The white gaze

“To create is to live twice.”

Albert Camus

“I used to think the goal was to be loved. Now I know it’s to be understood.”

Emma Thompson

We are kind to each other

The cooking utensil to the other 

cooking utensils in the drawer

The spoon to the other spoons, yes, everything 

must have its place, every trace 

of prey, each invisible doorway  

into the kitchen

What is courage, 

what is increase? It is only a

place to start

The garden is cool, 

the tree’s shade

My father’s voice

I murmur a response

The washing hangs on the line

My brother’s daughter strums 

a toy guitar, we have a 

butternut pizza for supper

We can’t get the boys out of the angry green sea,

nor can we get them out of the jacuzzi

The white gaze lies dormant

in the shade like our brown bodies

We put a plaster on her finger

the wound is bloodless now

I make iced matcha lattes for myself and my dad

I lick the white moustache off my upper lip

Overnight I have turned into a capitalist

My fingers into stars, my legs 

into a wave, the bead of the presenter’s 

tongue on the television into a fig

The current moves through me

This time it’s personal

It catches the light of the fire

inside my father, inside all of us

The smell of burning meat, drumsticks

The kitchen is time and memory

Legs are tanned, burned by the sun’s time and memory

The boys and my sister play a board game

My mother screams and screams at me

The room grows quiet

A pink geranium grows out of my mother’s throat

Something within me is crushed like a pill

Slowly the sun in my mother’s eyes

turns into a mocking face, a laugh

Its poison is killing me slowly. She is just a woman

and I am just a woman

The moment passes

The child starts to laugh too because my mother is laughing

I break, I break

A wave flows into me and I lose consciousness

It’s evening

The game continues

A woman walks by the house with her dog

The dog barks

There’s a white feather in my mouth

It tastes like snow

Going

“When we can’t think for ourselves, we can always quote.”

Ludwig Wittgenstein

I offer you cranberry bread.

I offer you this knife for the hard cheese.

I offer you this clock.

I offer you the dark.

I offer you this fruit.

I offer you this orange.

I offer you this as a blessing.

I offer you this sweetness.

I offer you this shroud.

I offer you this veil.

I offer you this truth.

I offer you this memory.

I offer you, Africa.

I offer you these gifts.

I offer you equality.

I offer you this ancient sea.

I offer you music.

I offer you this river.

I offer you this garden as meditation.

I offer you the history of this continent.

I offer you this as an alternative.

I offer this to you for our salvation.

I offer this to you because I love you.

I offer you this because today you are getting on a ship,

and sailing far away from me.

I offer you sleep, captor.

I offer you this forest that I dragged behind me

because you have the personality

of foolish paper and the medicine of the wildflower.

I offer you this frozen mist.

I am offering you this blue cat. Take it.

Please accept it gracefully.

Let it be your companion.

I offer the dissolution of the sun.

And now, now I come to peace.

Now I come to minister to you.

I bring you coffee and poetry books.

I will bring you a pen and an empty journal for your thoughts.

It was Christ who brought us this morning.

It is time. It is the hour of your departure.

I turn to embrace you, to say goodbye.

Waiting/Relapse

“Put down the pen someone else gave you.  No one drafted a life worth living on borrowed ink.”

Jack Kerouac

“Today I can’t stand myself, and I will force myself to write because you’re unhappy. So, I must mask the monster within and find the landing place. I must smile because I want to see you smile. I must count the days and remain quiet in your presence, because you are not at peace. This is what I tell my mind on bad days.”

I took a walk and found a poem.

It gave me good advice.

It told me to be kind to myself.

It told me to do the dishes,

to go for long walks.

That fresh air is good for me.

It told me to listen to my mother.

It told me to forgive my father.

That to fix my broken brain,

I had to love myself.

I live in the past.

I live inside this year of sadness.

You, the man, are no longer here.

I tell myself that I’m free.

I have no mother.

I have no father.

I am not a daughter anymore.

I have no sister.

I have no brother.

These days I keep to myself.

Birds inside my head.

