LINGUISTIC FEATURES OF TOG‘AY MUROD’S WORKS

Qudratova Nozima Bahromovna

1st-year student, Department of Uzbek Language and Literature,

Denau Teacher Training Institute

Email: qudratovanozima@gmail.com

Annotation

This article explores the linguistic features present in the works of the renowned literary figure Tog‘ay Murod, distinguished for his profound narratives and unique style. Through a comprehensive analysis, the study highlights key linguistic elements that define Murod’s writing, offering insight into his literary techniques and contributions to the cultural and artistic landscape.

Keywords: Tog‘ay Murod, literary analysis, linguistic features, narrative style, literary technique.

Introduction

Tog‘ay Murod stands as a prominent figure in modern Uzbek literature, celebrated for his captivating storytelling and innovative narrative approach. His works have long fascinated both readers and critics, prompting scholarly interest in the linguistic elements that form the foundation of his distinctive literary voice. This article examines the recurrent linguistic features within Murod’s works, revealing the craftsmanship behind his style and illuminating the essence of his literary genius.

Murod’s literary corpus spans various genres—from prose to poetic narratives—each crafted with its own linguistic precision. His prose is characterized by rich imagery, metaphorical language, and nuanced character development, all of which create immersive storytelling experiences for the reader. Moreover, his use of symbolism, allegory, and intertextuality adds layers of depth, inviting readers to engage with multiple levels of interpretation.

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Linguistic Characteristics in Murod’s Works

Beyond his narrative mastery, Murod’s poetic works demonstrate exceptional linguistic rhythm and lyrical expression. By artistically arranging words and sounds, he captures the essence of emotion and human experience, creating a deep resonance with readers. His exploration of linguistic ambiguity and semantic complexity contributes to an intellectual dimension that encourages readers to reflect on the subtleties of language and meaning.

A systematic approach—combining close reading, stylistic analysis, and comparative research—was employed to examine Murod’s linguistic techniques. Works representing different periods of his creative activity and covering diverse themes were analyzed. Textual fragments were studied for recurring linguistic patterns, rhetorical devices, and stylistic choices, providing a comprehensive understanding of his unique writing style.

One of Murod’s most notable contributions lies in his transformation of the natural speech of ordinary people from the Surkhan region into a literary stylistic device. He was among the first to elevate this regional vernacular to the level of a refined artistic tool. Following in the footsteps of earlier creators, he developed his own perspective on literary style. Researcher M. Khidirova describes language as the foundation of literary structure, noting:

> “A literary work is like a tower. It has its own foundation. The lifespan of the work depends on this foundation. The foundation of a literary work is language. Life begins with language and ends with language.”

Thus, the linguistic worldview of Tog‘ay Murod embodies a philosophical understanding of language as both an artistic and spiritual necessity. His unique stylistic mastery continues to serve as a school of artistic skill for young writers, especially at a time when the Uzbek language is flourishing as a state language and its preservation and development are of great importance.

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Theoretical Perspectives on Style

Classical and contemporary scholars alike have offered insights into the formation of literary style. The eminent

scholar Abdurauf Fitrat emphasized that as a writer matures artistically, a distinctive style emerges:

> “As a poet or writer rises in artistic mastery, he begins to create a style peculiar to himself. When his imagination, thought, and understanding reach maturity, a unique style naturally appears.”

Literary critic O. Sharafiddinov likewise described style as an all-encompassing phenomenon permeating every aspect of a writer’s work:

> “A writer’s style is like air—we breathe it without noticing its components. Style is the spirit of creativity, the subtle fragrance present in every work.”

Accordingly, Tog‘ay Murod’s reflections on artistic language and style deserve special attention. Language, artistic vision, and literary technique interact harmoniously in his works, shaping an individual and unrepeatable style formed through philosophical perception, cultural identity, and narrative skill.

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Tog‘ay Murod’s Creative Language

Tog‘ay Murod is widely recognized for his original and vivid prose, which resembles poetic narrative in both rhythm and imagery. Even casual readers familiar with modern Uzbek literature can easily identify his works by their expressive, colorful, and deeply lyrical language. This distinctive quality sets him apart from other writers.

