They Came（it was published by Cathexis Northwest Press）
Tuol Sleng like a poisonous flower exhaling a piercing venom.
The palm trees swayed beneath the faltering shadow, a procession of bones
—the dead— labeled as intellectuals.
They came like a gust of wind, They came like a herd of wild beasts. They came slaughter upon slaughter, cursing Tuol Sleng, damning its streets and rivers.
They regarded themselves as fanatical idealists, But never, made the place a paradise. Passion torched it into a fiery hell.
They came with frantic lusts. They came to Cambodia— its flesh drenched in rouge.
When Tuol Sleng opened, Moonlight buried people in a sunken pit of earth.
Throughout history, there are figures that never fade with time. Figures that, even if born from mythical imagination or ancient philosophical thought, continue to inspire, challenge, and teach. One such figure is Heracles – a hero who didn’t just accomplish twelve labors, but who shaped an entire cultural and ethical worldview across the centuries.
With deep emotion and admiration, Eviasmile today hosts an interview that unfolds Heracles not as a mere myth, but as a multifaceted phenomenon: historical, ethnological, philosophical, artistic, and profoundly human. The artist and researcher Konstantinos Fais, through his visual creations and in-depth study, guides us into the fascinating world of Heracles – from ancient Erytheia to Euboea and the Lichadonisia – proving that this hero is more modern and relevant than ever.
Eva Petropoulou Lianou
1. I came to know you through Mrs. Eva Petropoulou-Lianou, with whom I’ve been collaborating for the past year. Upon discovering your work, I was deeply moved and thought to engage in an interesting conversation about the Path of Heracles. How did your involvement with Heracles begin?
First of all, I must mention that Mrs. Petropoulou-Lianou is a calm yet powerful force in the realm of culture. Despite her cultural and humanitarian actions evolving on a global scale, she chooses to avoid showiness and unnecessary spectacle.
As for Heracles, although I was fascinated by his myth since childhood, my intensive engagement with the hero began about eight years ago, when I decided to delve into highlighting primarily Greek and broader Mediterranean culture through visual art. A thorough study of Greco-Roman literature – essential for understanding Heracles – introduced me to incredible dimensions of the myth that geographically extend beyond Hellenism, even as it developed during the Second Major Greek Colonization of the Archaic period.
The myth’s excellence became strikingly apparent and admittedly captivated me. Heracles not only survived the fall of the Greek world with the rise of the Roman Empire, but became a symbol of strength and bravery, a tool of political symbolism, and an archetype embraced by emperors. Leaders and entire dynasties in the ancient world claimed descent from him – for example, Leonidas of Sparta was considered his 20th descendant, Alexander the Great his 27th, along with Pyrrhus I of Epirus and Fabius Maximus.
From the fall of the Roman Empire through the Byzantine period, the Renaissance, and the Enlightenment, Heracles of Thebes retains his status as a paragon of chivalry, arriving in our times with undiminished prestige…in such a way that all other heroes pale in comparison.
2. According to your research, do you believe this hero really existed? What can we learn from his mythology and how can it influence modern life?
First, allow me to congratulate you on your bold and deeply thoughtful question. It’s my belief that this most dazzling chapter of Greek Mythology and of Hellenism as a whole contains a strong historical core.
It may be that the myth was inspired by a prominent Greek figure from the Bronze Age, or a succession of notable individuals whose deeds merged into a unified mythological narrative. The ethnological approach, based on Greek and Roman sources starting with Herodorus of Pontus, suggests that there were at least seven mythical figures named Heracles – and the Roman scholar Varro mentions 43! Roman author Mavrus Servius Honoratus notes that even before the Roman Empire, any man of immense strength was dubbed “Heracles” by the Romans.
Of course, there’s also the contrasting theory that the myth is a purely philosophical construct, its interpretation shifting with the times and the author. Regardless, the knowledge and values transmitted through the myth – from archaic and classical antiquity to modern life – constitute undeniable cultural and moral wealth.
The truth is that Heracles’ myth is transformed throughout recorded history: from Homer’s “performer of great deeds,” to the “king of empires from East to West” in Dio Chrysostom, and then to the “benefactor of the people” in John Tzetzes of the 12th century AD. His character evolves fascinatingly.
Consider the myth’s wide reach in the ancient world – from the island of Erytheia west of Tartessos to the Aornis Rock in Asia, from the Hyperboreans to Ethiopia – people everywhere told of his exploits. As for what he teaches us: to purify our soul and follow the path of Virtue requires constant struggle and sacrifice, regardless of origin or status.
