Anđela Bunoš was born on October 2, 1998, in Belgrade. She completed her undergraduate and master’s studies at the Faculty of Teacher Education, University of Belgrade. She is currently working as a teacher at the “Sava Šumanović” Elementary School in Zemun.
See how butterflies drift away in silence when they find no flower in the garden to play with its colors.
And how the breezes sigh when the trees ignore them, searching, in vain, for a branch to cradle them…
See how a melody falls mute when the words abandon it—lost between presence and absence,
between being and nothingness.
Childhood glimmers alone in the world of grown-ups
mocked by cunning fingers, watched by eyes that whisper farewell.
Look at the birds, how they changed their path when orchards no longer danced to the rhythm of their songs.
There, in the corners of longing, a small dream scatters despite the pain of separation—racing with time, playing with its shadow, and dozing off in its embrace…
It redraws old meetings—will they ever return?
There, in the corners of longing, a face still lingers on the horizon,
a beating heart bleeding in silence,
words dwelling in untold tales—seeking the echo of a breeze, a voice to return to them the sigh of memory.
And a rose, whose fragrance is the whisper of a wish.
Annabel Kim is a high school student from Massachusetts whose artwork explores the intersections of memory, identity, and landscape. She often works in mixed media and oil, drawing inspiration from both everyday life and literature. Her work has been featured in student exhibitions, and she is excited to share her art with a broader audience through literary publications.
Sally was standing at the kitchen window over the sink one night, peering into the darkness, when the saucer landed in her back yard. Instantly her eyes opened wide and she shouted, “Duke, come in here. ET has landed!”
Her husband of 40+ years tumbled out of his recliner in the living room, tossed his newspaper aside and made a beeline for the kitchen. As he walked in, Sally mutely pointed out the window. Duke craned his neck and stared.
“Goodnight, nurse,” he muttered, then opened one of the cabinets and extracted a small black revolver. Taking out a box of ammo, he fitted bullets into the empty chambers, opened the window and pointed the weapon at the invaders.
BANG!
BANG!
BANG!
With the smell of cordite thick in the air, the pair peeped through the window to see what damage Duke had done.
An alien, ghostly gray and three feet tall and with shadows where its eyes might have gone, approached the window, levitated and handed Duke the three spent bullets. There was no sign of damage to ET.
“Gblrbg!” scolded the alien.
Duke blinked down at the undamaged bullets.
“What is he saying, Duke?” inquired Sally.
Duke turned up his cell phone and said, “Alexa, translate Gblrbg.”
They waited for a moment, then Alexa said, “Ass wipe.”
“Thank you, Alexa,” murmured Duke.
The alien began to speak, but Duke presented his iPhone and the alien started anew.
At length, Alexa translated the verbiage as: “Astral parasite, we of the planet Vorg intend to mine your miserable world for precious Ygbl (cigarette butts) and Zglzh (plastic waste) with which to replenish our stock of planetary fuel. Resist and you will be hgsgl (neutralized). Cooperate and we will make you wealthy as Ythgx (Croesus). Our excavation will take approximately thirty of your earth days.” ET then withdrew to his saucer.
Sally and Duke stared at each other, dumbfounded.
One month to the day later, the alien returned to the kitchen window and handed Sally and Duke a king’s ransom in precious jewels. The pair accepted the riches avidly and bid the alien farewell. They watched as he returned to his spacecraft and prepared to embark, when suddenly the saucer violently exploded. Sally recoiled and screamed.
“What happened, Duke?” cried Sally.
“I reported the aliens to Homeland Security,” replied Duke quietly.
“But why?” she said incredulously. “They took all the cigarette butts and plastic waste from the planet,” she protested. “What did they do wrong?”
“They were using up possibly valuable resources,” Duke told his wife. “Some of them mated with earthlings and they were poisoning our blood lines.”
“But, they seemed so nice,” remarked Sally distractedly.
“On their planet,” said Duke, “they were probably thieves and rapists and escapees from insane asylums.”
Sally looked out and the still smoldering embers of the saucer and sighed.
“I guess you’re right. They must’ve been interplanetary vermin.”
The next day another similar saucer hovered over their backyard. A voice from the saucer said “Do not attack. We come in thanks. We wish you well and have many blessings to bestow upon you.” This time no translation was needed.
Before Duke could grab his pistol, Sally asked him to listen to them.
The saucer landed and a similar alien came out of a portal and approached. “We got our language skills from people who were selling what you call cheap crap on television. Thank you for killing criminals from our planet.”
“Were they thieves, rapists, and escapees from insane asylums?” asked Duke.