In works such as Otamdan qolgan dalalar (“Fields Left by My Father”) and Bu dunyoda o‘lib bo‘lmaydi (“One Cannot Die in This World”), Murod won the admiration of readers by portraying the sincere and humble people of the Surkhan region—their hardships, aspirations, and inner worlds. His language is deliberately simple, flowing, and deeply rooted in folk expression.

He skillfully incorporates proverbs, idioms, synonyms, archaic words, and dialectal expressions, enriching the artistic imagery of his narrative. Folk speech enhances the authenticity and emotional connection of his works. For example, dialectal words such as baycha, jigit, bova, iyarmoq, angnib yotmoq, and yonashtirmoq vividly illustrate the regional character of his narratives:

> “I told the boys to lie down by the river and keep watch.”

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Discussion

The linguistic features identified throughout Murod’s works emphasize his innovative approach to storytelling and his profound connection to language as a tool of artistic expression. By blending imagery, metaphor, symbolism, and intertextual references, he creates multilayered narratives that resonate deeply with readers.

Moreover, his linguistic versatility allows him to traverse different genres and thematic landscapes, demonstrating the breadth and depth of his creative vision.

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Conclusion and Recommendations

In conclusion, the study of Tog‘ay Murod’s linguistic features reveals a writer of exceptional talent and intellectual depth whose works continue to captivate and inspire audiences worldwide. Future research may further explore specific aspects of his linguistic style—such as dialect usage, narrative voice, or linguistic innovation. Comparative analyses with other literary traditions may also offer valuable insights into the evolution of literary language and expression.

Ultimately, the linguistic richness of Tog‘ay Murod’s works serves as a testament to the enduring power of language to illuminate human experience and provoke thought. As readers engage with his texts, they embark on a journey of linguistic discovery, uncovering layers of meaning and developing a deeper appreciation for the art of storytelling.

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References

1. Oydinda yurgan odamlar. G‘. G‘ulom Literature and Art Publishing House, Tashkent, 1985.

2. U. Jo‘raqulov. Nazariy poetika masalalari: Muallif, Janr, Xronotop. G‘. G‘ulom Publishing, Tashkent, 2015, pp. 148–150.

3. U. Faulkner. Qora musiqa. Yangi Asr Avlodi Publishing, Tashkent, 2018.

4. A. Fitrat. Adabiyot qoidalari. Tashkent: O‘qituvchi, 1995.

5. O. Sharafiddinov. Iste’dod jilolari. Tashkent.

Qudratova Nozima Bahrom qizi. 2006.11.12.

Surxondaryo viloyati Shurchi tumani Oynako’l mahallasi Amir Temur ko’chasi 160 uy.

+998 90 071 06 11.

Denov Tadbirkorlik va pedagogika instituti 1 kurs talabasi. Filologiya fakulteti o’zbek tili va adabiyoti guruhi.

An Immigrant’s Letter Home: They Say I’m the Problem

Fresh off the boat
Plank splinters sticking in my bottom
Foreign words coating my throat
Accented with spices smuggled in my breath

I am here by mule train and burnt gasoline
Aero plane and broken shoestrings
Paid for everything by commercializing
My entire life into round metal beads
Covered in ghost heads and iconic scenes
I’ve not yet had the chance to see
The way they haunt my pockets

Exchanging, “for an excellent rate,” he says to me
An Uzi armed sentry stamps my history
Of entry in passport holograms
The picture shivers between two sheets of paper
While I wait on a bench to claim a meal voucher waiver
For my wife and two
Because where I come from, that’s just what we do
If there’s enough left over, I might eat too

We spend most of our time here in a whole-way shelter
Rust-stained gate and chain-linked containers
Thankful we’ve earned this destination
Instead of the alternative
Where we can cash out our dream banks for the hopes of better gold
Even though we’re not sure of the accounts we’ve been sold

Everyone here sleeps, eyes clinched into folds
But awake in mind sweat
Soaking in the nightmares of regret
When barreled crabs said, “you all won’t get past”
And, “you’ll never last”
And, “we’ll be seeing you when you come crawling back”