Despite his many epic feats, if I were to choose one defining moment of his life, it would be the famous allegory by the sophist Prodicus – the crossroad where Heracles must choose between Virtue and Vice, ultimately choosing Virtue. As Pythagoras also said, it is the difficult tasks that lead to virtue, not the pleasant ones. He called virtue “the law of the gods” and great-heartedness, prudence, and bravery “strong anchors.”
3. In exploring the etymology of the name “Heracles,” I found that it means “the glory of Hera.” But according to mythology, he was pursued by the goddess Hera. How do we reconcile this?
First, it’s worth noting that Heracles was also descended from Perseus and Alcaeus, which is why he was initially called Alcaeus or Alcides, after that ancestor. Mythological accounts differ by era, region, and author.
The version you refer to is explained as follows: Hera, to punish Zeus’s infidelity, sent two snakes to kill the infant Heracles. I’m fond of the astronomical detail from Theocritus of Syracuse, who wrote that “on the night the Bear [Ursa Major] tilted westward, two snakes with sparkling eyes, dark venom, and terrible fangs charged at Heracles.” Yet the baby strangled them with ease and, when Amphitryon entered the room in a panic, Heracles joyfully tossed the dead serpents at his foster father’s feet.
Another “earthly” version from Pherecydes of Athens claims it was Amphitryon himself who placed the snakes in the cradle to see which child was his own. When the people of Argos learned what had happened, they gave the boy the name “Heracles” – meaning he earned glory (kleos) because of Hera.
Another version: after Hera drove him mad, causing him to kill his own family, Heracles sought purification at the Oracle of Delphi. There, the Pythia gave him the name Heracles – “he who glorifies Hera” – as a form of spiritual redemption.
If we set aside Hera, there are other theories. Diodorus Siculus says the Heracles of Zeus and Alcmene – “the third and final one, who lived just before the Trojan War” – inherited the name from two earlier figures: the Cretan Idaean Heracles and an Egyptian Heracles. Because he lived a similar life to theirs, it was believed that “through all the ages, there was only one Heracles.” This is part of what we call the “ethnological prism” of Heracles.
Lastly, the philosopher Porphyry wrote in On Statues that Heracles was a name for the Sun, from klasthai pros ton aera – “to move toward the air,” symbolizing the sun’s journey from east to west, which purifies the Earth of evil. Thus, the twelve labors were linked mythologically to the zodiac cycle.
And regarding Hera’s jealousy: ironically, it was her milk that made Heracles immortal and created the Milky Way. This strange twist, as Diodorus puts it, shows how his birth mother abandoned him out of fear, while the source of his fear – his stepmother – unwittingly gave him divine nourishment.
4. I’ve volunteered for over nine years supporting people with disabilities. Could you share a bit about your artwork and your collaboration with the Lighthouse for the Blind?
Allow me once again to express my sincere admiration for your work. That collaboration was a unique and truly profound experience for me. It’s a real challenge for a visual artist to create for those with visual impairments, as sight is a primary mode of receiving information.
I had to carefully select the appropriate artistic pieces to fulfill this goal. We raised the bar for knowledge through Art and ancient literature because inclusion is a social imperative without boundaries. The first piece adapted into tactile format through the pioneering PIAF method was a portrait of Heracles.
5. Through your artistic perspective, can we find the path of Virtue that Heracles followed?
Regarding my art, I can confidently say that it is an effort to highlight our sacred and ancient heritage through each work – the result not only of long-term research but also of selfless love for our heroic and genealogical lineage.
From our modern elders to the ancients, our legacy is unified, and I believe we must respect it and build our future upon its timeless teachings. That said, distancing myself from narrow ideologies or opportunism, I believe it is up to each person to interpret visual stimuli in ways that serve both personal and collective good.
Greed, excess, and superficial modern lifestyles have caused spiritual atrophy in humanity – what Periander once called a “burdensome inheritance.” As Thucydides said, “Without courage, no art holds power over danger.” Food for thought…
6. On your social media, I noticed some of your works have been animated through AI. Can you tell me more about that?
Yes, depending on the context, I was initially hesitant – even skeptical – about artificial intelligence. But I eventually gave in to curiosity and experimented a bit. I must admit, I was impressed with the results.
However, as an artist rooted in classical and Hellenistic styles, I’ll approach this realm with great caution. We “old-school” researchers and artists still say nothing compares to the “smell of paper.” I’m in favor of progress, of course – but with respect for our roots and ethical framework.
7. While writing this interview, I thought schools could organize activities to help students learn about Heracles and draw life lessons from him. What do you think of this idea?