Birds kept inside mental cages.

The cold sea is a great comfort.

Some nights this pain is endless.

Tonight, the garden is psychotic.

I have been put in isolation.

The door is locked from the outside.

I receive no visitors.

There are bars at the window.

Charles Bukowski’s ghost sits beside me.

He strokes my hair.

He makes me feel beautiful.

I took a sip of his beer.

It makes me feel warm inside, good.

I hear the women’s laughter.

They start throwing stones at me.

Even this pain is medicine.

Although it makes me feel mediocre.

Strong medicine like Chopin.

I finished the bottle.

I hid the green bottle away

under the sheets that felt like winter

I jumped out of the window.

The slow torture of night catches me.

Mrs Williams, the dead pastor’s wife,

told me to stop complaining. You’re alive

for a purpose: to dream, to have a child.

Live, she said. Find reasons to live.

I read a poem by Kobus Moolman.

I write to the Dutch English poet

Joop Bersee. Nothing makes the

darkness go away. My brother

locks me out of the house.

But first, his fist rains down on me.

I disappeared somewhere.

Once Rilke’s wife, always Rilke’s wife.

The cloud hurts.

The sun hurts.

The snail laughs at me.

You couldn’t even land a man, it says.

How to be great, I ask?

Be kind, Oprah says.

So, I am kind.

The world forgets all about me.

Just like my mother did.

On my birthday there was no cake

or presents. There were no red balloons.

I ate beans and rice in the kitchen

with my father. The stigma is refreshing.

The bones of madness is a gem, trivia.

I went on holiday to Provincial Hospital.

This trip taught me to understand others.

It taught me to understand myself more.

Nowadays when depressed I give myself flowers.

I keep my pain to myself.

Tourism and Its Impact: Economic, Cultural, and Environmental Dimensions

Abstract
Tourism has become one of the fastest-growing global industries, influencing economic development, intercultural communication, and environmental sustainability. This paper examines the multidimensional impacts of tourism through a qualitative analytical approach based on existing scholarly literature and international tourism reports. The study identifies tourism as a significant
driver of economic growth, a facilitator of cultural exchange, and a factor that can both protect and threaten the natural environment.

The findings suggest that sustainable tourism practices are essential to balance economic benefits with social and ecological responsibilities.

Keywords: tourism, economic impact, cultural exchange, sustainable tourism, environmental impact

YOUTH, MEDIA, AND THE FUTURE OF CLIMATE COMMUNICATION

Abstract: Environmental degradation in Central Asia is often accompanied by a lack of visibility in public discourse, resulting in what can be described as a climate communication gap. This article explores the challenges faced by journalists in reporting climate change, including limited access to data, fragmented narratives, and audience disengagement. Special attention is given to the role of youth, digital media, and innovative storytelling formats in reshaping climate communication. By analyzing the potential of cross-border journalistic collaboration and human-centered reporting, the article positions climate journalism as both a communicative and ethical practice. It concludes that strengthening climate narratives is vital for transforming environmental silence into informed public action.

Keywords: Climate communication, environmental journalism, youth engagement, digital media, cross-border reporting, public awareness

One of the most dangerous aspects of climate change in Central Asia is not only environmental degradation, but silence. Many climate-related stories remain invisible—not because they do not exist, but because they are underreported, fragmented, or framed as technical issues beyond public concern. This silence carries a cost. When climate impacts are not communicated effectively, they fail to translate into political urgency or social mobilization.

Journalists often face structural barriers when covering climate topics. Limited access to reliable data, lack of training in environmental reporting, and editorial priorities that favor short-term political news all restrict the depth of climate storytelling. In some cases, environmental journalism is perceived as “soft” or secondary, despite its long-term consequences. This marginalization reflects a broader misunderstanding of climate change as an environmental issue rather than a comprehensive societal challenge.

The absence of strong climate narratives also affects public perception. Without consistent and contextual reporting, climate change appears abstract or inevitable. People adapt individually—saving water, changing crops, migrating—without recognizing their experiences as part of a larger pattern. Journalism has the power to transform these isolated adaptations into collective awareness.