But this was never intended to be a round trip
We have a new home here even though
We’re not aware where exactly here is
Or if it’s built real in stick or brick
But in the hope of the memories
We haven’t started remembering yet

So, I try not to be a burden
At nine o’clock, I walk across the parking lot
To start the job that I’ve created
Washing windshields for tips
And trotting across traffic to get
Another car clean to cover business expenses
Incorporating my skills from an era gone by
Of staying organized
To capitalize my homeland’s handouts
Before they were demoralized

At eleven o’clock, I beat down the tracks
To bus restaurant tables and bust my back
Below minimum wage reimbursement
Where it’s a fact that taxes get held back
In snide murmurs and slant glances
Carving contempt on my appearances
I absorb this as a symbol of respect
As I did before, our towers were wrecked.

At the other eleven o’clock, I slip through the cracks
Of the shelter’s back door slats
And immerse my mind
In language and cultural contexts
Of the people and places I didn’t know existed
In this new condition set

I often wonder why we worried and hesitated
And held our expectations on presidential level aspirations
Instead of holding ourselves as the democratic inspiration
In the nation our ancestors created
We eroded through horror and hatred
Where we poked one another’s eyes
Bled ourselves to death then painted
Our remnants onto dust bound, thin air

At night, I don’t sleep much at all
Remembering what we had before the fall
The collapse of the systems
Freedom and prosperity
Jester dancing in the world’s mockery
Wrapped in tricolor liberty wings

But now, it all seems like a distant dream
I, go sleepless, knowing it isn’t a thing
No more grain waves or sea shines
The Mother of Exiles sank in the shoreline
As another empire lost on its way to find
The cause that made it an envious emblem

Now, they say I’m the problem


Urban Cowboys

this is where we sleep against tonight
paper pallets lining the underpass
tomorrow we follow the sun’s tail
pulling the needle in our compass
towards another city’s concrete stable
wind whisking the stray cat’s mane
from left to right and North to West
without hay filling our bellies
our Coke bottle canteens collect dust
as we close our eyes around headlight fires
resting our feet on empty bed rolls
and wonder, “When will we ever be home?”


With Backs to the Rules

navigating life in a series of legends
meandering across the foreign out there
most people travel by grasping for the rules

some reach to rules to know where to stand
other lean into rules for strength
the greedy want rules to get ahead
the rebels want rules to overthrow

but instead, there are poets
poets travel with their backs to the rules
in an eternal commission
banished outside Plato’s republic

with one foot on the frontier of the knowable
and the other foot hovering over the faith filled infinite
white-knuckling enough courage to speak of sins
wrestle written love ciphers for translating fringes
in fragments onto the next poet

in messages urging us to leave safety and step outside
and in time, return to spread the possibility
of how poets travel,

with backs to the rules

The New Colossus

(*Note: A series of four blackout poems repeated from, The New Colossus, by Emma Lazarus as written on the base of the U.S. Statue of Liberty.)

Brendan Dawson is an American-born poet and writer based in Italy. Brendan writes from his experiences while living, working, and traveling abroad.  Currently, he is compiling a collection of poetry and short stories from his time serving in the military and journey as an expat.

Semantic analysis of the use of gerund and infinitive

Suyarova Gulsanam Sherzod qizi
Student of CSPU Department English language and theory
The group of 22/5
suyarovagulsanam6@gmail.com

Annotation
In this article, the features of using the tense forms of the to-infinitive and the gerund, the verbs after which one of them is used, as well as the verbs that can be followed by both the infinitive and the gerund, and their semantic differences are analyzed.
Key words: verbs, infinitive, gerund, features

Annotatsiya
Ushbu maqolada to-infinitive va gerundning zamon shakllarini qo‘llash xususiyatlari, ayrim fe’llardan keyin ulardan qaysi biri ishlatilishi, shuningdek, o’zidan keyin ham infinitive, ham gerund talab qiladigan fe’llar hamda ularning ma’nodagi farqlari tahlil qilinadi.
Kalit so’zlar: fe’llar, infinitiv, gerundiy, xususiyatlar
Аннотация
В данной статье анализируются особенности употребления временных форм инфинитива с частицей to и герундия, глаголы, после которых используется один из них, а также глаголы, после которых могут употребляться как инфинитив, так и герундий, и различия в их значении.
Ключевые слова: особенности, глаголы, инфинитив, герундий.