It’s an excellent idea – the real question is whether the authorities are willing to implement it with maturity and vision, as the greatest hero deserves. If we continue to treat Greek mythology – and Heracles in particular – merely as bedtime stories, there’s little hope for serious progress.
Heracles is an epic saga that’s been burning bright for 3,000 years. Interpreting his myth requires a multidimensional approach, and to incorporate it into education effectively demands thoughtful planning.
It should begin with simple storytelling at the early stages, then gradually delve into primary sources and the myth’s historical evolution – from Antiquity, the Middle Ages, the Renaissance, the Enlightenment, to the 19th-century comparative theories and 20th-century psychoanalytical and structuralist interpretations.
Higher education institutions should also take this more seriously. As far as I know, that’s not yet happening. For any such attempt to bear fruit, wisdom and care are essential.
8. Before we conclude this wonderful discussion, is there a final message you’d like to share with Eviasmile readers?
This truly was a beautiful discussion. I’d like to share a myth related to your island. Beyond Heracles’ connection to the healing springs of Aidipsos, tradition tells us that after he conquered Oechalia and took Iole, the daughter of the city’s king, they went to Euboea – to Cape Cenaeum – where he built an altar to Cenaean Zeus.
To offer a sacrifice, he sent a herald, Lichas, to nearby Trachis to bring him his ceremonial robe. However, Lichas revealed the whole affair to Heracles’ wife, Deianira, who, overcome with jealousy, gave him the tunic soaked with Nessus’ blood.
Heracles wore it to perform the sacrifice, but the poison seeped into his flesh, causing it to rot. In pain and rage, he hurled Lichas into the Euboean Sea. From the fragments of Lichas’ body, the Lichadonisia islands were said to be formed.
The Italian sculptor Antonio Canova immortalized this scene with a technique equal to Hellenistic sculpture over 200 years ago. Today, one can admire this neoclassical masterpiece at the National Gallery of Modern Art in Rome.
On a related note, I’m also intrigued by the Lelantine War of your island, as recorded by Thucydides – one of the defining events of early Greek history.
In conclusion, I’m truly pleased that Eviasmile has shown such genuine interest in Heracles and the glories of our ancestors through this wonderful interview. Euboea’s rich legacy must be preserved and promoted through coordinated effort.
This interview is not merely a conversation about Heracles – it is a journey into the essence of Virtue, Courage, Sacrifice, and Faith. Our guest, with grace, depth, and a deep sense of cultural duty, reminds us that the past is not dust on library shelves, but a guide toward a more meaningful future.
Eviasmile is honored to host voices that respect tradition, elevate our cultural identity, and inspire new generations to walk – like Heracles – the difficult but redemptive path of Virtue. Because ultimately, every heroic deed begins with one question: “What kind of person do you want to become?”
Contributor Abigail George would like to share a new project of hers: a blog called Mentally Sound that features articles, updates, a magazine, poetry, and uplifting music. In this day and age, so many things can affect our mental health. Please feel free to join the blog and blog about your own experiences or loving someone who has a mood disorder or an individual who is suffering from depression. Log in, blog, do read the posts and leave comments to inspire our growing community!
For we are all bound in stories, and as the years pile up they turn to stone, layer upon layer, building our lives. – Steven Erikson
This month’s contributions deal with the complexities of nature, history, culture, language, or even the psyche of a single person. Everything we choose or experience builds upon itself to make us who we are, even short-lived experiences.
Yucheng Tao’s poetry collection April No Longer Comes,published by Alien Buddha Press and reviewed by Cristina Deptula, explores moments of love and beauty that are wonderful and transient, like the season of spring. Sean Lee’s poems remind us that even fleeting moments can be meaningful and beautiful. Jian Yeo’s poetry touches on the pain and beauty we can find in mortality. Mykyta Ryzhykh contributes surreal images of life, death, and the cycle of modern existence. John Grey’s poetry explores comings and goings, presences and disappearances.
Yoonji Huh presents nature, family tenderness, and humor with a color scheme that looks historical and weathered. Gwil James Thomas speaks in several tough-minded pieces to memories and dreams and our sources of inspiration. Sean Lee’s artwork evokes the power of the imagination to illuminate daily life. Alina Lee’s poetry suggests that our pasts and futures comprise layers of each moment in which we find ourselves. JK Kim’s poetry looks at summer scenes with a calm nostalgia, after events have passed. Alexis Lee’s poems probe what we choose to value and remember, what we invest in and find beautiful. Olivia Koo probes the nature of memory, how multiple moments combine to craft a mental impression and feeling. Ah-Young Dana Park’s poetry comments on our changing memories and perspectives as time passes and we age. Chloe Park’s art revels in exquisite detail, probing culture and memory with intricacy. Sally Lee provides poetic snapshots of moments in time, considering whether they have meaning or value without context.