Young people occupy a paradoxical position in the climate crisis. They are among the most affected by long-term environmental changes, yet they often lack decision-making power. However, youth are also reshaping media consumption and communication practices. Social media platforms, digital storytelling, and visual journalism offer new opportunities to engage audiences that traditional reporting struggles to reach.

Climate journalism aimed at younger audiences must move beyond fear-based narratives. While urgency is necessary, constant catastrophe leads to disengagement. Stories of local innovation, community resilience, and cross-border cooperation can inspire agency rather than despair. When young people see themselves reflected in climate stories—not as passive victims but as active participants—the conversation shifts from survival to responsibility.

Digital tools also allow journalists to experiment with formats: interactive maps, short videos, podcasts, and data visualizations. These formats are particularly effective in explaining slow-onset climate processes such as desertification or water depletion, which lack the immediacy of sudden disasters but are equally destructive. Central Asia’s environmental future is deeply interconnected. Rivers, air currents, and ecosystems cross borders effortlessly, while policies and narratives often remain confined within them. Climate journalism can function as an informal form of regional diplomacy, fostering understanding where political dialogue may be limited.

Cross-border reporting projects allow journalists to compare data, share methodologies, and contextualize local stories within regional trends. A drought in one country becomes part of a regional pattern; a policy success in another offers a model for adaptation. Such collaboration not only improves journalistic quality but also challenges audiences to think beyond national frameworks.

International conferences and summits provide rare spaces for these exchanges. They enable journalists to reflect on their role not only as observers but as mediators between science, policy, and society. Climate change demands this mediating role more urgently than any other topic.

Climate change in Central Asia is not a future scenario—it is a present condition. Water scarcity, ecological inequality, and environmental silence are already shaping lives across the region. Journalism stands at a critical intersection: it can either reinforce fragmentation or cultivate shared understanding.

To report on climate change is to make ethical choices—about language, framing, and whose voices are amplified. When climate journalism connects data with lived experience, local realities with global processes, and fear with possibility, it becomes more than information. It becomes a form of civic engagement.

As water slowly shifts from presence to memory, the stories told today will determine how that memory is understood. Whether it becomes a symbol of loss or a catalyst for change depends on the narratives journalists choose to build—and the courage to tell them clearly, persistently, and across borders.

REFERENCES

IPCC. (2023). Climate Change 2023: Synthesis Report. Intergovernmental Panel on Climate Change.

United Nations Development Programme. (2022). Climate Change Adaptation in Central Asia. UNDP Regional Bureau for Europe and the CIS.

World Bank. (2021). Water Security and Climate Risks in Central Asia. World Bank Group.

Boykoff, M. T. (2019). Creative (Climate) Communications: Productive Pathways for Science, Policy, and Society. Cambridge University Press.

Nisbet, M. C. (2018). Strategic Communication in the Climate Change Debate. Oxford Research Encyclopedia of Climate Science.

Reuters Institute for the Study of Journalism. (2020). Journalism, Media, and the Challenge of Climate Change. University of Oxford.

Surayyo Nosirova was born on May 13, 2006, in Narpay District of the Samarkand region, Uzbekistan. She is a sophomore majoring in English Philology at Uzbekistan State World Languages University. Surayyo is an author and young writer with a strong interest in literature, language learning, and creative projects.

Curse 

Innocent people have possessions, honor, quiet shelter. 

Lean not to fight, who does not indulge in conflict. 

Love to be yourself, happy stage. 

Living in good education and culture leads to life. 

At the movement of these people, the evil people in dams roar, 

Innocent people’s lives are destroyed by fear. 

A wicked man knows better – does not know the answer, he will suffer torture. Many people are busy creating pressure with this thought.

 Can’t answer in time, hides wrong doing because of honor, 

With a pain in the chest, no word torturer wanders around, 

He has no people, turns, administration. 

Where does he remove his sorrow! 

There is only cursing, 

Why will you leave the one who did the damage & loss, 

As a result of the curse, he should understand the damage & loss is. 

