Winter

The cold days have arrived,

A sharp wind began to blow,

Whistling through the streets,

Bringing news that winter is here.

​In the winter season, from the sky,

The snow falls in swirling flakes.

That is why I love the winter

Very, very much.

​The earth puts on a white carpet,

The trees fall into a deep sleep.

It looks so beautiful and bright,

As if sprinkled with silver dust.

Yusufjonova O‘g‘ilxon

Adriano Aragozzini: The Most Extraordinary Artist Manager in the World

Rome. It’s the last day of 2025, and Adriano Aragozzini, the most extraordinary impresario in the world, has dedicated his latest book to me, a bestseller not only in Italy, entitled: “Tonight who sings is me “(Questa sera canto io), 462 pages that you devour in a few hours. 

Adriano has an irresistible personality, and his book reflects it, taking us on a journey around the world with Tina Turner, Domenico Modugno, Sammy Davis Jr., Patty Pravo, Ray Charles, Gino Paoli, Sarah Vaughan, Luigi Tenco, Gloria Gaynor, and the Sanremo Festival, which Aragozzini made popular worldwide. 

In this adventurous panorama, film stars such as Gina Lollobrigida and my mentor Federico Fellini and Andy Warhol, who competed with Fellini for my image, stand out. 

Aragozzini recounts with unusual sincerity the “splendors, miseries, passions, betrayals, secrets, and transgressions,” as written on the book cover, of celebrities who are part of the fabric of our history from the 1960s to today. 

An important chapter of the book tells of a truly unique experience, also because the protagonist of the episode, which spans years, is a singular character: the singer Patty Pravo, brilliant and iconic in all her manifestations and often in conflict with Aragozzini’s plans to increase her fame. 

Aragozzini introduces Patty Pravo to Federico Fellini, who offers her a role in his film “Casanova”: Casanova duels with a man, and with his sword, tearing his antagonist’s shirt. This action reveals a breast, the true sex of this person. 

At that time, in 1975, Fellini was the most famous and well paid director in the world, and Patty Pravo the most special and famous singer in Italy. 

A considerable chance for Patty Pravo to probably establish herself worldwide. 

Do you think the artist said “yes”? Of course you do! 

It was, instead, a firm “no” from Patty Pravo and a consequent disappointment for Aragozzini. 

The reasons? 

Patty Pravo has a rather masculine voice and an androgynous physique.  

Perhaps, then, Fellini’s idea didn’t seem very original to Patty Pravo.

Aragozzini introduced Patty Pravo to Andy Warhol, who didn’t offer the artist a role in his film, as Fellini had done, but instead proposed that the diva be the protagonist of his film. 

Do you think the artist said “yes”? Of course you think the diva said “yes” to Andy Warhol! 

Andy Warhol talked and talked, and Patty Pravo remained quite silent. 

Aragozzini was embarrassed. 

Then Warhol, rather annoyed, left Patty Pravo’s apartment in Rome , and after the legendary Warhol’s departure, she performed magical rituals to ward off Warhol’s energy, which she perceived as negative. 

Another great disappointment for Aragozzini, but one can’t judge: if you perceive negative vibrations from a person, it might not be a good idea to have a project in common with that person, since obstacles and conflicts could be anticipated. 

However, Aragozzini did help Patty Pravo sell millions of records and increased her fame, which is a priority for an impresario. 

And Aragozzini did this by launching songs that have made history and are themselves part of history and culture. 

Aragozzini, an impresario who was skilled at creating significant synergies between Italian and international music stars, who made the Sanremo Festival, the Italian song festival, known throughout the world, and who, if he likes an artist, launches them internationally.

There’s great news regarding Aragozzini: a few days ago, he added a new and unique award to the thousands he has already received: the “Courage for Freedom Award” for his tenacity and courage in promoting artists who symbolize freedom and supporting musical institutions to the entire world. 

The award is based on the principles of the hero of two worlds, Garibaldi, who fought for the freedom of many peoples and countries, including Italy and Rio Grande do Sul in Brazil. 

Garibaldi was a hero, also a writer and poet. 

The award originated in LA, during an exchange of ideas between me and the hero’s descendant, Francesco Garibaldi Hibbert and on that occasion, the multi-award-winning film “Anita” was also conceived, based on a sublime poem by Giuseppe Garibaldi about the premature death of his companion, the heroine Anita.

