JERNAIL S. ANAND: THE MASTER OF MYTH CREATION

“Craza, a bold evolution from Lustus”

Dr Maja Herman Sekulic

Dr. Jernail Singh Anand is a towering literary figure whose work [an opus of 180 books] embodies a rare fusion of creativity, intellect, and moral vision. Anand won the Seneca Award [Italy], Charter of Morava [Serbia], Franz Kafka [Germany, Ukraine and Chek Rep.] and Maxim Gorky [Russia]. His name adorns the Poets’ Rock in Serbia and stands tall as the greatest philosopher among poets, and the greatest poet among philosophers.  Dr. Anand’s grandiose work ‘Epicasia’ [June 2025], includes twelve epic narratives, which was dedicated to “the Land of Serbia and its brilliant daughter Dr Maja Herman Sekulic” [the author].  

The creation of neo-mythological characters like Lustus and now Craza in The Alternate Universe establishes Dr. Anand  as a master of myth creation, blending traditional epic forms with modern existential, philosophical, and socio-political concerns, and resonates with both Eastern and Western literary traditions.  Traditional mythology served to explain natural phenomena through divine or heroic figures. But Anand’s Neo-mythology brings up new archetypes to address contemporary concerns such as moral erosion, the rise of artificial intelligence and corporate evil.

According to Grok, Dr. Anand’s The Alternate Universe is an audacious and thought-provoking epic that masterfully intertwines science fiction, technology, and spirituality to explore the existential crises facing humanity in an AI-driven era. As his 13th epic, this work showcases Anand’s ability to weave a complex narrative that challenges conventional boundaries between the divine, the human, and the technological. The epic is both a speculative vision of a re-engineered humanity and a philosophical critique of mankind’s moral and spiritual decay, making it a significant contribution to contemporary literature. It is intriguing to enter into Anand’s mind through his epics. The entire space is occupied by ethereal personages like God, Brahma, Indra, Vishnu, Lord Krishna, Satan, Mephistopheles, Faustus etc. And, the atmosphere is marked by high seriousness, and a sense of the sublime.

Dr. Anand was reluctant to cast Satan as the villain in ‘Lustus: the Prince of Darkness’ the first book of his Mahakaal Trilogy,  as Satan was a gentleman villain, who was afraid of God’s power. He tempted Eve by deception. Anand, on the other hand,  needed a thorough-bred villain of modern world, who could sustain interest for generations. Therefore, in Lustus,  Anand created a villain before whom even Satan appears a monk. Anand also creates Greda, the goddess of Greed. The grandeur of Lustus lies in two fierce battles he fought and lost against gods in the first two books of the Trilogy, Lustus and the Dominion of the Netherworld.  Dr. Anand’s quest for the sublime continues through The Ultronic Age, where political power is handed over to Queen Ultronia,   because  Gods had realized that it was due to the patriarchal superiority of men that the previous epochs saw bloody battles and manslaughter as we come across in the Ramayana in Treta, the Mahabharata in Dwapra and the War of Troy in Kaliyuga.

In The Alternate Universe, Craza proposes an AI-driven Alternate Universe where humans are digitally enhanced.  Craza’s concepts of removing the past of man, womb labs, and keeping humanity morally upright with AI intervention, and the provision for ‘Edit’ etc.  are daringly forward looking, investing technology with a spiritual responsibility and making Craza a Neo-Prophet of the Digital Age.

