Poetry from Peace Ogunjemilua

HOPE IS THE THING WITH PETALS

Nothing blossoms here except these sunflowers.
Not the hibiscus our mother planted by the orchard,
or these lilies we buried with a prayer.
Only these golden heads, standing with outstretched arms
embracing sunlight.

I plucked one yesterday,
rubbed its velvet against my cheek,
and wondered if yellow can teach me something
about staying alive.
I plucked another before your voice broke out.
When it cracked open, you sounded like
a drum calling back its own silence.
We both turned our faces to the window
and hoped answers would someday fall in with the light.

Today, at dawn,
we laughed like oiled doors on rusted hinges,
swinging open and shut stories of childhood foolishness.
We swore we would sink our fears beneath Agbami
that river where frogs sang falsetto
as boys drowned things without dying.

At noon, the sun’s heat made you bow to the sand
where you dragged a stick & spelled nothing,
etching lines like someone trying to draw
an escape route without a map.

At dusk, you smeared olive oil on your wrists again,
said it keeps the ghosts from tightening their ropes at midnight.
You looked like a man holding himself by a thread—
fear had teeth, and you were offering your neck.

I didn’t ask questions.
But I’m still here, plucking petals again,
asking if you still believe.

Peace Ogunjemilua is a writer whose works explore nature and narratives rooted in cultural depth. He has contributed articles to magazines and was featured in the Nigerian Student Poetry Prize. He is a Sprinng Writing Alumnus, and he also interns as an architectural writer at Rethinking the Future (RTF). Peace runs a blog called ThinkGreen, focused on sustainable design, and with a background in architecture, he brings a unique perspective to his writing. Aside from reading, he loves graphic art and music.

Poetry from Mykyta Ryzhykh

Morning is war

We’re burning like matches

But who sets us on fire every time?

Our meat hurts as if someone is trying to eat our flesh

But what does the word “we” mean?

Seven marble

Seven marble suns have died in the last week

Seven tin gods have burst in the last week

Seven donkeys with gifts from the Magi have been torn apart in the last week

Seven sulfur streams have soared into the air in the last week

Seven days have passed in the last week

Seven people have disappeared in the last week

Seven babies were born in the last week

A state of emergency has been declared seven times in the last week

In the last week seven numbers have become uncountable

No one has been resurrected in the last week

Singles

The sandcastles of human rights are falling into my eyes

My cat buries his shit in the folds of my skin

Not a single spit of time can wash away the sand from a person

As luck would have it, there is not a single footprint of your foot on this sand

I teach water to build silence

I am learning from the sand to remain silent in agreement

Belly is home

We don’t fuck in basements:

We live in them

Thirst

salt smeared on lips

sugar dissolved in the veins

lips in an eternal search for sperm

in order to quench the thirst

for love

Facts and lives

mantrap in my left torn off leg

pretends I’m not there

The bird

The bird tries to break into the room without realizing that the window is transparent

In the end in despair the unfortunate creature disappears into the nightleaving feathers as a souvenir

A feather that comes off is no longer part of the bird

I burst into the night shooting at my cast iron temple

A ghostly bird breaks out of its body cage and runs into the garden through the glass

A dead body ceases to be part of the life that goes on around

Silence everywhere

Silence everywhere

The stone drinks the silence of the sand

Sand castles

The river plays with the sound of the tide

Poetry from Doug Holder

To My Wife: On a Death in the family

When the afternoon fades-

lighting your face

with its resplendent death

Pull the shades and come to me

Let me feel your breath…

Doug Holder’s latest book of poetry is “I ain’t gonna wait for Godot, No More.” (Wilderness House Press)

Board of Directors of the New England Poetry Club

Boston Area Small Press and Poetry Scene   http://dougholder.blogspot.com

Ibbetson Street Press  http://www.ibbetsonpress.com

Poet to Poet/Writer to Writer  http://www.poettopoetwritertowriter.blogspot.com

Doug Holder CV http://www.dougholderresume.blogspot.com

Doug Holder’s Columns in The Somerville Times

https://www.thesomervilletimes.com/?s=%22Doug+Holder%22&x=0&y=0

Doug Holder’s collection at the Internet Archive  https://archive.org/details/@dougholder

Poetry from Manik Chakraborty

Older middle aged South Asian man in a white collared shirt seated in a wooden chair with sunflowers behind him.