Francesco Garibaldi and Adriano Aragozzini, an honorary citizen of NYC thanks to me, have become great friends, and Aragozzini rightfully joins the award’s honorary committee, along with other distinguished recipients, including Michael Poryes, author of Hannah Montana, Moe Rock, founder of the Los Angeles Tribune, Elena Panarella, a renowned journalist for the widely read newspaper “Il Messaggero,” Ibrahim Shehata, president of the Egyptian “The Times International “ ,  Enrico Bernard, writer and screenwriter, and Victoria Wilder, daughter of the absolute Hollywood cinematic legend Billy Wilder, about whom I will share sensational news exclusively for Synchronized Chaos.

The cinematic version of the “Courage for Freedom Award,” is named “Courage for Freedom Film Award ” and was assigned to Angela Alioto for “Kamilah the Miracle Filly,” to Emily Letran and Jenny Thai for “Book of Death,” awarded by Pope Francis, Pope Leo XIV, and the Dalai Lama, and to “Chrysalis,” on the life of Daniel Winn, which we will see starting in April 2026, masterfully directed by Jordan Robert Schulz.

Freedom

A word 

Who has all the meaning of…

This is happiness 

This is harmony 

This is respect 

But what we do

Humans are killing humans 

Humans are manipulating humans

Freedom,

A game between two birds without wings

Freedom,

A hope inside two hungry stomachs …

Freedom,

Elefteria

A sun waiting to rise…..

In our days 

In our century 

We are in need of second educational system 

Re write new words 

Or learn the meaning of the old one 

EVA Petropoulou Lianou 

Honey, i shrunk the twist (doing in my phonk)

Noe, yre just somebody that i user friendly to blow up that matchbox 20 imagism. Tome d3af surrounds us. Tho we are a regular Phillip Arlington Heights; im a chosen One, three Poems up so put out our back drop PA system panting like dearth metal fans facebook Post and Orifice Boxes get gutter stamped in the Nash equilibrium bit. Straight outta Cummings. E, e ecstacy’s mumbles on the dance floor boas up, call it a Calling if you like that torch, she’s hotter, yeah, baby, she’s got it going off The Neaten track listing muddle malcontents class crown’s to follow three pieces of that hardcover sexual inter zoning law suites, 25 comments about obvious gold rush for a change of atmosphere fits in like an adhesion, you van ashbery me with it, myluh luh luh luh – globe theatre compartment, and rapper glove deported what i meant. That’s entertainment, or industry standards dripping, a huge wasteland back off, MONeY begs.I have a captive ordinance. Realise the hostages we ate; the world wide web in which I’m jowl crazy to Merc groovy: wanted tone deaf surrounds our sussurus sounds good in molly’s Bloomers bury publishing This IS polish, clubhouse music thanx tweezers b4 u tweedle Stanford in my lan o’, the – flee!!!! Dee. We are embark building, 22, catchy years ago during ©, we were psychotic symptoms shines through, hoot a lee, schooner or Leda, tmy manic structures strut of the woke general assembly line is yr place pointy tariffs war drab tab rabelaisean gutteral Solomon; no emancipation’s an island on the tip of the ice perks my whiskey croon, tool, surprisingly Heidi Klum for such force example, ur honour killing, i abject relations theory, ounce against the ROAD documents, jessie In a kinder surprisingly Broadway number of jams moving que los por dis easel shorts out phallocentric logics induction into the ooo portry Hillsong of fame game over: winter wS combing my hence night this smoothie on the trap house, um, im mix Blonde take careerists out the picturesque: the wealth of imaginations with fidelity only to the high, high road that we tremble, a high, high route that i crack Erica wide open. My machine gun kills fascists.. Night after night of these triffids, i could be one of yr kids. 

Flee Jazz 

Burn freestyling, is every where a luck thats could cull… massacres 

And I know you’re not bad,a boardroom risinga dragon trafficker

They do not exist 

whatever my hell has come gor Texas 

 ready made us notoriety, cattle sunked workers spamming it flarf

Eat from my colostomy Pin laugh  

Im sleeping when im able

Putting foot there on the tabloids 

Hierarchical anonymous Botched a riot canal Betty boop with baddy bloops

No bs, aye. Derriere Mondays boombap ruts we 

Don wannabe yr liver, we’re 

A deliquescent celluloid 

failing 

To connect 4 dots….

raekwon in the crash converters 

Without us

Brains brands

Sipping Junkie Workers 

Walls tightening, the resigned looking  

Overdriven glass windows shutter 

Stock island’s tomb magazine sticks and stones 

sticks,’s dead ears open up dr Cox 

Drop off the shadow steaks away into the karma b4

 The storm drain trooper role

Er merges dirty myer braggs billies on all fuzz

u best the drum, but justice 

Creaks online, marketing a

Trauma Queen 

Barney humble  

Why dont u come on overpaid Valerie 

Solaris? 