Dr. Anand’s latest work grapples with the intersection of technology, spirituality, and human existence. Craza, represents a bold evolution from Lustus, who was an embodiment of corporate  evil. “Anand’s work reflects a profound engagement with the ethical and spiritual challenges posed by artificial intelligence (AI) and modernity, making him a modern counterpart to epic poets like Milton or Vyasa, but with a distinctly futuristic lens.” [Grok]

Craza’s proposal for an “Overlap” facility, replacing the traditional divisions of heaven and hell, can be seen as a nuanced view of morality where ambiguity is acknowledged rather than punished because this world of overlapping morality is closer to the reality of the modern world of technology. Through Lustus, he critiques the corporate and moral decay of the modern world, while Craza in The Alternate Universe  extends this exploration into speculative or chaotic realms. By merging Eastern and Western traditions, Anand creates a universal narrative offers an ethical and spiritual landscape for a contrivance like AI to seek man’s salvation, rather than work for his destruction. Craza’s entry as a potential mouthpiece of the AI is a welcome departure from usual condemnation of the AI. His work not only revives the epic form but also establishes him as a global literary figure, walking in the footsteps of Milton, Goethe and Tagore.  

AUTHOR’S BIO 

Maja Herman-Sekulić  (Serbia/USA) (http://en.wikipedia.org/wiki/Maja_Herman_Sekulić)

is an internationally published Serbian-American author of 30 books in Serbian, English German and French; her poems were translated in 27 languages. Of her poetry, Nobel laureate Joseph Brodsky said: “her poetry is of the rarest talent and beauty as she is herself”. Maja is an acclaimed and multi awarded poet, novelist, essayist, a bilingual scholar, a Princeton Ph.D.and a major translator. She is a vice president of International Ethics Academy from India,and has been nominated by the IAE for the Nobel Prize in Literature. She is a member of the American and Serbian PEN, American Academy of Poets, Association of writers of Serbia and Serbian Literary Society. She was schooled and lived all over the world from Europe and USA to the Far East, and as a triple ambassador of good will, culture and literature has been building bridges between cultures for over 30 yrs. She now shares her time between New York and Belgrade. 

A Priest Asks

He’s waiting in the

American Airlines line 

At the airport in Asheville

And a priest approaches him

And asks him

If the he can cut

To the front of the line

The priest says that

He’s about to

Miss his flight

Before he can respond

Another woman in line

Says yes Father

Please go ahead

And this seems fine.

Taylor Dibbert is a poet in Washington, DC. He’s author of, most recently, “Takoma.”

Εύα Πετρόπουλου Λιανου

“Becoming a Butterfly, Becoming a Soul: An Existential Reading of Eva Petropoulou Lianou’s Poem”

By Rizal Tanjung

Eva Petropoulou Lianou’s poem “Nothing Belongs to Us” is a lyrical utterance that holds within it layers of existential reflection, critique of anthropocentrism, and a meditation on the spirituality of the body. In the increasingly cacophonous landscape of contemporary poetry—often overwhelmed by the aesthetics of form—this piece appears typographically simple yet philosophically sharp. This essay attempts to read the poem as a poetic contemplation of freedom, the infinitude of the human condition, and a critique of the illusion of possession. Through the lenses of existentialism (Sartre, Kierkegaard) and the cosmic mysticism of Taoist thought, it seeks to delve into the poem’s pulse in order to unearth what it means to be human.

Across both Eastern and Western traditions of poetry, the question of the human self has never reached its final answer. From Walt Whitman’s Song of Myself to Laozi’s Tao Te Ching, human beings have long pondered their identity in a world relentlessly obsessed with possession, power, and selfhood. Eva Petropoulou Lianou’s poem comes as a whisper amid the clamor. With its formal simplicity yet profound meaning, it dares to challenge structures of society, belief, and even the logic of human ownership.

This poem invites a new reading of existence—fluid, self-sovereign, and spiritually free. It becomes a literary vehicle that resists the illusion of domination over oneself and nature. The central question guiding this essay is: How does the poem dismantle the myth of ownership and replace it with existential freedom and devotion to the soul?

Textual Reading: Structure and Symbolism

The poem is built from short lines, unconstrained by conventional rhyme or rhythm, yet it forms an internal cadence that is deeply reflective. Its narrative voice is declarative and intimate—as if the reader is being invited into a mirror held up by their own inner voice.

Key recurring symbols include:

“Butterfly,” “bee,” “ants,” “wolf”: Non-human beings that symbolize existence without domination.