Seoyun Park’s visuals speak to how we observe and confront life, the dangers we face and those we pose. Ethan Lee’s poems remind us of the underside of our world: the everyday grotesque and the many layers of the ordinary. Irene Kim’s work explores the strain and melancholy that can permeate ordinary moments. Austin Chung’s poetry illustrates various kinds of disorder and dispersion as Taylor Dibbert vents his annoyance at the common problem of loud museum patrons. Lauren Kim stays with a single scene from everyday life for an entire poem, probing its layers. Haeun Regina Kim’s poetry examines ordinary objects and animals in depth, sharing details and language to create an off-kilter feel.
Brian Barbeito also explores deeply, focusing in on the flora and fauna of an Aruba resort. Debabarata Sen celebrates the verdant beauty of Costa Rica. David Sapp’s poetic speakers become waylaid by the arresting color and beauty of nature. Dylan Hong’s pieces present a gentle, abstract, even whimsical peek at nature. Grace Lee’s poetry crafts dreamlike, gentle, floating scenes. Terry Trowbridge’s pieces on peach harvests evoke the challenging economics and natural realities of farming. Mahbub Alam reminds us of the innate rough wildness of nature: storms, volcanoes, huge predators.
Sayani Mukherjee evokes the rhythm of a public piano played for big city pedestrians in a rainstorm. Eva Petropoulou Lianou waxes poetic about the beauty of the moon. Noriniso Kasimova shares memories of spring in her hometown and her father’s love. Chinese poet Su Yun collects a group of short poems from elementary school students, mostly impressions of natural scenes. Dhani M.’s artwork stylizes natural scenes to create emotional senses of calm, curiosity, and wonder. Jinwoo Brian Park’s art suggests that we can re-incorporate the old into the new, the natural into the artificial.
Mark Young contributes a fresh set of fanciful geographies. G. Emil Reutter humorously describes noisy construction’s impact on local residents. Erin Kim’s artwork explores the upsides and downsides of civilization’s technological progress. Katie Hong’s work critiques our isolation and obsession with technology as Xushnudbek Yakubov warns of the dangers of online misinformation. Sophie Yoon’s art critiques our complex relationship with consumption and the natural world. Eugene Han’s art explores who we are and where we’re going as humans, and our relationships with nature. Shabbona Abdurashidova highlights the importance of sustainable ecology in Uzbekistan. Jahin Claire Oh’s work speculates on how the world’s other creatures might see us: mimicking and learning from them, drifting into or penetrating their environments.
J.K. Durick speaks to new, wild, and real frontiers in modern nature and technology, commenting on our efforts to understand and control them. Pulkita Anand evokes the mental and physical disorientation brought on by the colonization of one’s land.
Ahmed Miqdad calls the world to action to help suffering civilians in Gaza. Patricia Doyne also calls the world’s attention to starvation in Gaza. Stephen Jarrell Williams speaks to the numbing, mindless destruction of war.
Abdisattorova Xurshida highlights the contrasting legacies of Genghis Khan and Amir Temur. Abdisattorova Hurshida reflects on her admiration for Uzbek martial artist Abdulbosit Abdullayev. Maftuna Rustamova and Chorsanbiyeva Gulnoza poetize in honor of the military personnel who serve and guard Uzbekistan. Zumrad Sobirova celebrates the poetic beauty and pride of her Uzbek heritage. Jumaniyozova Nazokat encourages Uzbekistan’s young people to develop a greater appreciation for their heritage by visiting points of historical interest.
Nilufar Moydinova’s essay highlights language’s inextricable interconnection with thought, life, and culture. Mauro Montacchiesi creates a dialogue of philosophical thoughts and poetry between Dr. Jernail Singh and Rabindranath Tagore. Federico Wardal speaks to his long admiration for artist Andy Warhol and director and screen writer Federico Fellini. Orolova Dinora explores layers of meaning in Antoine St. Exupery’s The Little Prince as Surayyo Nosirova celebrates the heritage of Uzbek author Alexandr Faynberg.