Het on, eh? Soul-less, ill jostle” and without saying good byte , get in

Accuracy 

Mass appeal, or oppressive material,?

That’s the soil test 

This is the car seat head rest.

Life in Misprint

Today tonite we heart
The while of social relations. It’s Time
Files itself away.
Breakers; theyre petty, money, too
Avant Garde, vacant? Fake rent
i pay as a myers worker – mic drop division
Moonshine as a diva of hyacinths
Illuminating Hunk Sour by Rob-it Lo-fi,w/ us typecast off from the cliffite face
Book: john wolffinden. Hooker, line and thinker. Bitch
Coin was invented for me perso-
Nally; im, like, a barf-tub, i always rude the best, but
yr tangs barbiturates, rocking considerates – fitzy collapsey, the ingrate gatsby. Fossil
Foolsly, amex predators, burying ground floor flat pack up grade the Refu
gee, u, late coupletism, don’t have to leave in sin, or st
All
sign waves hit
The sure
Dotted
“Line!”/ on / the same night, you
Smashed as his Oppo-tunity
Clash,, sharp the Engels brace
let / B predicate
Lake, unctuous lady
Of Veronica
Forest
Thompson: string theories off, poetic: art if ice.
Coveted in malt risky
Business,,6,7 history’sinr
Holden, mean
While, curls, klatch u in the White
Open, rhodes,!!!
The ghost between.

Thee, Svery Path

It hade nothing to do with me, but i couldnt helpp.wondering what it would be like[ly] I thought it must be the worst thing in the worl.

The first time i saw a cadaver i were carrying ]out] that cadaver dully along in the middle of the surrounding hullabaloo [a cab over date, a cat over there, yawning like an audience] I use [scribd] the liipsticks ]missing apodtrophs is rippling,,an (ah, come in)
[Friendstuff}
] (up, eye 2 stream of conscientiousness these annexed dreams delivered with anagogic awkwardness (key moshing ridge auctioned ([repetition]ooft) ghood sir) cut the plastic (cool) starfish [circu$] hortel [pillzon3™] rooms : [avoilable? Then, of course, ]: a round; the new york shky… bored as … yachts
, hell [fish] skiing j[Z]ealous fingers nasty good [position lief] mo[U]rnin her(0] fashion [failire fasvism) conscious (nest) breath [less] of flesh air [raids the house oft] Sin, that electricity [stint] leaves the musk of story boss with fake eyelashes and giddy jewellery.

I [flitted] fitted the lid on my typewriter and clipped [for it is a bullet or a vehicle; a ballet] it shut.

They imported blonde angles excited about his corn[y×π] eyes trying to vet good marks. Nothing looked terrific, smug, corseted. The night felt wise and cynical [my might is tampered by this cubicle], but my bones of intuition looked silver, floored me; whiskey.

Never managed to get anything. [Get anything] I know hem all. My dream tasted wonderful. He kept waiting for dt to stay something huuman.

The drinks arrived, just like jungle grass [jingling undergarments]>>. I drrragged his e inyes burst

[Tap] –

Out laughing; i wannnabr 2 [en]famous as heil’s bails. Squeeze dusk. What bleached dance thought of [god] anything? If there’s anything i look dow upon, its a, man [heresay it aint so so],

gL ass mouth snapping, begat to think at last

Taste made me feel […so] powerful and god like a high had. No

Body paid any notice [an y? not ice]. Perfect , , green bills

Wilted away the night

[Hills]

*

[Purt]Platters of starving New York. My eye, the richest, most expensive of them. [OW L] I never felt. I made a point of eating. Reduce, welcome the prettiest wheeze. This banquet is just small.
Uh
Mirror dizzy forkful to your mouth (eating pennies). One bowl was an empty chair. Do something inchoate with a certain arrogance. You are original, wit, a poet; horrible, lumpy, and immaculate [concept: ions, icons] pale[stoned], sensible like caviar, confident; Sunday. Woolworths. Beauty, i dont know, went to a special school. n
[Or something] Bizarre. I felt very low.

Morning couldn’t hide much longer [hours for less pay. (Day). ] i didnt. Mad was what i wanted to do. Hideous effort dragged me to class [analysis], [them] flatteRED.