“Laugh to your heart,” “touch the stars”: Invitations toward a spirituality born in simplicity.

“Stomach,” “instinct,” “inner soul”: The body as a center of wisdom—subverting the Western body-soul dichotomy.

The poem’s free structure becomes a metaphor for the freedom it articulates. Eva’s form reflects her message: the poem is free because it voices freedom.

Philosophical Approach: Existentialism and the Cosmology of the Body

Existentialism: Choice, Freedom, and the Absurd

Jean-Paul Sartre famously argued that human beings are “condemned to be free.” In this poem, freedom is not merely a moral choice, but a way of being—rooted in the body and instinct:

“We are choosing according to our feelings / Our thoughts / Our beliefs / Our stomach”

These lines are existential declarations: human sovereignty is not determined by external systems, but by the voice within. There is no divine hand dictating one’s fate. We belong to no one. We are the authors of our own will.

In the Kierkegaardian sense, the rejection of blind faith in systems, others, or societal order echoes through the poem:

“Show respect / Kindness / But no trust / Trust your instinct / Trust your heart”

Here, the poem becomes a manifestation of the leap of faith—not toward a god, but toward the sacred silence of the inner self.

Taoist Cosmology and the Mysticism of the Body

In Taoist tradition, human beings are not rulers of nature but parts of its flow. Eva echoes this cosmic humility in lines such as:

“We are nothing more than a fly / …than a bird”

The human body is not superior to other beings—thus, it becomes sacred in its humility. The poem rejects human exceptionalism. We are not creators, not owners. We are mere participants in the grand dance of nature, and our role is to attune, not to control.

Aesthetics of Being: The Child, the Soul, and the Stars

The poem closes with a shift into mysticism:

“Stay a happy child”

The child here becomes a symbol of ultimate spirituality: free from burden, honest in desire, filled with laughter. This is not psychological regression, but existential purity. In the symbol of the child, the poem stores a vital teaching: happiness is not a result of achievement, but a return to the most honest truth of the soul—play and dream.

Poetry as the Way Back

“Nothing Belongs to Us” is both poem and philosophy, both language and silence. It teaches that to be human is not to possess, not to know, not to rule—but to become the butterfly: fleeting, light, and meaningful through mere presence.

By weaving existentialism, the cosmology of the body, and natural symbolism, Eva Petropoulou Lianou has crafted not just a poem, but a spiritual map for those who seek meaning in a world weary of ownership. In a world overwhelmed with noise, this poem becomes the path home to a silence filled with light.

West Sumatra, 2025

References

Kierkegaard, Søren. Fear and Trembling, 1843.

Sartre, Jean-Paul. Being and Nothingness, Gallimard, 1943.

Laozi. Tao Te Ching, trans. D.C. Lau, Penguin Classics, 1963.

Whitman, Walt. Leaves of Grass, 1855.

Petropoulou Lianou, Eva. “Nothing Belongs to Us”, 2024.

Nothing belongs to us

Nothing belongs to us

We are free

We are the captain of our soul..

Nobody can say this or that  and you must execute.

Nobody belongs to us

We are choosing according our feelings

Our thoughts

Our beliefs

Our stomach

The most a person make you laugh

The more u want to be with

We are nobody

We are nothing

More than the butterfly

Than the bee…

We are no creators but small ants

Or seagulls

Or wolf

Show respect

Kindness

But no trust

Trust your instinct

Trust your heart

We are nothing more than a fly

We are nothing more than a bird

Laugh to your heart

Love your inner soul

And put your frequency high

Touch the stars

Make a wish

Stay a happy child

Greek poet Eva Petropoulou Lianou

Methods to Enhance Motivation in the Educational Process 

Introduction 

Motivation is the internal and external drive of students toward the learning process, directly impacting their success and knowledge level. Based on Self-Determination Theory, “autonomy,” “competence,” and “social connections” play a crucial role in strengthening motivation. Motivation serves as a key driver in the educational process, determining students’ engagement, goal achievement, and success.