A touch of blue sky 

A touch of blue sky 

The drawing of clouds, 

A morning of sunshine 

The chirping of birds. 

A morning of thumping 

The rain-soaked soil, 

The mother’s lap in green grass 

Enchanted and tidy. 

A sky of generous pictures 

The ocean meets the river

My mind is flying away, 

The waves are playing in the blue today.

A morning garden of flowers, 

A fair of honey locusts,

A morning of flying, 

A raft of white clouds.

A morning of dawn, 

Sleep in the eyes of a child,

A kiss of sweet lips, 

A kiss of mother’s love

………….

I forget you are not there 

I forget you are not there 

You are not there beside me, 

It feels like you are 

With every breath. 

The wailing wakes up 

With a terrible thirst, 

I search for you 

In the blazing wind. 

The shadow of memory is painted 

The hem of the saree, 

The rain clouds fall on my eyes. 

The lonely night 

I wake up alone

I hope to see you one day, my dear

Essay from Jasmine Rashidov

Three young adults, two young women in blouses and one guy in a dark suit, seated at a table at a formal event representing their schools.

Many argue that the use of new technologies has become increasingly pervasive and has significantly altered how young people spend their leisure time. I strongly believe that the positive aspects outweigh the negatives.

First and foremost, many young individuals have become accustomed to using modern technologies, which has led to an improved lifestyle in various ways—such as access to online learning and productive screen time. These activities can often be monitored and controlled by parents, reducing potential risks. Nonetheless, the advantages clearly outweigh the disadvantages.

On the other hand, excessive use of technology can expose youth to serious threats, such as cyberbullying or even influence from extremist content. For instance, a study conducted by specialists found that 89% of adolescents prefer to spend their free time online, which may increase their vulnerability to digital risks.

To conclude, although the use of modern technology can bring certain negative consequences, I firmly believe that the benefits—particularly in learning internationally recognized languages and gaining access to global knowledge—far outweigh the drawbacks.

My name is Jasmina Rashidova, a passionate and ambitious student born on November 23, 2008, in Shakhrisabz district, Kashkadarya Region, Uzbekistan!


I currently study at School No. 74. I have earned several educational grants and awards, and I am a finalist of competitions like BBG, FO, and VHG. I actively participate in international Model United Nations (MUN) conferences and lead my own educational channel — @JasminaRashidova_channel.

With a deep interest in leadership, public speaking, and writing, I continue to work hard toward achieving academic excellence and inspiring others in my community. A bright example for this can be about little Jasmine Rashidova — A finalist of StriveHub, LOT’2025, and CAMLP’25.

Essay from Abdijabborova Sabrina

The Role of Conceptual Metaphors in Cross-Cultural Communication: A Cognitive Linguistic Perspective

Abdijabborova Sabrina

Uzbekistan State World Languages University

English First Faculty

Abstract: This paper examines the crucial role of conceptual metaphors in facilitating or hindering cross-cultural communication, through the lens of cognitive linguistics. Conceptual metaphors are not merely stylistic devices, but fundamental cognitive tools that shape how individuals understand abstract phenomena such as time, emotion, and life. Each culture develops unique metaphorical frameworks influenced by historical experience, environmental interaction, and socio-cultural norms. By comparing English and Uzbek metaphorical expressions, this study reveals how divergent cultural backgrounds give rise to distinct conceptualizations of the world. For instance, where English may conceptualize time as a resource (“Time is money”), Uzbek might present it as a natural force (“Time is a river”). Misunderstanding these metaphorical constructs can result in miscommunication, especially in intercultural dialogue, translation, and international relations. The findings stress the necessity of incorporating metaphor awareness into language education and translation studies. Understanding metaphorical mappings enables more accurate translation, deeper cultural understanding, and more effective global communication. This interdisciplinary approach contributes to both theoretical linguistics and practical language teaching strategies.

Keywords: conceptual metaphor, cognitive linguistics, cross-cultural communication, metaphorical mapping, linguistic relativity.