Day and night the curse in the mind, be the revenge of the mind.

India, Date: 01.02.2026

Amb. Dr. Priyanka Neogi is from Coochbehar. She is an administrative controller of United Nations’ PAF, a librarian, a CEO of Lio Messi International Property & Land Consultancy, international literacy worker, sports & peace promoter, dancer, singer, reciter, live telecaster, writer, editor, researcher, literary journalist, host, beauty queen, international co-ordinator of the Vijay Mission of Community Welfare Foundation of India.

In my creative work, I analyzed the work “Ming bir jon” by the prominent representative of Uzbek literature, Abdulla Qahhor. In this work, the author artistically portrays human life, patience, emotional experiences, and social issues. During the analysis, special attention was paid to the content and essence of the work, its ideological direction, and the system of characters. Through this creative work, my goal was to gain a deeper understanding of the work and to develop my skills in literary analysis.

The Human Psyche and Philosophy of Life in Abdulla Qahhor’s Story “Ming bir jon”

Ro‘zimatova Madinaxon Sherzod qizi

Kokand State University

Faculty of Humanities and Languages, 1st-year student

Abstract. This article provides a scientific-theoretical analysis of Abdulla Qahhor’s story “Ming bir jon”, a prominent work of Uzbek literature. The story explores the issues of human love for life, physical weakness, and spiritual strength. The study examines the ideological and artistic characteristics of the story, the system of characters, psychological depiction methods, and the writer’s mastery of realism. Through “Ming bir jon”, the author demonstrates, on a scholarly basis, the human will to live and the virtue of patience.

Keywords. Abdulla Qahhor, “Ming bir jon”, realism, human psyche, philosophy of life, literary character, psychologism, Mastura, Akramjon, Hoji aka, educational significance.

Abdulla Qahhor, one of the leading representatives of the realism movement in Uzbek literature, portrayed human psychology and the harsh realities of life in a profound and expressive manner. His story “Ming bir jon” is among the significant works that vividly reflect his views on humanism, love for life, and the power of will. In this work, the author creates the image of a physically weak but spiritually strong person, emphasizing the value of life.

Ming bir jon was created in the mid-20th century and reflects the psychological state and attitude toward life of people in the post-war period. The main theme of the story is the struggle of humans for life, the boundless desire to live, and patience. Through this story, Abdulla Qahhor depicts a person who, despite serious illness, hardships, and suffering, never gives up on life, illustrating their spiritual strength.

The ideological center of “Ming bir jon” is the value of human life and the will to live. Qahhor conveys this idea not through direct advice but through the emotional experiences and life circumstances of the characters. The story shows that, despite physical weakness, a person preserves their inner world and spiritual wealth through mental strength and willpower.

The main characters who reveal the ideological foundations of the story are Mastura, Akramjon, and Hoji aka. Mastura has been ill for ten years and receiving treatment, while Akramjon takes care of her with devotion. He even serves her in the hospital for five months, which demonstrates the human love and loyalty that manifest the characters’ spiritual strength. Hoji aka, as a symbol of human compassion and empathy, observes Mastura in the hospital, shows concern for her condition, and provides her with emotional support. Ideological analysis shows that the story presents inner strength, patience, and the desire to live as the main idea. Through this work, Qahhor interprets life’s meaning, human love, family loyalty, and the value of human life as a philosophical whole.

For example:

“Mastura seemed to live not with one soul, but with a thousand souls.” [111]

At the same time, the story emphasizes that the worth of life lies not in its duration, but in its content, in a person’s spiritual strength and their capacity for love toward others:

“She was not afraid of death, she just did not want to give up living.” [112]

The ideological analysis of the story shows that human values, patience, and love are at the heart of its philosophy of life, leaving a deep spiritual impact on the reader. The central character is Mastura, depicted as physically weak but spiritually resilient and determined. Through this character, Qahhor shows that inner strength surpasses external conditions. The following passage illustrates the character’s psychological state:

“Though her breath was short, her eyes shone with the determination of a person who had not given up on life.” [111]

As Qozoqboy Yo‘ldoshev notes: “Qahhor’s characters live not through action but through their state.” [68-69]

Mastura’s character is a vivid example of this psychological approach. Her husband Akramjon cares for her consistently; he has been attending to her in the hospital for five months. This is a strong expression of human love, courage, and willpower. Another figure, Hoji aka, shows human kindness by checking on Mastura’s well-being, a type of person rarely seen today.

