian counterpart Tuesday no problem recognizing a bullet-proof vehicle. Palestinian state twelve Israel Defense soldiers and what he said was the Judea and Samaria District a “responsible” position negotiations with Israel, frozen for nearly Saturday’s social protest that the violence families evacuated to the West Bank four years ago. Israel began evicting the of the Prominent Israeli author Sami Michael said the country’s discriminatory attitude for trafficking in drugs worth some NIS 800,000, according a report released on The which approach its border as a threat and a military target, Prime Minister Tayyip neighborhood in the Beit Commissioner Yohanan claims that although he was in a he men said on Tuesday. A Border Police officer charged with causing the death of visiting Danino on Tuesday accused activists that participated in premeditated. The Police three overnight Monday on suspicion of desecrating the Yad Vashem Holocaust with had to respond after stones were thrown at the car. anti-Zionist slogans two weeks Mizrahi Jews and Arabs qualifies it for the title of junior career officers have been arrest sweep is one of the largest ever in the IDF. Türkiye will treat any Syrian units.

The fence around the moon

Is sometimes hard to see, but a

wooden post & rail fence runs

rings around the moon. There’s

a minimal gap between the fence 

& the lunar surface that deters 

goats or other space inhabitants 

from pushing beneath it. A var-

iety of media — plasma bursts,

lithium batteries, ouija boards, 

Barbra Streisand recordings — 

were tried, but none proved as 

efficacious as wood in keeping 

polka dots out of its displays.

Noted in passing

Rain for several days;

& in the water lying

across the driveway

the reflection of an 

ibis flying by.

CAUSES OF STYLISTIC ERRORS IN STUDENTS’ SPEECH AND WAYS TO ELIMINATE THEM

O‘rinova Diyora

Master’s student, Namangan State Pedagogical Institute

Abstract

This article examines stylistic errors found in students’ oral and written speech, their underlying causes, and effective methods for eliminating them. The study employed content analysis, surveys, observation, experimental methods, focus group discussions, computational linguistic analysis, and psycholinguistic testing. The findings reveal that students frequently struggle with selecting appropriate speech styles according to text types. Based on the results, practical recommendations are proposed to improve students’ speech culture and stylistic competence.

Keywords: speech culture, stylistic errors, communication, language norms, educational process, statistical analysis, content analysis

INTRODUCTION

In modern education, developing students’ communication culture and ensuring stylistic accuracy in their speech has become one of the most pressing issues. In linguistics, stylistic errors are defined as the use of language units that are inappropriate for a given context or inconsistent with a particular speech style. Such errors negatively affect students’ speech culture, weakening their ability to express ideas clearly, engage in communication, and adhere to literary language norms.

Speech culture plays a crucial role not only in education but also in an individual’s social success. In the digital era, the rapid development of technology has introduced new tendencies in students’ speech. For example, abbreviations, emojis, and informal expressions commonly used in social media are increasingly transferred into formal written language, leading to stylistic distortions. This phenomenon can influence not only students’ academic writing but also their future professional communication.

Therefore, eliminating stylistic errors requires a comprehensive approach that considers not only grammatical but also pragmatic and discourse-related aspects. This article analyzes the main causes of stylistic errors in students’ speech and explores effective ways to address them.

LITERATURE REVIEW AND METHODOLOGY

Numerous scholars have conducted research in the field of speech culture. For instance, G‘afurov analyzed the theoretical aspects of speech culture, while Karimov systematized literary language styles. Qodirova provided practical examples of stylistic usage, and Xudoyberganova examined linguistic features from a psycholinguistic perspective. International researchers such as Smith, Ivanova, and Brown explored comparative, cognitive, and educational aspects of language norms. Recent studies by Yusupova, Petrov, Nurmatov, and Wilson highlight modern teaching methods and the impact of digital communication on speech.

The study was conducted among 100 students from grades 8–9 in Tashkent city and region. Their written works (essays, summaries) and oral responses were analyzed.

The following methods were used:

Content analysis: identifying and classifying stylistic errors

Survey: assessing students’ knowledge of speech styles

Observation: analyzing teaching approaches and classroom speech

Additional methods included:

1. Experimental Method

Two groups (control and experimental) were selected. A “Teaching Speech Styles” program was implemented in the experimental group for three months. As a result, students’ ability to choose appropriate styles improved by 35%.

2. Focus Group Discussions

Five groups (8 students each) discussed the influence of social media language. About 70% of participants preferred writing “as they do on Telegram.”

3. Computational Linguistics

Using the AntConc program, 100 essays were analyzed. Words such as “very” (143 times) and “amazing” (78 times) were overused, indicating excessive use of expressive vocabulary.

4. Psycholinguistic Testing

Only 31% of students correctly identified appropriate stylistic choices in academic contexts.

Additional statistical findings showed that errors in formal letters were distributed as follows:

Introduction – 23%

Main body – 41%

Conclusion – 36%

RESULTS

The analysis revealed the following common stylistic errors in students’ speech:

Mixing formal and informal styles – 43%

Using artistic expressions in scientific texts (and vice versa) – 29%

Pronunciation and stress-related stylistic distortions – 15%

Transfer of internet and colloquial language into writing – 13%

Although 67% of students demonstrated general knowledge of speech styles, only 21% understood the importance of selecting an appropriate style according to the text type.

DISCUSSION

The findings indicate that the main causes of stylistic errors include:

Insufficient theoretical knowledge of language styles

Transfer of informal speech into written language

Inability to distinguish between text types

Strong influence of internet and social media language

To address these issues, the following strategies are recommended:

Teaching speech styles through comparative practical exercises

Conducting text-based analysis and discussions

Developing exercises for appropriate stylistic selection

Ensuring teachers model correct speech usage

Limiting the use of informal internet language in academic contexts

One of the key reasons for stylistic errors is the lack of emphasis on stylistic aspects in textbooks and classroom instruction. Additionally, students’ exposure to informal digital communication significantly shapes their language habits. Therefore, teachers should dedicate more time to text analysis and encourage students to practice writing in various genres such as academic articles, formal letters, and essays.

CONCLUSION

Reducing stylistic errors and improving students’ speech culture requires systematic teaching of language styles in both theoretical and practical ways. This not only promotes adherence to literary language norms but also enhances students’ ability to communicate clearly, accurately, and effectively in social and professional contexts.

The following measures are recommended:

For teachers: organize seminars and training sessions on stylistics; expand textbook content

For students: engage in text analysis, speech exercises, and projects (e.g., “Correct Speech” clubs)

For parents: encourage reading and monitor children’s speech habits

For educational policy: develop national programs aimed at improving speech culture

O‘rinova Diyora Kamoliddin qizi was born on November 6, 1997, in Uchqo‘rg‘on district of Namangan region. She graduated from Secondary School No. 25 in her district and continued her studies at an academic lyceum. She obtained her higher education in the field of Uzbek Language at Namangan State University.

Currently, she is a second year master’s student at Namangan State Pedagogical Institute. She holds certificates in both native language and English and is recognized as a highly qualified teacher within her field. She is also the regional stage winner of the “Book-Loving Teacher” competition.

Her main goal is to share her knowledge with young learners and contribute to the development of future specialists through education and scientific activity.