“No, but they were intent on overtaking Vorg. We didn’t want that. What we want is ice cream, Coke, Brazil nuts, and coffee. And of course the Russian women who want to marry American men. You will like what we offer in exchange.”
“What’s that?”
“We can send more of what the criminals sent before, or we have saunas and salons which generate their own power, our pets which you will love and will love you if you know what I mean, and honest politicians if anybody is interested.”
At this point Duke said “Sounds good. Let me see if I can get our leader.”
The United Nations decided to send football hero Pitt Yazoo to meet with the Vorg leader Emile Stanza. The interplanetary leaders came up with a compact which was taken to world counsels on both planets. It was adopted.
While the fate of the Russian women remained an open question, Vorg sent what earthlings would call three-dimensional, interactive videos to earth. Many of those who saw the videos signed up. Their messages back to earth got more recruits, some from married women.
At the signing ceremony Stanza again thanked the earthlings for the service they’d rendered.
“What exactly were those criminals up to?” asked the American President.
“They were intent on taking over Vorg after making weapons of mass destruction with cigarette butts and plastic waste,” explained the Vorg leader. “You saved our pghtx (bacon)” he said gratefully.
Abstract: The article explores the concept of the “feminine voice” in Uzbek literature and its aesthetic as well as socio-cultural dimensions. The primary focus is on the works of Saida Zunnunova, whose poetry highlights themes of love, fidelity, motherhood, homeland, and the poetic representation of women’s destiny. The study demonstrates how Zunnunova, through a distinctly feminine perspective, reflects broader cultural and moral processes within society. Her literary contributions are analyzed within the framework of gender poetics and aesthetic theory, emphasizing her role in shaping the feminine voice in Uzbek literature.
The study of feminine voices in world literature has long played a central role in literary criticism, gender studies, and cultural history. From the rise of women’s poetry in medieval Europe to the feminist movements of the twentieth century in Western literary traditions, the “feminine voice” has been recognized as a unique aesthetic category that reflects personal emotions as well as broader social and cultural shifts. In Uzbek literature, the concept of a feminine voice appeared relatively late, influenced by both historical limitations and socio-political changes that affected women’s access to education, public life, and creative expression.
In the twentieth century, the Soviet regime’s emphasis on literacy, gender equality, and cultural development created opportunities for women to enter the intellectual and artistic spheres. Yet, while these policies opened new doors, they also imposed ideological restrictions. Within this dual framework, a number of female writers began to articulate their experiences, emotions, and perspectives in ways that diverged from traditional male-centered narratives. The feminine voice in Uzbek literature became not only an artistic phenomenon but also a subtle form of resistance and self-assertion.
Among these writers, Saida Zunnunova occupies a unique and significant position. Her poetry stands at the intersection of personal and collective identity, embodying themes of love, fidelity, motherhood, and patriotism while maintaining an authentic feminine sensibility. Unlike many of her contemporaries, she was able to weave private emotions with public responsibility, crafting a voice that resonates deeply with both individual readers and the cultural consciousness of her nation.
The importance of analyzing Saida Zunnunova’s literary legacy lies in the way her works expand our understanding of gender poetics in Uzbek literature. By examining the ways in which she articulated women’s experiences, aspirations, and struggles, we can better appreciate the transformation of Uzbek literature from a predominantly patriarchal discourse to one that acknowledges and values the feminine perspective. Her poetic language, filled with emotional intensity and moral clarity, illustrates how a woman’s voice can shape cultural narratives and redefine the aesthetics of national literature.
This article, therefore, seeks to investigate the feminine voice in Uzbek literature through the case of Saida Zunnunova. The study explores how her poetry exemplifies gendered creativity, how her themes and motifs represent the struggles and strengths of women, and how her works contribute to the broader discourse of cultural identity and literary modernity. In doing so, it positions Saida Zunnunova not only as a poet of her time but also as a pioneering figure in the history of Uzbek women’s literature.
Saida Zunnunova’s poetry represents a critical moment in the development of feminist poetics in Uzbek literature. Her voice cannot be reduced simply to the fact of being a female poet within a male-dominated cultural sphere. Rather, she redefines the very contours of poetic expression by introducing a distinctly gendered sensitivity into the Uzbek literary canon. While adhering to the stylistic conventions of her time, particularly the requirements of socialist realism, she consistently infused her works with elements that foregrounded the lived experiences, emotions, and perspectives of women. In this sense, her poetry functions as a cultural dialogue between the individual and the collective, the private and the public, the feminine and the universal.
