Mirta Liliana Ramírez has been a poet and writer since she was 12 years old. She has been a Cultural Manager for more than 35 years. Creator and Director of the Groups of Writers and Artists: Together for the Letters, Artescritores, MultiArt, JPL world youth, Together for the letters Uzbekistan 1 and 2. She firmly defends that culture is the key to unite all the countries of the world. She works only with his own, free and integrating projects at a world cultural level. She has created the Cultural Movement with Rastrillaje Cultural and Forming the New Cultural Belts at the local level and also from Argentina to the world.
Dilbek Ergashev is a 3rd year student of the direction of organization and management of the activities of cultural and art institutions at the State Institute of Art and Culture of Uzbekistan.
Vernon Frazer’s concrete poetry collection “Nemo Under the League” recalls Jules Verne’s underwater sea exploration journey in its title. Like Captain Nemo, Frazer’s poems probe lesser-explored and lesser-mapped areas: aesthetics and the subconscious. Black, white, and grey text, text boxes, lines and shapes appear on the page with the focus more on the aesthetic effect of each composition than on the literal meaning of the words.
The phrases and their arrangement on the page may seem random at first glance. However, there’s usually a directionality to pieces, such as “Blocking the Inevitable” which guides viewers’ eyes to the right, and “Reflection Locked in Reflection,” which follows a diagonal or elliptical path to suggest light bouncing off a mirror.
Sometimes the images evoke clip art, as in “Desire After the Elms,” or comic books, traffic lights, or even soup cans, as in “Career Moves.” Or even art deco motifs, as in “Birthing an Ungiven Given.” The text will occasionally relate to the title or presumed theme of the poem (such as “hordes of insufficient data” in “Finding a Reaction” and “overblown deduction guides tax the patience excessively” in “In Charge of What Follows”) but tangentially, creating the effect of a composition inspired by the idea rather than the linear development of a thought.
At times, while reading, I speculated on what colors and shades Frazer would choose had he decided to incorporate colors. Sometimes my mind suggested possible shades of deep blue, or vivid orange, or light green. The monochromatic feel works, though, to focus attention on the words themselves as the artwork rather than splashy colorful shapes.
In some pieces, “Flayed Nerve Endings Frayed” and “Reeling Toward the Reel” text itself forms into oval egg shapes or curlicues. Elsewhere, words appear in mirror images of themselves, vertically, diagonally, penetrated by arrows. Words become not just representatives of images or ideas, but as images and design implements themselves, while remaining readable.
The very last poem in Frazer’s collection, “The Transverse Clatter Balcony,” ends with text cascading down to the end of the lower right of the page. It reads “the last word … cast overboard … definition matter … soaked … in the lumbago sea with Carthage.” Words and meaning are not impermeable or permanent here, but forms of matter subject to the weathering of time, nature and history.
I recently came across Dr. Leonard Shlain’s The Alphabet Versus the Goddess: The Conflict Between Word and Image, in which the cultural anthropologist argues that the development of abstract, linear, alphabet-focused language rewired human brains and changed ancient societies. These changes brought about modern technologies but also fostered war, competition and hierarchy, religious extremism, legalism, and the subjugation of women and the natural world. As an author himself, Dr. Shlain advocates, not for the eradication of books and alphabets, but for greater balance between holistic, image-focused understanding and reductionist, linear ways of making meaning.
Vernon Frazer’s Nemo Under the League represents an effort at re-calibrating that societal balance by integrating words and images inextricably. It’s worth a read, or a perusal!
How do you match up the words you use to their backgrounds? Is there a pattern, or do you choose what feels right each time?
It seems different each time, but I probably work with several patterns that I’ve acquired from doing the work.
Even in these pieces, which involve composition, improvisation always plays a role at some point, directing me to choose what, basically, feels right at the time I’m writing it. During improvisational thinking, more elaborate plans do emerge: I can see a full page design or pattern of several pages at times.
What makes a word interesting to you? Sound, shape, length?
Sound is probably the foremost. Sometimes I feel like a jazz musician whose instrument is language. Generally, when I have difficulty finding the right phrase, I choose the one that sounds the most musical to my ears. It almost always turns out to be the best choice. Sometimes working with the shape of a letter or word leads to a phrase, a verse or a visual pattern.
Would you ever work in color? What inspired you to choose a black, white, and gray color scheme?
My equipment and the economics. My old color printer used an ink cartridge for every page I printed and the cost of printing a color book would make the sale price too high. Over the years, technology changed many things, as we all know. Ten or fifteen years ago, I talked about trying to do this work in color but my life didn’t make it a priority. When I joined the C22 Poetry Collective a few years ago, their aggressive experimentation led me to try it. So, I wrote a color book called SIGHTING I did that’s online, but not yet officially published. It’s officially coming out May 7.
When words occur to you, how do you decide whether to put them into a concrete poem or free verse?
More my mood in the moment, I’d say. When I feel I’m starting to stagnate, I’m more likely to do a concrete poem or a multimedia video to relieve my dissatisfaction. Those are the most demanding, after all. Sometimes I write textual poems because I don’t want to meet a more demanding challenge. Nothing is entirely easy, but some days I want to work in a different way, say, strictly with text and either a projective or left-margin pattern. Each method plays a role in my life.