Reagan Shin revels in the comfort and ecstasy and happy memories she finds in books. Mushtariybegim Ozodbekova highlights the power of books and stories to transcend time, culture, age, and space. Panoyeva Jasmina O’tkirovna highlights ways language teachers can help students develop fluency through relevant speaking and grammar practice. Turg’unov Jonpo’lat explores techniques to help children of all abilities to learn foreign languages. Nafosat Jovliyeva and Dilshoda Jurayeva illustrate gamification and other creative strategies for language learning. Rahimova Dilfuza Abdinabiyevna discusses ways to improve student competence with writing and speaking. Hilola Badriddinova outlines strategies used throughout the developed world to teach foreign languages.
Linda S. Gunther contributes a craft essay on “interviewing” your characters to better understand them as a writer. Paul Tristram’s poetry explores the heroic narratives we create through our writing and our lives. Gloria Ameh evokes the visceral sensations of writing on topics close to the bone.
Abigail George writes a stream of consciousness essay on her vulnerabilities from mental illness and just plain existing as a female-bodied person and how enduring them inspired her to write. Soumen Roy also connects beauty to vulnerability, speaking to the fading Mona Lisa and the union of joy and sorrow as fellow travelers.
J.J. Campbell reflects on disillusionment, loss, and the eternal quest, against all odds, for love. Mesfakus Salahin speaks evocatively of his quest for love and freedom. Baxtiniso Salimova’s poetry tells an epic love story. Mirta Liliana Ramirez relates intense grief at the loss of her lover. Dilnoza Islomova expresses her gratitude for her mother’s tender care. Bill Tope and Doug Hawley collaborate on a love story that turns unexpectedly tender. Urazaliyeva Sarvinoz shares an emotional tale of jealousy, love, and forgiveness between two twin sisters. Sarvinoz Orifova expresses gratitude for her parents’ constant love and care. Wazed Abdullah expresses his love and gratitude for his mother. Ozodbek Narzullayev expresses his love for his mother and invites her to share her life struggles with him for support. Xurshida Abdisattorova shares the story of a mother’s complicated grief for an imperfect husband and father who passes away in a sudden accident. Shoxrukh Fayzulla o’g’li Dusmatov speaks to his mother’s love and care and how wealth alone matters little without compassion and humanity.
To’raqulova Pokiza Sanjarovna speaks to the need for human compassion, wisdom, respect, and personal development. Hamza Kamar’s poetry expresses his powerful hopes for a transcendent hero. Bhagirath Chowdhary expresses his determination to avoid the next life until he has finished roaming this world, offering blessings to others. Charles Taylor’s short story probes our ethics and the extent of the compassion we owe our friends and fellow humans.
Julia Kanno reminds residents of the USA that most Latino immigrants are hardworking people with lives and dreams. Bill Tope presents a tale of a survivor’s search for justice for a sexual assault that shattered her psyche. Abdisattorova Khurshida presents a tale of thievery exposed.
Graciela Noemi Villaverde shares a poem on the joy of community and diversity and welcoming special education students. Haeun Regina Kim’s artwork explores unity and acceptance of others, as well as harmony among rural and urban areas. Nabijonova Madinabonu outlines how sharing coffee can help us build building friendship and community. Khudoyqulova Shahzoda highlights Uzbekistan’s programs to enhance economic opportunities for low income women and families and the disabled.
Nazarova Moxiniso looks into discipline and student character development as part of Uzbek preschool education. Ulsanam Ulmasovna outlines Amir Temur’s contributions to the Uzbek education system. Islomov Inomjon describes the Geoment, a device to teach mathematical reasoning to children with low or no vision.
Bozorboyeva Iroda offers encouragement for young people to find and follow their own dreams. Khudoykulova Shahzoda points out consequences of and solutions to youth unemployment.
Various contributors celebrate notable people who should be better known, or highlight important research work. Sobirjonova Rayhona outlines the career and accomplishments of Uzbek woman mathematician and teacher Shodmonova Hilola. Eshmurodova Sevinch highlights the need for training for employees in Uzbekistan’s banking industry in digital technology to modernize industry. Muslima Olimova highlights strategies corporations have used to adapt to stay on top in a digital world. Jo’rayev Ulug’bek outlines engineering techniques for strengthening concrete structures. Mirzaolimov Mirabbos probes the medical relationship between diabetes and cardiovascular diseases. Ostanaqulov Xojiakbar speculates on how to improve web search engine optimization to improve online communication and website findability. Orozboyeva Mohina Nuraliyevna outlines the role and history of psychology as practiced in Uzbekistan.
On a more psychological level, Duane Vorhees’ poetry covers and highlights human complexity: different aspects to our personalities, different choices we can make, how we can change with time. James Benger’s poetry explores the fear and tension underlying our individual existences, the danger from geologic pressure, storms, raw meat – and how we sometimes find hope to carry forward.