In the grammatical system of the English language, verb forms hold a particularly significant position. A verb not only conveys an action or a state but also functions as the central grammatical element of the sentence. Categories such as tense, person, number, and continuity of action are expressed through verbs. Therefore, the accurate use of verbs is vital for learners.
In English, verbs have various non-finite forms such as the infinitive, gerund, and participle. These forms enrich speech by adding semantic nuances such as cause, result, condition, or continuity. In Uzbek, non-finite verb forms correspond to verbal nouns and also possess their own tense distinctions.

The Tense Forms of the Gerund
1.Simple Gerund (V+ing): expresses a present or general action. Example: She advised going to the party yesterday.

2. Perfect Gerund (having + past participle): denotes an action completed before another. Example: Can you remember writing a letter to me for the first time?

The Tense Forms of the Infinitive

1. Simple Infinitive (to + verb): action simultaneous with or following the main verb. Example: It seems to rain.
2. Continuous Infinitive (to be + V-ing): expresses an ongoing action at the same time as the main verb. Example: My brother pretended to be listening to music.
3. Perfect Infinitive (to have + past participle): action occurring before the main verb. Example: He refused to have stolen the money.
4. Perfect Continuous Infinitive (to have been + V-ing): continuous action prior to the main verb. Example: She seems to have been learning English for two years. Verb Usage

• Infinitive is used to express purpose, after adjectives (happy, eager), after nouns/pronouns (something, someone), after too/enough, and in structures like it + be + adjective. Example: I always do my homework to achieve good results.
• Gerund functions as a noun, is used after certain verbs (enjoy, avoid, consider), after expressions (be busy, can’t help, have difficulty), and after prepositions. Example: Reading is useful for us.
• 
  Change of Meaning with Gerund and Infinitive
  Some verbs allow both forms but change meaning depending on which is used:
• Remember: remember to do = not forget / remember doing = recall
• Stop: stop to do = pause for another action / stop doing = quit
• Try: try to do = attempt / try doing = experiment
• Regret: regret to do = be sorry / regret doing = feel sorry about
• Mean: mean to do = intend / mean doing = involve
• Forget: forget to do = not remember / forget doing = not recall
• 
  The correct use of gerund and infinitive is essential for learners of English. These forms influence not only grammatical accuracy but also the semantic content of speech. A clear understanding of their forms, functions, and meaning differences allows learners to express themselves more fluently and precisely.
  The main difference between gerunds and to-infinitives in terms of temporal meaning lies in the fact that the gerund generally expresses the action as a process or a factual event, while the to-infinitive conveys purpose, intention, or result. Perfect forms highlight actions that have already occurred, whereas passive forms indicate actions performed upon the subject or actions that are required to be performed.
  Consequently, the correct use of gerund and to-infinitive forms is a crucial means of accurately expressing temporal meanings in English.

References

1. Quirk, R., Greenbaum, S., Leech, G., & Svartvik, J. A Comprehensive Grammar of the English Language. London: Longman, 1985.
2. Murphy, R. English Grammar in Use. Cambridge University Press, 2019.
3. Huddleston, R., & Pullum, G. K. The Cambridge Grammar of the English Language. Cambridge University Press, 2002.
4. Eastwood, J. Oxford Guide to English Grammar. Oxford University Press, 1994.
5. Swan, M. Practical English Usage. Oxford University Press, 2005.

Your eyes

I always remember your eyes
Green with hope
That hope that slipped through your fingers
That hope that in your youth swept you away…

Those eyes
that life dragged away
with the current
of despair
trying to extinguish them…

Your eyes that light up
at the simplest things
and fight to keep the light of life alive…

That life that wasn’t easy
that was an eruption
of incomprehensible situations…

Your eyes still hold the flame
Of hope
That hope that so often
was lost along life’s path.