I thought it was quite ingenious of me. Scared and depressed; intellectual maturity, rickety old, making blue flames and clouds of another voice [vice

It was a mosquito in the distance. I was writing, like, [the school of] resent me. I thin[Ned] Air.

Bzzz. Money trumpets lilac wise. ‘Dont let the wicked city get you.’ [wine] The thought hit with a hiss, in technicolour. A lot[tery] of very [read] trees rolling sway for miles and miles [Davis] in every [needs] directoon.

The shadow, puking the screen. ‘i feel hell.’

‘so do i; ill come back[stage???] with you.’

Excuse me excuse me excise me

The cab driver seemed to know what we were doing. I thought i would die, it was so far. The sickness glittering, it didnt seem to be summer anymore. I could feel my bones, the big white hotel.

The words bungled out thick as vomit. Cry the night. The ice went on. The door shut again. Love.

‘ll sleep now The tenderness of sand [thtough the hourglass] was empty. I had a vision. avocado pear after avocado pear…

off with ] The hole [inne] me Poison. Ha! Sue the pure ]st] Sick daisies – birthed ‘out laughing, have my soup if you want! [Every rosé has its storm.]
They put 12 in the trap by mistake. L and I stuffed down so many hotdogs while we were waiting for the reign to stop]

Receiving these emails[ i couldnt eat

‘’[now could eetswa”M]

Another outgoing

Mouth

“Full bring it in. Im star [f] in’!”

Vampyre Workdays

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Texas Fontanella has published widely over the years in an array of internationally recognised journals, and has participated in art exhibitions in the past, from America to Argentina to Germany and France, and of course in their home city Sydney, a city they love. They are eager to find, and figure out funding for a new art exhibition, for they’ve material enough for several. Any leads on this avenue internationally would be greatly appreciated.

PROBLEMS OF LINGUO-COGNITIVE STUDY OF THE UZBEK LANGUAGE 

Abstract: 

Shomurodova Dilafro’z Bahodir qizi 

Student of Denov Institute of Entrepreneurship and Pedagogy 

Email: shomurodovadilafruz07@gmail.com 

The article discusses the fact that in Uzbek linguistics a number of studies have been carried out on the linguopoetic, pragmatic, derivational, and communicative features of texts, and that the emergence and development of such fields as pragmalinguistics, discourse analysis, cognitive linguistics, and linguoculturology in world linguistics have led to the appearance of serious theoretical approaches in interpreting the phenomenon of text creation. 

Keywords: cognitive, anthropocentric, linguistic, semantics, psycholinguistics, pragmatic, linguoculturology, functionalism, ethnolinguistics, perception, integration 

It is well known that in world linguistics texts were initially approached mainly from semantic and syntactic perspectives. In recent years, especially since the beginning of the 21st century, the tendency to study texts on the basis of linguoculturological, pragmatic, sociolinguistic, cognitive, and psycholinguistic principles has intensified. Texts began to be viewed not merely as a collection of semantically and syntactically connected sentences, but as a form of communication possessing social value and as a mental construct that reflects the knowledge, linguistic thinking, national psychology, and mentality of speakers of a particular language. The formation of the anthropocentric paradigm is associated with the study of the speaker as a linguistic subject.

The anthropocentric turn in linguistics shifted attention away from the structuralist principle of studying language “in and for itself” and focused instead on the human factor. The roots of anthropocentrism, which is now recognized as one of the leading paradigms in linguistics, draw upon the theoretical views of W. von Humboldt and L. Weisgerber. The term anthropocentrism is derived from the Greek anthropos (human) and the Latin centrum (center). Initially, the term was used in reference to the ancient Greek philosophical idea that “Man is the center of the universe,” a view that became especially widespread in medieval Europe.

In linguistics, the anthropocentric study of the language system has been manifested primarily in research on linguistic semantics, cognitive linguistics, psycholinguistics, pragmatic linguistics, and linguoculturology. Studies conducted within the framework of the anthropocentric paradigm investigate the language system in close connection with the human factor. Although research by Uzbek linguists in linguistic semantics, pragmatics, and cognitive linguistics demonstrates anthropocentric tendencies, studies in this area are still insufficient. 

In particular, approaching text analysis from an anthropocentric perspective has become one of the leading directions in modern linguistics. Many researchers emphasize that in the study of texts as complex and multifaceted phenomena, the triad consisting of the speaker-text-listener (author- text-recipient) should be regarded as the main object. The well-known Russian linguist Yu. N. Karaulov, in the preface to a collection of articles devoted to issues of language and personality, emphasized the idea that “behind every text stands a specific individual who has mastered linguistic systems.” The external and internal structure of a text can be likened to a mirror that reflects the linguistic competence of speakers belonging to a particular nation. 