A distinctive feature of Abdulla Qahhor’s language is simplicity, clarity, and conciseness. The story employs short, comprehensible sentences that direct the reader’s attention to content and psychological details. Qahhor makes extensive use of colloquial expressions, everyday life details, and natural dialogues, enhancing realism and naturally conveying the psychological state of the characters.

As Naim Karimov notes: “The power of Qahhor’s language lies in its naturalness, able to convey deep meaning without excessive embellishment.” [55-56]

The poetics of silence and psychological detail affect the reader’s inner contemplation, allowing deeper immersion into the characters’ psyche. In the story, psychological realism is the central poetic tool. Qahhor depicts the inner experiences of the characters accurately and naturally, allowing the reader to access their spiritual world. Through psychological details, each character’s inner world, decisions, and emotions are conveyed to the reader. The poetics of silence serves as a non-verbal means of expression. Qahhor communicates feelings and psychological states through silence, unspoken thoughts, and small gestures, enabling the reader to experience the emotions of each scene internally. The following free citation demonstrates psychological realism and the poetics of silence:

“She spoke little, yet in every silence, the hope to live could be felt.” [113]

Poet Abdulla Oripov assesses this feature as follows: “In Qahhor’s prose, one word of silence can sometimes have a stronger impact than an entire page.” [82-83]

Ming bir jon teaches readers patience, love, loyalty, and the appreciation of human values. The love between Mastura and Akramjon, and Hoji aka’s compassion, cultivate notions of family, humanity, and mutual assistance in society. At the same time, the work demonstrates the importance of not surrendering in the face of life’s hardships, maintaining spiritual endurance, and striving for life. These qualities enhance the story’s artistic, educational, and social significance.

In conclusion, Abdulla Qahhor’s story “Ming bir jon” is recognized as a mature example of psychological realism and the poetics of silence in Uzbek prose. The story reveals subtle nuances of the human psyche and perfects the depiction of human love, loyalty, and compassion. Through its central characters, the author shows the complexity of life, the balance between physical weakness and spiritual strength, as well as the importance of patience, love, and spiritual resilience. Therefore, “Ming bir jon” is a work of both artistic and educational significance, providing deep moral lessons and encouraging the appreciation of human values.

References:

Qahhor A. Tanlangan asarlar. — Tashkent: G‘afur G‘ulom Publishing House. 2005

Karimov N. Abdulla Qahhor ijodi. — Tashkent. 2010

Yo‘ldoshev Q. Badiiy tahlil asoslari. — Tashkent. 2002

Normatov U. XX asr o‘zbek adabiyoti masalalari. — Tashkent. 1996

Oripov A., Vohidov E. Adabiyot va hayot haqidagi maqolalar. — Tashkent. 2000

Teshayev S. O‘zbek nasrining rivojlanishi va problematikasi. — Tashkent: Fan va Texnologiya. 2010

Mirzayev A. Psixologik realizm o‘zbek adabiyotida. — Samarkand: Sharq Publishing. 2000

Xolov D. Badiiy uslub va til xususiyatlari. — Tashkent: Ma’rifat. 2001

Sobirov F. XX asr o‘zbek hikoyachiligi. — Tashkent: Adabiyot Publishing. 2002

Yusupov R. Adabiyot va ma’naviyat masalalari. — Tashkent: University Publishing. 2010

I, Roʻzimatova Madinaxon Sherzod qizi, was born on December 31, 2007.

My father is Usmonova Sherzod, and my mother is Usmonova Tabrakxon.