Mirta Ramírez- Chaco- Argentina

Mirta Liliana Ramírez has been a poet and writer since she was 12 years old. She has been a Cultural Manager for more than 35 years. Creator and Director of the Groups of Writers and Artists: Together for the Letters, Artescritores, MultiArt, JPL world youth, Together for the letters Uzbekistan 1 and 2. She firmly defends that culture is the key to unite all the countries of the world. She works only with his own, free and integrating projects at a world cultural level. She has created the Cultural Movement with Rastrillaje Cultural and Forming the New Cultural Belts at the local level and also from Argentina to the world.

Nietzsche was that Poet which
Cried blood, sweat and tears
Walking that Germanic harmattan
Which the consensus wicked weep
Wavering, colluding bracks and waters

To launch out a pile
And brushes to rinse mouths
Which scent gelatinous fragrances that
Dance out the heart and purity
And wish breathing into mapped

Malactivity. Modes insist the bridals
Breed out love and care,
And hope and understanding.
Were there those chlorophyll breeds,
Heart hearth would have been

Sublime, earth beards washed clean
And the intestine pushed off
To the brim, nirvana? Scanners
Collude to yet convey hunger,
To match the matchless sticks

And to wish and growl,
And to hold those penniless
Veins those abstract arbitrations
Achieved within timely intonations
Miraculous, missive, ringing mass

The graves gravid and gowned,
Numerous necessities numbering
Knead needle nook shapes
Cushioning cachets, thrown off
Sachets in the life of being.

One is not part and parcel,
One is not a negative
To hope to be without
Waste, without fetching figures
Wiring woe wills walking wean

But to pursue out lack,
Contentment must stably stare
The face of the heart
To garner and to pounce
Minutiae unravel gravel gaunt.

Verily, life itself spells spook
Personalities, tint the bottling
Beards bead connote uphold
To show and to muster
Minutes, seconds, searching.

Socialist Linguistics: Theoretical and Practical Perspectives

Abstract

This article examines the theory of socialist linguistics, its role in society, and the social functions of language. It highlights the importance of language in socialist societies, the relationship between language and social development, language policy, and the communicative functions of language.

Keywords

Linguistics, socialist society, language policy, social communication, socialism

Introduction

Language is the primary means of communication in any society, closely linked with social development, culture, and political systems. Socialist linguistics studies language not only from a linguistic perspective but also in terms of its social functions and within the context of socialist values.The main objective of socialist linguistics is to explore the interrelation between language and society, identify the role and functions of language within socialist ideology, and contribute to its practical implementation in education, media, and culture.

1. Theory of Socialist Linguistics

The theoretical foundations of socialist linguistics include: 1. Language and Social Structure – Language reflects societal norms and values across all social strata. 2. Language Policy and Norms – In socialist societies, language policy aims to develop a unified national language and adapt it to socialist values. 3. Language and Ideology – Language serves as a medium to instill socialist ideology and shape social behavior and culture.

2. Language and Social Development

Language plays a crucial role in the social development of a socialist society:

Education and Culture – Socialist linguistics facilitates systematic language learning and its application in society.

Communication Processes – Language enables effective information exchange among different social groups.

Cultural Integration – Language acts as a tool to unify national and ethnic groups under common socialist values.

3. Practical Directions of Socialist Linguistics

Developing linguistic norms and standards

Analyzing socialist literature and texts

Studying language and communication strategies

Integrating language and ideology

Conclusion

Socialist linguistics provides a deep understanding of the relationship between language and society. It examines the social functions of language, its alignment with socialist values, and its role in language policy and communication. Therefore, socialist linguistics is a vital instrument for social development and cultural integration in socialist societies.

Adashaliyeva Durdona Akramjon qizi was born on June 30, 2002, in Uychi District, Namangan Region. She graduated from Secondary School No. 33 in Uychi District, and later completed her studies in Uzbek Language at Namangan State University. She is currently working as a teacher at Namangan City Polytechnic No. 1.

This month, we consider the peace, love, and joy honored during the world’s many December holiday celebrations. This issue also encourages us to take stock of where we are as human beings, physically, intellectually, and morally, and to take whatever steps are possible to rise to the next level.