One of the most striking aspects of Zunnunova’s poetic aesthetic is her ability to merge emotional intimacy with broader philosophical reflections. Her verses often begin with personal sentiments—love, longing, loyalty, sorrow—but they transcend the individual to embody universal human concerns. This method aligns with feminist literary strategies worldwide, where women’s personal experiences are elevated to the level of public discourse. Zunnunova’s poetry, therefore, becomes a vehicle for articulating both female subjectivity and national identity, demonstrating that the two are not mutually exclusive but rather mutually reinforcing.
Her use of imagery also reveals the depth of her feminist sensibility. The recurring symbols of motherhood, fidelity, and homeland in her works are not merely ornamental but serve as critical aesthetic devices through which she reclaims traditionally male-dominated concepts and reinterprets them from a feminine perspective. For instance, while patriotism in socialist realism often carried militaristic or collectivist connotations, in Zunnunova’s poetry the love for the homeland is mediated through maternal compassion and feminine loyalty. This shift in imagery not only broadens the conceptual field of patriotism but also highlights the moral and emotional power of women in shaping collective identity.
Equally significant is Zunnunova’s treatment of love and fidelity. Unlike many of her contemporaries who celebrated romance in formulaic or ideological terms, she rooted love in the ethical dimensions of sacrifice, patience, and devotion. Her personal trials, particularly her enduring loyalty during her husband Said Ahmad’s imprisonment, are sublimated into her poetic world as metaphors of universal endurance. Love in her verse becomes both a deeply personal commitment and a spiritual force capable of transcending suffering. This articulation of love as both emotional and moral, both feminine and universal, places her firmly within the tradition of feminist poetics, where the private realm of emotions acquires political and cultural resonance.
From a stylistic perspective, Zunnunova’s diction is characterized by clarity, simplicity, and sincerity. Unlike male poets of her era who often employed rhetorical grandeur, she favored an intimate tone that draws readers into the immediacy of her experience. This stylistic choice is not a sign of limitation but of innovation; it redefines what counts as literary beauty by privileging sincerity over ornament, emotional authenticity over abstract ideologization. In this sense, her poetics reflect a gendered aesthetic principle—one that values relationality, empathy, and moral clarity as the foundation of artistic expression.
In a broader theoretical sense, Zunnunova’s poetry challenges the binaries that traditionally defined Uzbek literature. The dichotomy between public and private, between ideology and intimacy, between collective duty and personal feeling, is consistently destabilized in her works. By giving voice to women’s experiences within a highly politicized environment, she demonstrates how literature can be both ideologically compliant and personally subversive. Her poems reveal that even within the confines of state-imposed aesthetics, it is possible to carve out spaces of authenticity where women’s voices can resonate with full force.
The significance of Saida Zunnunova’s feminist poetics lies in its ability to transform the literary tradition from within. She did not explicitly reject the cultural norms of her time, yet she expanded their boundaries by introducing themes, tones, and images that could not have emerged from a male perspective. In doing so, she created a literary legacy that continues to inspire scholars and readers to reconsider the role of women in shaping not only literature but also the moral and cultural imagination of a nation. Her voice, deeply feminine yet universally human, marks a turning point in the aesthetic history of Uzbek literature.
In evaluating the broader implications of Saida Zunnunova’s contributions to Uzbek literature, it becomes clear that her feminine voice represents more than a mere addition to the national canon. Rather, it embodies a methodological and aesthetic reorientation that compels us to reconsider the very categories by which literature is judged. The presence of female subjectivity in her work does not serve as a marginal or decorative In assessing the broader impact of Saida Zunnunova’s contributions to Uzbek literature, it becomes evident that her feminine voice stands for more than just an addition to the national canon. Instead, it signifies a methodological and aesthetic shift that challenges us to rethink the criteria by which literature is evaluated. The presence of female subjectivity in her work isn’t just a marginal or decorative touch; it is at the core of how her poetry conveys ethical values, cultural identity, and human resilience. Through this shift, she provides a model for future generations of writers, especially women, seeking to express their voices within a patriarchal and ideologically driven environment.
The feminist significance of Zunnunova’s work lies not in direct protests or overt critiques of gender inequality, but in the subtle, persistent affirmation of women’s emotional, moral, and intellectual depth. This subtlety mirrors both the cultural and political realities of her era and the strategic choices she made as a poet. At a time when literature was expected to conform to socialist realism and serve as a tool for ideological mobilization, Zunnunova managed to carve out space where the personal and intimate could be acknowledged as valid subjects of artistic exploration. By doing so, she promoted the idea that a woman’s voice—based on love, fidelity, and spiritual strength—was essential to fully expressing national culture.