Andrew Ban shares restless, random thoughts, finding commonalities with all humanity while acknowledging the need to protect and defend himself if needed. Dongeon Kim’s work presents scenes of intense human and natural energy while Texas Fontanella revels in the pure sound of non-representational language. Dennis Daly wanders through a variety of human feelings, from nostalgia to frustration to faith. Michael Robinson shares his journey and heritage of faith, how he found a spiritual home and refuge in Christ and the church. Muhammad Sanusi Adam speaks to struggle, resilience, destiny, creation, and faith.
Gaurav Ojha seeks out meaning in a confusing and vast world, ultimately affirming everyone’s ability to find their own truths. We hope that reading this issue helps you to find a smidgen of truth for your own life.
“Faith is the bird that, when the dawn is still dark, feels the light..” — Rabindranath Tagore
PREFACE
In the brownian traffic of cosmic thought, few, very few indeed, are the voices that shine with luminescing clarity -Rabindranath Tagore and Jernail Singh Anand are two of them. Although they are many years apart, they are brought together in the spiritual and poetic sphere of existence, where their philosophies, ethics and aesthetic minds intermingle in a metaphysical quest. This meeting is not a mere dialogue of minds, but an eavesdropping of two souls: two souls that are committed to truth, to beauty and to human advancement. Bengal’s mystic bard meets bio-textual consciousness sage of a later age; Tagore and Anand speak across the time and space of centuries and continents.
MONOLOGUE BY TAGORE
I am the hushed tone of the break of day.
My words are drawings in the air, my grief and my joy have come and met.
The universe is not a problem to be solved but a poem to be sung. In every flower’s whisper, in every beggar’s palm, I see the face of the Infinite.
Not to teach, but to wake. The soul is not a lesson but a dance.” Oh Earth, with fire let me kiss you, and in your embrace vanish.
HAIKU
Waves of morning light
caress the soul’s silent shore
—truth blooms in stillness.
MONOLOGUE BY ANAND
I am the pen of the hopeless, the scream of the battered Earth.
My ink suffers of time, my pen mourns.
The truth is not a relic, it is a cry. I’m moving with some prophets/ eating with the orphans.
I saw my thirst mirrored, there in Whitman and Puran Singh. In the mirror of Whitman and Puran Singh, I found my thirst; I learnt my thirsting. Out of this thirst, I forged the theory of Bio-Text—where blood and word can no longer be told apart.
APHORISM
“The poem is written by the world whispering through the soul, not by the poet.”
DIALOGUE BETWEEN TAGORE AND ANAND
TAGORE: Do you write with joy, Anand, or with wounds?
ANAND: I write because wounds have learned to sing. And you?
TAGORE: I sang before I knew what sorrow meant. Then sorrow became my scale.
ANAND: We have walked the same riverbanks, then. I named the stream Bio-Text. You called it Gitanjali.
TAGORE: And yet, a longing for the Divine in the human, the current is the same.
ANAND: The poem is our proof, our protest, our prayer.
TAGORE: If truth be told. The poet speaks, even in silence.
ANAND: And the poet restore to health, in suffering.
TAGORE: Like bread among seekers, then let our ink be shared.
SYNTHESIS
In their dialogic dance, Tagore and Anand, unveil the poem as a sacred act: both offering and resistance, both vision and balm. The mystic and the reformer merge into a single pulse of conscience. Their words, whether sung or bled, form a liturgy of hope in the age of dissonance.
PARALIPOMENON
The play takes the form of a dreamed conversation between two great poets who write in right-minded, spiritually questing ways. The form transitions seamlessly blip by blip from monologue to dialogue, aphorism to synthesis, and calls to mind Tagore’s transformative mysticism and Anand’s existential activism. The haiku is a frozen breath of union, and the aphorism is the metaphysical embodiment.
AUTHOR
Mauro Montacchiesi is one of the leading Italian intellectuals, multi talented and multi awarded author, ex President of the A.I.A.M. International Academy of Modern Art in Rome.
DR. ANAND:
Dr. Jernail Singh Anand, with an opus of 180 plus books, is Laureate if the Seneca, Charter of Morava, Franz Kafka and Maxim Gorky awards. His name adorns the Poets’ Rock in Serbia. Anand is a towering literary figure whose work embodies a rare fusion of creativity, intellect, and moral vision. He’s not just an Indian author but a global voice, challenging readers to confront the complexities of existence while offering hope through art and ethics. If Tagore is the serene sage of a colonial past, Anand is the fiery prophet of a chaotic present.