Sometimes that’s going outside and getting some exercise. Brian Barbeito walks by a lake and considers the joy of simple living and natural beauty.

Mrinal Kanti Ghosh recollects a dreamy summer night. Olga Levadnaya captures the solemn stillness of midday heat. Christina Chin renders up the cold silence and calm of winter.

Aura Echeverri Uribe evokes the monumental destruction of an avalanche. Jack Galmitz speaks to how we manage and control wildness, in our neighborhoods and our bodies, and how it can reassert itself. Carrie Farrar speaks to the joy and wonder of visiting France to see the Mer de Glace glacier. Mahbub Alam speaks to a solid connection between humanity and nature, like a tree standing firm in the changing winds.

Tasneem Hossain draws on the owl as an extended metaphor for wisdom and protection. Roodly Laurore reflects on the tender and colorful beauty and diversity of nature in a piece which he intends to bring comfort in a violent and turbulent world. Maja Milojkovic encourages us to imagine a new world of gentleness and peace towards our earth and each other.

Elizabetta Bonaparte’s poetry takes a short, but strong and cogent, stand against war. Valentina Yordanova, in poetry translated by Yoana Konstantinova, laments the mindless destruction war brings to ordinary lives. Eva Petropoulou Lianou calls for genuine humanity in a world at war.

Samar Aldeek tenderly celebrates peace in her bilingual poetry. Dr. Perwaiz Shaharyar draws on the style of courtly romance to honor the legacy of Mexican poet, peace activist, and literary cultural worker Dr. Jeannette Tiburcio. Fernando Jose Martinez Alderete joins in the tribute to Dr. Tiburcio and also speaks of the need for peace and mutual respect.

Paul Durand warns us of dangerous currents, both in the ocean and in American politics. Bill Tope’s poem criticizes human rights abuses committed in the name of immigration enforcement. Duane Herrmann speaks to the spiritual unity of all the world’s people under Ba’hai teachings and how that serves as an antidote to racism and anti-immigrant sentiment.

Travel gives us firsthand experience with different cultures and helps us understand each other. Türkan Ergör illustrates the dislocation of travel through clever and poetic alteration of word and line breaks. Lakshmi Kant Mukul captures the exhilaration and elevated beauty of plane flight. Abdumuminova Risolabonu Nizamovna discusses how travel helps people learn practical skills, including pragmatic communication in multiple languages.

Learning foreign languages, and mastering one’s native language, helps us understand each other, whether we travel in person or through imagination and books. Shakhnoza Pulatova Makhmudjanovna offers strategies for mastering the Arabic language. Muhammadjonova O’giloy Bunyodbekov qizi offers up suggestions for learning Turkish that would be helpful for any foreign language. Abduhalilova Sevdora Xayrulla qizi highlights grammar rules surrounding modal verbs in the Uzbek language. Allaberdiyeva Farangiz outlines ways for students learning English as a foreign language to gain writing proficiency.

Xudoyberdiyeva Jasmina analyzes the linguistic phenomenon of “chatspeak” and ‘text-speak” on the Uzbek language in a piece that’s more intrigued than negative. Dinora Sodiqova discusses the importance of professional communication for aspiring young Uzbek leaders.

People can also travel through time by reading older works and studying history. Petros Kyriakou Veloudas reflects on the joy and the weight of being part of a creative heritage, even when one does not know the names of each and every ancestor. Poet Eva Petropoulou Lianou interviews poet Muhammad Shamsul Huq Babu about his literary legacy and dream of building a large book museum.

Dunia Pulungeanu highlights the lifetime intellectual and literary accomplishments of Dr. Edwin Antonio Gaona Salinas. Choriyeva Go’zal Gayratjon qizi explores the resurgence of academic and cultural interest in foundational works of Uzbek literature. Xudoyberdiyeva Mohiniso reflects on the historical significance of the Mud Battle, an early military defeat for Central Asian medieval historical figure Amir Temur.