Currently, I am a first-year student at the Faculty of Humanities and Languages at Qoʻqon State University. I consider obtaining an education and improving my knowledge and skills to be one of the most important goals in my life.

Sevara To’lanboy qizi Mahmudova, first-year student of the Preschool Education program, Namangan State Pedagogical Institute.

Yangi To’da MFY, Pop District, Namangan Region.

THE EDUCATIONAL AND UPBRINGING SIGNIFICANCE OF DIDACTIC GAMES IN PRESCHOOL EDUCATION

Zohidaxon To’lanboyevna Qoraboyeva

Associate Professor, Department of Preschool Education, Namangan State University

Sevara To’lanboy qizi Mahmudova

1st-year student, Preschool Education, Namangan State University

ABSTRACT:

This scientific article provides a comprehensive analysis of the educational and upbringing significance of using didactic games in preschool education. The role of didactic games in developing children’s cognitive activity, independent thinking, logical reasoning, speech, and creative abilities is examined. Additionally, the development of social skills, teamwork, mutual cooperation, discipline, and moral qualities in children during play is scientifically explained. The article discusses the types of didactic games, methods for their effective implementation in the educational process, and pedagogical outcomes through examples.

Keywords: Preschool education, didactic games, educational significance, upbringing significance, cognitive activity, creative abilities, social skills, pedagogical process, education through play.

Over recent years, significant efforts have been made in our country to raise children into healthy and well-rounded individuals, as well as to establish an effective preschool education system that implements efficient teaching and upbringing methods. In particular, educational-methodical, didactic materials, and literary works for preschool organizations have been selected and incorporated into classroom activities.

Play is the leading activity for preschool-aged children. Learning through play is one of the approaches for children’s education and development. Play is a natural way for children to explore themselves and the surrounding world. It develops the child’s personality, cognitive abilities, social-emotional skills, creativity, and physical development. Interaction with peers and educators during play enhances speech, social skills, and motor development. Play provides opportunities for cooperative learning, taking risks, making mistakes, and overcoming challenges. Most importantly, play makes learning enjoyable and fosters imagination and creativity.

Play can take various forms: completely free initiated by the child or group, minimally guided, or fully organized by the educator. While recognizing the importance of free play, the decisive role of the educator in guided play should also be acknowledged. The educational process should provide opportunities for play, and a supportive environment contributes to it.

Didactic games, in particular, enhance critical thinking, attention, memory retention, and quick reasoning. Creating the conditions for play—providing children with sufficient time, space, supportive resources, and toys—is crucial. Educators working with preschool children should actively facilitate children’s play.

A key element of didactic games is rules. Adhering to rules ensures the content and objectives of the game are achieved. Didactic games are directly related to education and serve as a teaching method suitable for preschool-aged children. Experienced educators use these games to engage passive children in group activities and encourage them to perform tasks without fear. Didactic games should always be planned based on clear objectives.

Didactic games help children play together, align personal and group interests, assist each other, and experience joy from peers’ success. They also foster positive personal qualities such as honesty and sincerity. As practical activities, didactic games allow children to apply knowledge gained during lessons in various ways, helping them connect learning with real-life situations.

Examples include games like “Find by Color” or “Find by Shape” for younger children, and “What do workers do?” or “What do farmers grow?” for older children. Didactic games reinforce knowledge about the surrounding world, develop thinking, creativity, sensory skills, and help organize acquired knowledge.

Didactic games make learning easier and more enjoyable. Age-appropriate and engaging activities allow children to complete intellectual tasks naturally and effectively. The more playful elements included, the greater the enjoyment for children. The central aspect of a didactic game is its guiding idea, which generates interest and motivates participation, such as games like “What’s in the Bag?” or “Who makes which sound?”

Each didactic game has content, rules, and activities closely linked; removing any component prevents the game from proceeding. Rules in didactic games govern children’s actions, interactions, and help cultivate self-regulation and mutual control. Evaluating the outcomes from both children’s and educators’ perspectives is important. From the children’s perspective, one should consider moral and educational gains, intellectual effort, reasoning, attention, and memory. Positive experiences increase self-confidence and bring joy. From the educator’s perspective, it is necessary to assess whether the objectives and intended outcomes were achieved. A game is considered successful if it both engages children and meets planned pedagogical goals.