In early studies of text, attention to the text creator was observed mainly in psycholinguistic and pragmalinguistic research, whereas today rapidly developing fields such as cognitive linguistics, functionalism, ethnolinguistics, linguoculturology, and discourse analysis have made this issue one of the central problems of linguistics. The main achievement of the system-structural approach was proving that language is a systemic phenomenon. However, it became evident that these paradigms shared a common shortcoming: 

language was separated from its owner-the human being. Attempts to overcome this deficiency led to the emergence of pragmatic and cognitive linguistic paradigms. 

Professor N. Mahmudov, reflecting on the formation of the anthropocentric paradigm in linguistics, notes that in accordance with the objective nature of language, the anthropocentric paradigm places the human being at the center, while language is regarded as the main component that shapes human personality. Specialists often cite the aphoristic statement of the famous Russian writer S. Dovlatov that “90 percent of a person’s personality is formed by language.” At the same time, the anthropocentric approach to language integrates the latest achievements of these fields and increasingly strengthens its status as an independent paradigm. As recognized in linguistics, the anthropocentric paradigm focuses primarily on the subject of speech activity-that is, the language user who produces and perceives speech. The inclusion of the category of the language user in scientific paradigms necessitates greater attention to concepts such as personality, linguistic consciousness, thinking, activity, mentality, and culture. 

At present, the concept of the language user is mainly employed in the following senses: (a) an individual capable of carrying out speech activity in a particular language, that is, capable of producing and perceiving speech; (b) a person who uses language as a means of communication, a communicant; (c) a representative of a particular language community who possesses and manifests the lexical resources reflecting the national-cultural and spiritual values of their people. 

In contemporary research, various branches of linguistics approach the issue of the human factor from their specific perspectives. The problem of text interpretation and the human factor is closely connected with issues of text creation and the perception of its content. In studying this problem, it is important to examine not only the text creator but also the perceiving individual-the listener or reader. As N. I. Zhinkin aptly stated, “A person speaks not through individual sentences, but through texts.” Therefore, a person’s stylistic features can be adequately studied only on the basis of the texts they produce. 

Investigating the speech style of a writer or creator solely from the perspective of word choice or sentence construction no longer meets contemporary requirements. Consequently, studying text creation from the perspective of individual style enables a deeper examination of the linguistic aspects of texts. 

It is well known that cognitology is intrinsically linked with semantics. Today, many researchers regard the 21st century as the age of interdisciplinary integration. Interdisciplinary cooperation yields effective results in revealing the essence of particular objects of study. Such an approach is especially appropriate in investigating the speech activity of the human personality, a complex phenomenon. Human speech, like the human being itself, is multifaceted and complex. Therefore, cooperation among linguistic disciplines will undoubtedly yield fruitful results. 

It should be noted that in the early years of the 21st century, significant research was conducted in Uzbek linguistics within the field of text linguistics. Monographic studies emerged on text linguopoetics, content perception, pragmatic, derivational, and psycholinguistic features of texts, as well as text modality and temporality. Studying texts from the perspectives of their creation, perception, and comprehension further deepens theoretical views on texts. Investigating the mechanisms through which the intellect and thinking patterns of a discourse subject are transformed into textual form makes it possible to identify features specific to the reflection of cognitive models in the Uzbek language. In literary works, especially in prose, the expression of key linguoculturological concepts such as life, death, mother, homeland, love, goodness, justice, and woman frequently occurs. Since literary texts are products of creative activity, the expression of particular concepts in such texts naturally manifests individuality and imagery. 

Consider the following text: 

By the side of a great road, a tree was growing… By chance, a traveler came to rest beneath it. The day was hot, and the traveler was tired. He sat in the shade of the tree and rested… The traveler grew hungry. He looked and saw that fruits were ripening on the tree. He was too lazy to climb it, so he threw a stone. The fruits fell abundantly. The traveler ate his fill… The destination was far. He broke off a branch from the tree and made a walking stick… Then his throat became dry. He went back under the tree’s shade… Then he continued on his way… The tree began waiting for another traveler… The name of this tree was Goodness… (O’. Hoshimov, “The Tree by the Road”). 

In this passage taken from O’. Hoshimov’s book Notes in the Margins, the concept of GOODNESS is expressed. In the text, this concept is represented through the symbol of a tree, and the act of comparison employed in the author’s cognitive- discursive activity gives the text a metaphorical meaning. 