PRODUCTION OF SMART SUPERABSORBENT POLYMERS FOR SEALING CRACKS AND INCREASING THE STRENGTH OF CONCRETE STRUCTURES
Dean of the Faculty of Chemistry, Termez State University: B.A. Kholnazarov E-mail:baxodir.xolnazarov@rambler.ru Student of the Faculty of Chemistry, Termez State University: Jo‘rayev Ulug‘bek E-mail:ulugbekjorayev901@gmail.com
Abstract
This scientific work is devoted to studying the production of smart superabsorbent polymers (SAPs) and their integration into concrete mixtures with the aim of solving the problem of cracking in concrete structures and extending their service life. The study analyzes the hydrophilic properties of SAPs, particularly their ability to absorb and retain moisture from the surrounding environment and how this contributes to sealing microcracks and capillary voids within concrete. Furthermore, it demonstrates through practical experiments how the self-healing properties of these polymers enhance the structural integrity and water resistance of concrete.
The paper outlines the synthetic production methods of SAPs, their granulometric composition, chemical stability, and interaction with concrete. The final results serve to improve the long-term durability of concrete products, reduce maintenance costs, and contribute to the development of environmentally friendly innovative building materials. Moreover, SAPs help retain moisture within the concrete, thus supporting the continuation of the cement hydration process.
During the study, various SAP brands, their physicochemical properties, optimal dosages, and methods of integration into concrete mixes were examined experimentally. The results showed a significant improvement in crack resistance, water durability, and strength of concrete samples containing SAPs. This innovative approach enhances the reliability of building materials and extends their service life.
Keywords:
Concrete structures, crack sealing, smart polymers, superabsorbent polymers (SAP), self-healing materials, strength, hydration process, water resistance, innovative construction materials, concrete composition, crack resistance, polymer additives, service life of concrete, construction material innovation, SAP technology, microstructure enhancement, environmentally stable materials, variable humidity conditions, technological additives, mechanical properties of concrete.
Introduction
Today, in the construction industry, requirements such as durability, strength, and long-term performance are of crucial importance. In particular, ensuring the structural stability of concrete constructions remains a pressing issue. Although concrete is one of the most widely used construction materials, it is prone to the formation of internal and external microcracks over time due to various factors. These cracks weaken the structure, lead to corrosion, and shorten the service life of the material.
Therefore, developing technologies that allow concrete to self-heal and automatically seal such cracks is a significant goal. In recent years, smart materials—particularly superabsorbent polymers (SAPs)—have emerged as a promising solution, attracting increasing attention from the scientific and technical communities. These materials can absorb and retain environmental moisture and expand in volume within the concrete to fill cracks as they form. Additionally, by promoting continued cement hydration, SAPs enhance the internal structure of concrete.
This study focuses on producing such SAPs, investigating their properties, and evaluating their practical application in concrete mixtures. Despite the widespread use of concrete, one of its main disadvantages is the development of cracks due to internal pressure, temperature fluctuations, or external loads. These cracks reduce the mechanical strength of concrete and make it more susceptible to external influences, ultimately decreasing structural reliability and increasing repair needs.
Modern construction material technologies offer innovative approaches to solving this issue. In particular, the use of smart materials such as SAPs to develop self-sealing mechanisms in concrete is gaining significant interest. These hydrophilic polymers react with moisture in concrete, expand in volume, and effectively seal cracks. Moreover, they support the continued hydration process of cement, thereby strengthening the internal structure of concrete.
This research provides an in-depth analysis of the use of SAP technology to enhance the strength and crack resistance of concrete.
Materials and Methods
Materials: In this study, the following materials were used to improve the crack resistance and strength of concrete mixtures:
Portland Cement (CEM I 42.5N): A high-quality binder and the main component of concrete.
Natural Sand (0–2 mm): Ensures uniform mass and density of concrete.
Crushed Stone (5–10 mm): Enhances the mechanical strength of concrete structures.
Superabsorbent Polymers (SAP): Self-healing polymers that absorb moisture and expand to fill cracks.
Clean Water: Required for cement hydration and activation of SAPs.
Plasticizer (polycarboxylate-based): Reduces viscosity of the mix and improves workability.
SAP Stabilizer (if needed): Controls excessive swelling of SAPs and ensures even distribution in the mix.
Methods: The following tests and experimental methods were applied to assess the crack resistance and mechanical properties of concrete and to study the effects of SAPs:
Preparation of Concrete Mix: Concrete mixes were prepared according to the GOST 10181-2014 standard. SAPs were added in amounts ranging from 0.1% to 0.5% of the cement mass. All samples were prepared under identical conditions using the same components.