Farzona Hoshimova celebrates the pride and beauty of the Uzbek culture. Matnazarova Munisa encourages young and old Uzbeks to remember and preserve their traditional culture. Bobonova Zulfiya sings of the pride, freedom, and beauty of her native Uzbekistan. David Woodward evokes a quest for truth through reading Krishnamurti, ultimately reconnecting himself with his family. Rahmonkulova Gulsevar Samidovna considers the cultural values implicit within Uzbek folk legends.

Muhammadjonova Ogiloy Bunyodbekovna reviews Abdulloh Abdulmutiy Huda Said Bahul’s book Qu’logim senda, qizim, which provides Islamic faith-based guidance for young girls, narrated by a loving father. Ruzimbayeva Quvonchoy also urges Uzbeks to hold onto their traditional values, including love, bravery, and respect for women.

Maja Milojkovic translates Eva Petropoulou Lianou’s tribute to hard-working women around the world from English into Serbian. Mashhura Ochilova highlights the historical respect for women in Uzbek culture and what modern Uzbek women have achieved. Jaloldinova Gulzirahon Otabek Kizi highlights women’s increasing participation in Uzbekistan’s public life.

Orifjonova Nozima Azizbek considers the prospects for preserving the Uzbek language in a time of economic and cultural globalization. Rahmonqulova Gulsevar Samid qizi analyzes the crucial father-son relationship at the heart of the Uzbek folk epic tale “Alpomish” and its centrality to Uzbek family-oriented culture. Rahimberdiyev Ozodbek outlines key elements of Uzbekistan’s heroic tales.

Rashidova Shoshanam explores the long shadows Sophocles’ Oedipus Rex has cast over human literature and psychology. Christopher Bernard reviews Cal Performances’ recent dramatization of Chicago’s Manual Cinema’s The Fourth Witch, about the after-effects of Macbeth’s violence on his victims. Paul Murgatroyd draws on Greek tragedy to poke morbid fun at humans: inwardly messy and selfish, even when outwardly clean. J.J. Campbell provides his signature dark view of human nature, full of sardonic, blunt, emotionally transparent blue-collar surrealism. John Grey picks apart human emotions in his vignettes, attempting to understand why we act as we do.

Dr. Jernail Singh describes how Dr. K.B. Razdan diagnoses some emotional and psychological ills of modern life in his book Gather Ye Rosebuds. Sean Meggeson’s visual poetry speaks to what we gain and lose as modern society progresses. J.K. Durick waxes poetic about times when it seemed that matters were more easily understood and categorized.

Abdulhafiz Iduoze’s epic poem, layered with traditional and modern references from Benin’s culture, serves as a ritual chant and prophetic warning about colonialism and corrupt power structures. It situates recent dynamics within epic time, reminding readers that current matters are not destined to last forever.

Shikdar Mohammed Kibriah affirms the reality of his personal experience amidst the complex claims of philosophical schools. Aisha Al-Maharabi speaks with the voice of one who asserts his claim to existence, writ large on the natural and human worlds. Strider Marcus Jones speaks to reclaiming and holding onto our interior life, emotions, and connection to nature in a world of mass media and technological disruption and deception.

Many other creators explore our internal lives, what we can learn from ourselves and each other and how we can grow as human beings. Allison Grayhurst speaks to her creative and personal journey: learning to function and create through loss, to integrate pain and struggle into her process. Alan Catlin’s fanciful “anxiety dreams” play with our modern insecurities about navigating daily life. Also experiencing anxiety, Mirta Liliana Ramirez’ poetic speaker takes a bit more time before she’s ready to venture out in the world.

Alimardonova Gulsevar Sirojiddinovna explores the balance between personal dreams and duty to society in Somerset Maugham and Abdulla Qodiriy’s writing.

Rus Khomutoff’s latest poetry collection Kaos Karma, reviewed by Cristina Deptula, flows through various words and ideas, pulling us along on the wings of a slow dream. Stykes Wildee’s latest poem seems at once dreamlike and ordinary and conversational, casual thoughts within the subconscious. Mesfakus Salahin’s poetry is ghostlike, contemplative, detached as he contemplates love and death. John Doyle’s poetry harks from a variety of inspirations: everything from insects to gas stations to trains and the countryside. Arjun Razdan’s quick fictional sketch compares young women he sees to elegant fine wine.