Do you have any other writers or artists who have inspired or influenced you? Anyone whose work you find especially interesting?
I have many influences and hope I’ve made something of my own from all that I’ve learned. Jack Kerouac started me as a writer at 15. William Burroughs and Joseph Heller’s Catch-22 shaped my prose style. Until age 36, I aspired to be a novelist. But Charles Olson was an early influence at 15 and a major influence on my poetry until about 1988, when my style changed considerably. Peter Ganick introduced me to language and visual poetry. I absorbed many writers he published. My writing began to reflect the experimental work bassist Bertram Turetzky exposed me to in the mid-60s, when I studied bass with him. Peter’s publications revived those interests. Then, Steve McCaffery and bp Nichol influenced my work around 2002. I’ve read and absorbed many others; I was a literary omnivore.
Muhsin kizi, student of Polytechnic No. 1 Phone number 94 326 58 50
Annotation
When every Uzbek girl says these words, she feels a sense of pride in herself, as if there is a divine feeling in these words. Of course, after all, this is what she says, I am an Uzbek girl. Do you know what makes Uzbek girls Uzbek?. An Uzbek girl is distinguished from representatives of other nations, first of all, by her honor and pride, because with these we proudly say that we are Uzbeks. Throughout history, Uzbek women have stood out from women of other nations with this feature and still do. When we hear these women, the brave Tümaris and Tümaris followers, we sincerely envy them. The woman who paved the way for literature, science, and thinkers, Nodirabegim Uvaysi Zulfiyakhanim, is following in their footsteps and is raising the Uzbek flag all over the world and proclaiming that she is an Uzbek girl.
Key words: Uzbek girl, nation, family, upbringing, demands of the times, science, culture, nationality,
Introduction Uzbek girls receive their first and foremost upbringing from their own family. Of course, mothers, grandmothers, grandfathers, and fathers are responsible for this. Generally speaking, seven neighborhoods are responsible for an Uzbek girl. Every girl is told from a young age that in the future she will be the head of a family, the mother of a child, the companion of a man, the daughter-in-law of a family. As she grows older, she is taught household chores, greetings, and from these ranks. In many cases, there is a discrepancy between traditional views and the requirements of modern life. However, by adapting this discrepancy, the image of Uzbek girls is enriched more and more.
Main part Today’s Uzbek girl is choosing a specialist in science, a scientist, a researcher, a politician, an athlete and a number of universal professions and is improving her knowledge and skills in these areas theoretically and practically. Uzbek girls are not only preserving their national values, but also declaring themselves in any professions around the world, of course, raising the flag of Uzbekistan to the sky and saying that we are Uzbek women and girls, seeing these results, Uzbek women and girls are giving themselves the strength, energy and motivation to achieve their goals and dreams, and seeing these results, one is delighted.
Conclusion The Uzbek woman is not only the trust of the family, but also the trust of the entire society, the pride of the nation and the mirror of culture.
References
Norboyeva G. – Sociology of the Family – Tashkent Uzbekistan 2020.
Kadirova M. Women and Society Gender Equality Issues – Tashkent Social Thought 2019
Kurbonov D. Ancient Customs and Traditions of the People of Uzbekistan – Tashkent Akademnashr 2014
The Alchemist is a novel by Paulo Coelho that begins with the protagonist, a young boy named Santiago, having a dream twice, in which he finds a treasure near the pyramids. Santiago was a shepherd and could read and write. Although he had not traveled the world, his interests and dreams led him to travel to distant lands. In this, he finds the treasure he saw in his dream and follows the path of his dreams.
There is a beautiful sentence in the work “The Alchemist”: “When you really want something, you will definitely achieve it, because your dream also appears in the Spirit of the Universe, you were created for this, and the Spirit of the Universe helps you to make your dream come true, just like the signs given to Santiago, the advice of the gypsy woman and King Melchizedek, the help of the crystal seller, his journey through the desert with the English Alchemist, and his meeting with the real Alchemist, and finally his encounter with the robbers.
Also, in the work “The Alchemist”, it is shown that love and affection are not obstacles on the path to dreams, the pure love of the desert girl Fatima for Santiago and her support for the boy to find the treasure he is looking for on the path of his dreams, which encourages the boy to move towards his dreams. Because active a person who truly cares about the good of a person, who is always ready to support him, who is ready to understand and support him.
The story ends with Santiago, shedding tears, climbing the pyramids, where signs show the treasure through the crawling of a dung beetle, digging for the treasure and confronting the robbers there. A robber tells him his dream and gives him a sign, which causes Santiago to find the treasure he was looking for in the church. So he found his treasure, achieved his dream, even though he faced many difficulties, life truly rewards those who follow their destiny. Therefore, never give up on your dreams. Turn your dreams into goals, have good intentions, fill your heart with gratitude, and most importantly, work hard and strive for your goals, and you will definitely achieve your dreams!
Babajonova Charos is the daughter of Anvar Urganch State University, Faculty of Socio-Economic Sciences, 4rd stage student of history education.