Indeed, the most important source for elucidating the relationship between language and personality is the text. A text is not only a speech structure that encompasses all levels of language, but also a phenomenon that fully reveals the linguistic potential of the speaking (or writing) individual. Cognitive metaphors, as one of the factors generating implication, leave their traces in words, phrases, sentences, or entire texts. Units whose meanings have shifted on the basis of metaphor represent the visible part of the “cognitive iceberg” (to use Fauconnier’s term), while its main part remains hidden deep within our linguistic consciousness. It should be noted that the cognitive background phenomenon manifested in such cases has not yet become an object of study in Uzbek linguistics. Studying the cognitive background in connection with metaphor, metonymy, simile, and personification is one of the essential issues of anthropocentric linguistics. 

Today, the study of the human factor as the performer of linguistic activity continues to deepen in such linguistic fields as psycholinguistics, linguoculturology, cognitive linguistics, and pragmalinguistics. 

References: 

1. A. Aliyev, Q. Sodiqov. From the History of the Uzbek Literary Language: A Textbook for University Students. Tashkent: Uzbekistan, 1994. 118 p. 

2. U. Tursunov et al. History of the Uzbek Literary Language: A Textbook for University and Pedagogical Institute Philology Students (revised and expanded edition). Tashkent: O’qituvchi, 1995. 264 p. 

3. M. Vahoboyev. The Uzbek Socialist Nation. 

Tashkent, 1960. pp. 30-32, 49. 

4. M. Qodirov. “A Journey into the Wealth of Words.” Labor and Life, no. 4, 1972, pp. 20-21. 5. A. Nabiyev. Historical Local Studies. Tashkent: O’qituvchi, 1979. pp. 63-74.

———————————————————————

nightmare after nightmare

the holidays…

where some people

drown themselves

in nostalgia

where those of us

that grew up in

dysfunctional

families

get to relive nightmare

after nightmare

what i tend to think

about when the holidays

come around is my

father’s father

i never got to meet

him

he committed suicide

three years after my

father was born

as i have grown older

i can’t help but think

he was probably the

smartest man ever

to live

—————————————————————

sunk into the creases of existence

pride will kill

you faster than

any disease

i was told that

long before i

could understand

what it meant

fast forward to

a bad back, arthritis

head to toe, apathy

racing through the

veins and i’m pretty

sure i’m an expert

by now

the dreams of exploring

the world and becoming

a legend died in my

twenties

and before life

simply became

a battle between

bottles of lotion

and liquor

i had sunk into

the creases of

existence

laughing in the

shadows

pretending that any

of this had meaning

empty and broken

pride no longer exists

i suppose now it

is up to the disease

————————————————————————

that tempting myth

the bitter taste of defeat

the sad songs of christmas

always hit the hardest

love, that tempting myth

so many miles away

like water in a world

of concrete

and here comes the

neon of the season

joy wrapped up

in a bundle of

greed

these are the moments

where i wish i could

sleep more than four

hours a day

they tell me all these

things that will happen

when you die

i laugh

i tend to think nothing

will happen

and if it does

i won’t have much

say about it, being

dead and all

—————————————————————

chaos and bewilderment

a paper cut that won’t

stop bleeding

a sign that the end

is near

must be the most

beautiful time

of the year

hot enough on christmas

to be wearing shorts

i suppose this is the future

we have all been running

from

chaos and bewilderment

i believe that is a drink

i made by mistake in

my teenage years

i haven’t closed a bar

in a couple of decades

now

that probably held off

a disease or two

the sound of darlene love

will put me to sleep tonight

solitude on christmas never

felt right, just what i had

still time for that to change

but not as long as i would

like

—————————————————————-

where they came from

a buddy i used

to work with

said one night

that the problem

with the world is

men spend their

whole damn lives

trying to get back

in where they

came from

everyone laughed

and i took another

drag from a cigarette

i said dan, explain

this to me

i was a c-section

he laughed

and said hope you

won’t be lonely

forever

fucker…

J.J. Campbell (1976 – ?) is old enough to know better. He’s been widely published over the years, most recently at Disturb the Universe Magazine, The Beatnik Cowboy, Crossroads Magazine, The Rye Whiskey Review and Yellow Mama. You can find him most days at home in Ohio taking care of his disabled mother and betting on sports. Most people will say he’s okay at both, most days. He does still have a blog, evil delights, but rarely has the time to write on it. (https://evildelights.blogspot.com)