Methods to Enhance Motivation

1 Educational Methods

Flipped Classroom: Students study material in advance, while classroom time is dedicated to practical activities, aligning with the ARCS model and boosting motivation.Active Learning: Through methods like peer learning, problem-based learning, and cognitive apprenticeship, students work independently and collaboratively.

2 Psychological Approaches

Autonomy and Choice: When students choose their own materials, their intrinsic motivation increases (Self-Determination Theory).

Conclusion

Motivation in education is enhanced by harmonizing internal factors (autonomy, interest, social connections) and external factors (awards, badges, competition). The effectiveness of inquiry-based learning and active learning has been confirmed by research. Autonomy and reflection guide students toward intrinsic motivation rather than reliance on external factors. Such approaches make lessons meaningful, engaging, and beneficial for both students and educators.

Sevara Kuchkarova is a 3rd year student of Bukhara State Pedagogical Institute.

The Lament of Palestine
Bukhara region, Karakul district, School No.1, 8th grade student

Mother, don’t look to the sky — look from the heavens,
Every dawn now spills blood, no longer light.
Children weep, but the ears remain deaf,
The world is silent — as if it sees no sight.

The earth trembles, yet it is no quake,
This is a lightning that makes hearts shake.
Not cannonballs, but bullets hit the young,
And in a mother’s embrace, the world shut its eyes.

Peace never came to rest upon your roof,
Between the calls to prayer, screams echo loud.
Instead of flowers, heavy stones are placed,
On the grave — dewdrops of blood drip down.

At night, no angels visit in dreams,
But fear enters, dressed in black.
The dream to live has long been buried,
There’s no support left — not even in prayers.

A New Day

After a long day

Full of burdens and responsibilities

Setting fire,

Collecting wood,

Carrying water

And searching for food.

Finally, the night comes for rest

I sit on my broken sofa

In my smashed balcony

With my cactus and the little mints 

There is no light outside, and darkness is  like a black hole

So deep and hollow hearted

Fire flames arise from that destroyed home

Someone is preparing dinner 

And the  sound  of  a crying baby for milk

Comes from the horizon.

The gloom stars appear in the clear sky

As the souls of the martyrs fly so far

And the timid moon hides

Like the killed child drenched with his blood

The ghosts of the demolished homes scream, ” Don’t be afraid, we’re not humans.”

The sea waves play

melancholic tunes

Recalling my  absent reminiscence

My weary mind hallucinates

With absurd words to write a poem

My fatigued body whispers

With sorrow and pain

“Sweet dreams among the rubble and ghosts”

Then my eyes closed like a gate of a prison

It arrests my suffering, sorrow, distress, toil, oppression, and pain for a new day.

Ahmed Miqdad, Palestinian poet, Activist

As a visual artist, photographer and painter and also a drawer, I have for very long in my life taken interest in the sacred geometry matter and issues…

Relatively recently, about ten years ago, I took back my geometry studies whilst trying to figure out how can be drawn a close surfaced square after a given circle.

I rapidly found out that if you derive from the unscripted square inside a circle, with your ruler and a compass, to find the two tangent lines in prolongation of this first unscripted square, that are tangent to the circle and form a new square at their intersection : well you have just drawn here very easily a second square, as marked on my figures, which surface is very, very close to the surface of the given circle considered.

Starting from this very interesting new finding, and encouraged by the good acceptance of my drawings by the Parisian mathematics community (Institut Poincaré, CNRS site Curie, etc.) then I went through other reflections about notably the duplication of the cube, the trisection of the angles and the unscripted regular heptagon. With – may I say that – some interesting results, as I was told. 

Then I also worked on the various concepts of the « prosperous isosceles triangle » in shapes and relations… And presently I am trying to get back some better algebra notions, in order to get for myself a better understanding and culture of these endless fields of interest that are the mathematical models.

All I did of modest good through my life of work was as a humble and obedient servant of Jesus Christ, Saint Mary, and for my country France.