In an increasingly globalized world, effective communication across languages and cultures is more important than ever. However, language is not merely a neutral tool for communication—it is deeply rooted in culture and cognition. One of the most revealing aspects of this relationship is the use of conceptual metaphors, which allow speakers to understand abstract concepts through more familiar, concrete experiences. As posited by Lakoff and Johnson (1980), metaphors are not decorative linguistic elements but central to human thought processes.

Despite the universality of some metaphorical themes, the way metaphors are structured and understood varies significantly across cultures. This can lead to misunderstanding in cross-cultural interactions, especially when metaphorical expressions are interpreted literally or translated without cultural sensitivity. Understanding how conceptual metaphors function in different languages—such as English and Uzbek—can help reveal the cognitive and cultural models underlying each language community.

This paper aims to explore the cognitive and cultural dimensions of conceptual metaphors, focusing on their role in shaping intercultural communication, translation accuracy, and language education practices.

Cognitive linguistics views language as an integral part of human cognition rather than an autonomous system. Within this framework, conceptual metaphor theory (CMT) has emerged as one of the most influential models explaining how abstract concepts are understood via concrete, embodied experiences. The seminal work of George Lakoff and Mark Johnson (1980) revealed that human thought is fundamentally metaphorical. According to their theory, individuals use source domains (often physical and concrete) to conceptualize target domains (usually abstract and intangible).

Take, for example, the metaphor “LIFE IS A JOURNEY.” This mapping allows us to talk about life in terms of paths, obstacles, goals, and companions—concepts derived from physical travel. Expressions such as “He’s at a crossroads in life” or “She’s going down the wrong path” illustrate how deeply ingrained this metaphor is in English-speaking cultures. Such metaphors are not arbitrary; they are grounded in bodily experiences and shared cultural knowledge.

Importantly, while the cognitive structures that give rise to metaphors may have universal roots—such as physical orientation or spatial awareness—their linguistic realizations often vary significantly across languages due to cultural differences. For instance, in Uzbek, the metaphor “Yuragi tor edi” (literally “His heart was narrow”) conveys the idea of someone being emotionally closed or selfish. While English may use the metaphor “cold-hearted” or “stone-hearted” for similar meanings, the imagery differs, reflecting distinct cultural conceptions of emotion.

Moreover, conceptual metaphors serve not only communicative functions but also cognitive and affective ones. They help us structure time, morality, emotion, and social relationships. They influence reasoning, memory, and perception. Therefore, understanding how different languages utilize metaphorical mappings is essential for grasping how their speakers conceptualize the world. CMT thus offers a powerful explanatory tool for exploring the interface between language, thought, and culture. One of the central insights of cognitive linguistics is that while human beings may share similar cognitive processes, the cultural environments in which they grow up significantly shape how these processes manifest linguistically. Conceptual metaphors are deeply embedded in cultural narratives and worldviews, making them highly susceptible to linguistic relativity—the idea that language influences thought (Whorf, 1956). For instance, in Western cultures, metaphors related to competition, war, and business dominate public discourse. Expressions like “He’s crushing the competition” or “Let’s target the market” reflect a metaphorical worldview influenced by capitalism and individualism. In contrast, metaphorical expressions in Uzbek culture often emphasize harmony, collectivism, and nature. Phrases such as “Ko‘ngli qushdek uchdi” (His heart flew like a bird) or “Sabr daraxti meva beradi” (The tree of patience bears fruit) reflect values rooted in patience, humility, and interconnectedness with nature.

These differences are not merely aesthetic—they represent distinct ontological metaphors and value systems that influence how individuals interpret events, emotions, and relationships. For example, time metaphors differ significantly across cultures: English often treats time as a commodity (“save time,” “waste time”), whereas many non-Western cultures—including Uzbek—may view time as cyclical or natural (“vaqt daryo” – time is a river). Such metaphors shape punctuality norms, scheduling preferences, and even perceptions of life stages.