Her work, therefore, functions on two levels: it outwardly follows the conventions of her literary period, yet also reaches beyond them by introducing alternative values and perspectives. This duality characterizes feminist poetics in contexts where outright resistance isn’t feasible. The feminist message surfaces most effectively through subtle nuances, tones, and emotional undercurrents, often more powerfully than through explicit statements. Zunnunova’s mastery of this approach reflects both her artistic talent and her keen awareness of the cultural stakes involved.
From a comparative standpoint, her contributions can be aligned with the broader global movement of women’s literature in the mid-twentieth century. Just as female poets elsewhere aimed to establish their voices in male-dominated literary spaces, Zunnunova shows that Uzbek literature was part of this worldwide shift. Her ability to connect the personal with the universal, the feminine with the national, places her squarely within this global feminist movement. What makes her stand out, however, is the unique cultural and linguistic texture of her work—grounded deeply in Uzbek traditions while also pushing those boundaries toward new horizons.
In conclusion, Saida Zunnunova’s poetry exemplifies the rise of a distinctly feminine voice in Uzbek literature. By blending themes of love, fidelity, motherhood, and homeland with a sincere and intimate style, she changed the literary landscape of her time. Her work asserts that the feminine perspective isn’t just an accessory to national culture but a vital part of its core ethical and emotional fabric. The lasting power of her legacy highlights how literature can give voice to stories that history might otherwise ignore—and reminds us that a people’s cultural identity can’t be fully understood without recognizing the contributions of its women.element; it is central to the way her poetry communicates ethical values, cultural identity, and human resilience. Through this reorientation, she provides a model for subsequent generations of writers, particularly women, who sought to articulate their voices within the constraints of a patriarchal and ideologically charged environment.
The feminist resonance of Zunnunova’s work lies not in overt protest or direct polemics against gender inequality, but in the subtle, insistent affirmation of women’s emotional, moral, and intellectual depth. This subtlety reflects both the cultural and political conditions of her time and the strategic choices she made as a poet. In an era when literature was expected to conform to socialist realism and to serve as a vehicle of ideological mobilization, Zunnunova managed to carve out a space where the intimate and the personal could be acknowledged as legitimate subjects of artistic inquiry. By doing so, she advanced the notion that the voice of a woman—rooted in love, fidelity, and spiritual strength—was indispensable to the full expression of national culture.
Her work therefore operates on two levels: it adheres outwardly to the conventions of her literary moment, yet it also transcends them by introducing alternative values and perspectives. This dual operation is the hallmark of feminist poetics in contexts where overt resistance is not possible. It is in the nuances, the tonalities, the emotional undercurrents that the feminist gesture emerges, often more powerfully than through explicit declarations. Zunnunova’s mastery of this method reflects both her artistic genius and her acute awareness of the cultural stakes of her writing.
From a comparative perspective, her contribution can be situated alongside the broader global movement of women’s literature in the mid-twentieth century. Just as female poets in other literary traditions sought to claim the legitimacy of their voices in male-dominated spaces, Zunnunova demonstrates that Uzbek literature was not immune to this global transformation. Her ability to align the personal with the universal, the feminine with the national, places her firmly within this worldwide trajectory of feminist expression. Yet what distinguishes her is the unique cultural and linguistic texture of her work, which roots her poetry deeply in Uzbek traditions while simultaneously pushing them toward new horizons.
In conclusion, Saida Zunnunova’s poetry exemplifies the emergence of a distinctly feminine voice in Uzbek literature. By weaving together themes of love, fidelity, motherhood, and homeland with a stylistic commitment to sincerity and intimacy, she transformed the literary landscape of her time. Her work affirms that the feminine perspective is not merely supplementary to national culture but is integral to its deepest ethical and emotional foundations. The endurance of her legacy underscores the power of literature to articulate voices that history might otherwise silence, and to remind us that the cultural identity of a people cannot be fully realized without the contributions of its women.
References
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Lola Ibrajter was born on 11.01.1996 in Uzice. She spent her childhood in Nova Varos, where she also completed high school. She studied at the Faculty of Law in Belgrade, where she still lives today.
Since early childhood, she has been writing poetry and engaging in drawing and painting. Since 2022, she has been a member of Young Artists of Culture (MUK), where in 2023 her poem titled “Ona” is published for the first time in the poetry anthology “5 to 12 Time for MUK”. Two years later, her poems “Sveto tlo” and “Deo ljudske duše” are published, and that same year the Spanish magazine “AZAHAR” translates her poem “U početku beše reč” into Spanish.