Determining Water Absorption Capacity of Polymers: The water absorption of SAP samples was measured using the gravimetric method: pre-weighed SAP samples were immersed in distilled water for 24 hours, and weight increase was recorded.
Compressive Strength Testing: The compressive strength of concrete samples was tested at aging intervals of 7, 14, and 28 days following GOST 10180-2012 standards. Each test was conducted three times, and average values were calculated.
Crack Sealing Evaluation: Pre-cracked concrete samples were stored in a humid environment. The extent to which SAPs sealed the cracks was observed microscopically. Changes in crack width and depth were monitored over 28 days.
Water Resistance and Capillary Absorption Test: Water permeability of SAP-modified concrete was assessed using a vacuum chamber absorption test.
Microstructure Analysis (Structural Study): The internal structure of the concrete was analyzed using Scanning Electron Microscopy (SEM) to study the distribution of SAPs and their effect on hydration.
Production of Superabsorbent Polymers (SAPs)
Superabsorbent polymers (SAPs) are hydrophilic polymers capable of absorbing and retaining large amounts of water. These are typically based on acrylic acid and its derivatives and are produced using specific chemical processes. The production process involves the following key stages:
Monomer Preparation: The main raw material for SAPs is acrylic acid (CH₂=CHCOOH). It is neutralized using agents such as NaOH, adjusting the pH to the 6–7 range.
Polymerization Process: The neutralized acrylic acid is mixed with a small amount of cross-linker (e.g., N,N′-methylenebisacrylamide) and an initiator (e.g., ammonium persulfate or sodium persulfate). These components initiate a radical chain polymerization reaction, usually carried out in an aqueous medium at 50–70°C.
Gel Formation: The resulting polymer forms an elastic gel with a cross-linked structure, capable of absorbing large volumes of water.
Drying: The fresh SAP gel is dried completely using a vacuum oven or a low-temperature dryer, resulting in a solid yet hydrophilic polymer granule.
Grinding and Sieving: The dried SAP is ground using a crusher and sieved to achieve the desired particle size (typically 100–800 microns). These granules are then added to concrete mixes.
Quality Control of Finished SAP: The final SAP product is tested under laboratory conditions for its water absorption capacity, density, swelling recovery, and thermal stability.
I’m up early, early enough to watch the night slip away.
As always, I’m at the bottom of a mountain.
As always, I am non-committal as to my first step.
I just sit here as new sun nudges away bits of shadow.
I amuse myself with straight lines because I can’t see where
the bent ones go. Coffee begins its occupation of my veins.
My eyes roll around my face, then settle in their sockets.
The cat, with a chrysanthemum in its lapel, rubs my ankles.
The mountain is descending itself. At hill height,
it looks up and, with mighty breath, blows its own head off.
Then it flattens out. I can walk across it.
Light enters the room, is selling uncut flowers.
Above, one sky stands in for all the skies that could be.
It’s the ceiling, like a canvas, where, in a far corner,
a solitary spider signs his name.
NEW MORNING
On a new morning,
the reds, burnt oranges,
of dawn,
fade into fresh light
that becomes
the final arbiter
of stale darkness
and black sky gives way
to pale blue
and downy clouds,
as trees
flap in the brief
flute notes of the breeze
and sunrays
burn away
tiny drops of
water on the grass tips,
wake the flowers,
draw out the petals
from their nighttime fold.
THE WORLD OUTSIDE WHERE IT BELONGS
I am awake, fingers slow burning as they grip hot coffee, heart, a Geiger counter finding love in your still sleeping body, and, on the other side, brain pecking through the grievances already assembled in my thoughts, in the newspaper glaring from my laptop.
The world is a sorry place but the people in it find such comfort in nothing more than a shape in the sheets, a soft breath contesting the solid headwinds of my own. Strangers die but loved ones live. Soldiers kill but no harm comes to those in bedrooms.
Soon, you too will rouse from sleep and dreams, reconvene with what keeps you up at night: the wars, the inequalities, the murders, the rapes, the homeless in their winter blues.
It’s a dangerous world. We are safe. Life turns ugly. We are beautiful. Others are what we read about. We’re what we believe.
John Grey is an Australian poet, US resident, recently published in New World Writing, River And South and The Alembic. Latest books, “Bittersweet”, “Subject Matters” and “Between Two Fires” are available through Amazon. Work upcoming in Paterson Literary Review, White Wall Review and Flights.