Linguistic relativity becomes especially relevant when metaphors are used in political, religious, or emotional contexts. A metaphor that may sound neutral in one culture could be offensive or meaningless in another. For instance, metaphors involving pigs, dogs, or certain colors carry radically different symbolic meanings across cultures, underscoring the importance of cultural sensitivity in metaphor interpretation.

Thus, studying conceptual metaphors from a cross-cultural perspective offers a valuable lens into how different societies encode and transmit collective experiences. It supports the view that language and culture are mutually constitutive, and that metaphors are cultural artifacts as much as cognitive tools.

The translation of metaphorical language is one of the most challenging aspects of intercultural communication. Unlike literal language, metaphors often carry implicit cultural assumptions, symbolic meanings, and cognitive associations that are not easily transferable from one language to another. As a result, literal translations of metaphors frequently lead to confusion, misinterpretation, or even offense. Professional translators must decide whether to preserve the metaphor by finding an equivalent metaphor in the target language, paraphrasing the meaning, or in some cases, omitting it entirely if no suitable counterpart exists. For instance, the English metaphor “breaking the ice” (to initiate conversation or reduce social tension) may be translated in Uzbek as “suhbatga ko‘prik qurish” (to build a bridge into conversation)—a different metaphor that carries a similar communicative function but reflects a different cultural image.

Failure to appropriately translate metaphors can have serious implications in fields such as diplomacy, literature, media, and marketing. Political speeches filled with war-related metaphors (“fight for justice,” “combat poverty”) may be misinterpreted or sound aggressive in cultures that value indirectness or pacifism. Likewise, product slogans based on metaphorical language may lose their persuasive power or become laughable when poorly translated.

In language education, metaphor is often neglected in favor of grammatical or lexical instruction. However, learners who are unaware of common metaphorical structures in the target language may struggle to grasp idiomatic expressions, understand humor, or read between the lines. Integrating metaphor awareness into curriculum design can greatly enhance learners’ pragmatic competence and intercultural sensitivity.

Ultimately, recognizing and respecting metaphorical differences is key to developing intercultural communicative competence. Translators, teachers, and learners must all navigate the space between linguistic fidelity and cultural adaptation—a task that requires both linguistic expertise and cultural empathy. The study of conceptual metaphors within a cognitive linguistic framework provides valuable insight into the deep interconnections between language, thought, and culture. As demonstrated throughout this paper, metaphors are not merely stylistic elements of language, but core cognitive mechanisms that shape how individuals across different cultures perceive and engage with the world. They structure abstract concepts such as time, emotion, morality, and social relationships by grounding them in embodied experiences.

By comparing English and Uzbek conceptual metaphors, it becomes evident that metaphorical thinking is both universal and culture-specific. While human beings may share basic cognitive tendencies—such as spatial orientation, bodily experience, or causality—the ways in which these experiences are metaphorically mapped onto abstract domains vary according to cultural norms, historical background, and social values. For instance, the English metaphor “Time is money” reflects an economic worldview, while the Uzbek metaphor “Vaqt daryo” (Time is a river) suggests a natural and cyclical conceptualization. These differences are not only linguistic but deeply conceptual, influencing behavior, priorities, and communication styles.

In the realm of cross-cultural communication, awareness of conceptual metaphor variation is essential. Metaphors often carry implicit meanings that, when misunderstood, can lead to confusion, misinterpretation, or even conflict. This is particularly significant in areas such as translation, diplomacy, education, media, and international collaboration, where communicative precision and cultural sensitivity are critical.

From a theoretical perspective, this research supports the growing body of work in cognitive linguistics that emphasizes the embodied and experiential basis of meaning. It affirms that studying metaphor is not only a matter of linguistic analysis but also a window into cultural cognition and human conceptual systems. Looking ahead, further interdisciplinary research is needed to explore metaphorical systems across a broader range of languages and cultural groups, particularly underrepresented or endangered languages. Additionally, future studies could investigate how digital communication, globalization, and media discourse influence the evolution and convergence of conceptual metaphors across societies.

In conclusion, conceptual metaphors are powerful tools that reflect and shape the way we think, speak, and relate to one another. Understanding them is not only beneficial for linguists and translators, but also essential for educators, policymakers, and anyone engaged in meaningful intercultural communication in today’s interconnected world.

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