Abdulsamad Idris also explores tragedy and loss through a frank and visceral voice. Graciela Noemi Villaverde finds herself lashed by the storms of loneliness and sorrow. Hanaan Abdelkader Ashour approaches loss with tenderness, offering a kind and reverent note of remembrance for departed loved ones. Marianne Jo Alves Zullas speaks openly of her mourning for her departed mother, everywhere and nowhere at once. Mykyta Ryzhykh’s poem captures the emotional emptiness of a relationship where one person loves intensely, and the other remains distant, consumed by their own habits. Marjona Eshmatova outlines various types of family system dysfunction and how to address them psychologically. Taylor Dibbert points to the ways even well-meaning people can misunderstand each other. Dilobar Maxmarejabova warns us how a person’s heart can become colder and more jaded over time.

Mohamed Rahal speaks of striving for authenticity in one’s faith and in love. Narzulloyeva Munisa Bakhromovna encourages people not to compare themselves negatively with others’ projected lives on social media. Raximberdiyeva Moxinabonu outlines the pressing mental health concern of smartphone addiction and the need to balance our phones with the real world. Moldiyeva Bahodirovna speaks to the way digital technologies have permeated our lives and how to have the Metaverse complement, rather than replace, our world. Choriyeva Xurmo urges balance in the use of digital media in preschool education. Orozboyeva Shodiyeva highlights educational social media applications and encourages her peers to use those rather than focusing just on entertainment.

Jacques Fleury reviews Boston’s Huntington Theater’s production of Alison Bechdel’s tale Fun Home, highlighting themes of intergenerational understanding, how children gradually came to make sense of their parents’ worlds. Young poet Avazova Diyora Alisher qizi offers her good wishes to her teacher in a tender poem. Fayzullayeva Shabbona Sirojiddinova shares her appreciation for her wise and caring father.

Priyanka Neogi playfully celebrates innocent, childlike love. Milana Momcilovic evokes an eternal, spiritual love. Dr. Brajesh Kumar Gupta captures an elegant romantic kiss under moonlight. Vorhees describes erotic and tender love with gentle whimsy and echoes of history. Kemal Berk contributes a graceful love poem about the merging of egos and personalities within a relationship.

Ana Elisa Medina describes a love that encourages her to become a better person. Mohan Maharana celebrates the value of small acts of kindness. Abdusaidova Jasmina shares the importance of kindness through a children’s tale involving a mouse. Balachandra Nair highlights the value of virtue by presenting positive character traits as valuable jewels on display.

Sayani Mukherjee pleads for deep, enduring joy that can withstand the world’s problems.

One way many people find joy is through engaging in various forms of creativity and knowledge gathering. Farida Tijjani draws on a wide variety of technical and natural inspirations to explore gender, creativity, and society.

Various contributors speak of advances in different fields. Uzoqova Gulzoda encourages innovative approaches to elementary school education. Nazulloyeva Feruzabonu highlights the value of science and innovation in inspiring society as well as providing material advancements.

Abdujabborova Rayhona points out ways medical and psychological professionals can reduce unhealthy stresses for pregnant people. Durdona Sharifovna Roziboyeva highlights the success of a recent orthodontic treatment for upper airway issues.

Dinora Sodiqova outlines basic principles of modern consumer advertising. Mamarajabova Shahnoza discusses how digital technologies are transforming the field of accounting. Dianne Reeves Angel celebrates the physical and mental artistry of comedian and actor Buster Keaton.

Several pieces remind us that as we advance in our knowledge and our technical skills, we must bring our humanity along with us. Kandy Fontaine raises questions about ethics and oversight concerning how people are treated in American hospitals. Avazbekova Rayyonaxon reminds medical professionals to display professional behavior as well as knowledge.

Finally, Dr. Jernail S. Anand reminds us to occasionally step back from the clatter of daily human interaction to connect with the universe on a deeper level. We wish all of you inspiration and a chance to think, feel, and connect with the world beyond yourselves this holiday season.