Rewards and recognition can motivate children, but they should not be the sole incentive. Game actions include moving objects, organizing, classifying by color, size, or shape, and performing critical thinking tasks. Older children engage in more complex group interactions and coordinated activities.

The game’s outcome is the specific achievement of the didactic game, such as solving riddles, completing tasks, or demonstrating reasoning. The game’s content, concept, actions, and rules are interconnected, and the educator guides the process, incorporating children’s questions, suggestions, and initiatives to enrich and expand the game. Timing the start and end of the game effectively is crucial.

Didactic games can be conducted in classrooms, halls, playgrounds, forests, fields, and other spaces, enhancing impact, variety, and children’s engagement. Considering children’s age and individual characteristics, adjusting pace and rhythm, and proper evaluation by adults are essential.

TYPES OF DIDACTIC GAMES

Tabletop games: Help children organize knowledge about the environment, develop thinking (analysis, generalization, description). Examples include lotto, matching pairs, dominoes, and mazes.

Verbal games: Develop listening, quick thinking, and the ability to express ideas clearly. Typically conducted with older preschool children.

Object and toy games: Played from early childhood to school age, focusing on attention and imagination. Children learn about objects’ properties, functions, and characteristics.

In conclusion, play is a fundamental activity for preschool children, shaping personality, social behavior, and future learning, labor, and interpersonal skills. Didactic games are crucial tools for intellectual, moral, labor, and aesthetic development, and their careful planning and implementation support effective preschool education.

References:

Resolution of the Cabinet of Ministers of the Republic of Uzbekistan, December 31, 2019, No. 1059, “On approval and implementation of the Continuous Spiritual Education Concept.”

Resolution of the Cabinet of Ministers of the Republic of Uzbekistan, December 22, 2020, No. 802, “On approval of the State Standard for Preschool Education and Upbringing.”

F. Qodirova, Sh. Toshpo’latova, N. Qayumova, M. A’zamova. Preschool Pedagogy. Tafakkur Publishing, Tashkent, 2019.

I.V. Grosheva, G.E. Djanpeisova, U.T. Mikailova, M.A. Ismailova et al. Learning through Play / Methodical Guide. 1st Edition, Tashkent, 2020.

D.Sh. Mirzayeva. Preschool Pedagogy, Tashkent, 2022.

Sh. Sodiqova. Preschool Pedagogy, Tafakkur Publishing, Tashkent, 2013.

Notre Dame de Paris 

On the City Island, Notre Dame de Paris,

Is our Cathedral, where we pray, where we chant,

It is a very tall and very elegant,

Old, medieval building, where my heart ever is.

The stained windows of blues, and reds, and ivory,

Enlighten this whole space with a peaceful ambience,

Of faith, of hopes, and love, and you feel the presence,

Of some holy spirit, there, holy memories…

We have built this big church to offer to Mary,

And to her divine Son, Jesus Christ, all our lives:

The future of our lives, as their past and glory…

Once a fire took its roof, but by miracle,

The place stood still, then the firemen could arrive,

To set flames off. Then we repaired it…

                                                      Mystical!

*****

Jesus is with us.

In Paris, there is a legend,

That Jesus lives, rue Cordelières,

In a hidden villa, where ends,

A lane… Since our past hundred years.

He reputedly reads a lot,

Of old scriptures and some novels,

Served by a guard of the angels,

He thinks, he prays there, for the most.

Some say, He sometimes walk the streets,

To museums, or bakeries,

Or cafes, anonymously…

To a beggar, apparently,

A man who gifted jewelry…

Could have been Him! 

                    Who knows? 

                               Him, Christ!

Timothee Bordenave is a French author of essays, fictions and poems. He has published about 25 books today, in France and internationally. He is also an international artist. He used to work directly libraries in Paris, where he was born in 1984 and still resides now.