J.J. Campbell (1976 – ?) is old enough to know better. He’s been widely published over the last 30 years, most recently at The Rye Whiskey Review, Night Owl Narrative, Disturb the Universe Magazine, Crossroads Magazine and The Beatnik Cowboy. J.J. is a 3 time Best of The Net nominee and a two time Pushcart Prize nominee. You can find more info on his latest book, to live your dreams, by going here: https://www.goodreads.com/book/show/245883678-to-live-your-dreams
(Young Central Asian woman with long dark hair and a black coat over a white collared top)
Missing the spring
The dark days of winter come one by one, Today I long for light, as small as a coin. From its pitch-black face, the rain spares no tears, Will the moonlit night ever understand me?
Not the dim drops poured down by dark clouds, My heart today longs for the blossoms of spring. I wish not for sorrow clouding my soul today, Where have those happy eyes disappeared?
My spring, do not make your poet wait in such longing, My heart yearns to speak verses only for you. My awakening spring, even sleepless nights must end, Burnt hearts, too, are destined to bloom again.
If you come, I have a single request for you: Come, and live forever within my soul. For I have waited for you with endless yearning— Say again and again, “I missed you too, my spring.”
Student of Uzbek Language and Literature Kattakurgan State Pedagogical Institute
1. We reject the false divide between the real and the unreal
Reality is not a fixed surface. It is porous, symbolic, wounded, ecstatic. Myth is not ancient — it is happening now, in the body, in the psyche, in the street, in the underworld of memory. Mythic Transrealism treats the surreal as truth and the truth as a doorway.
2. We honor the wounded, the misread, and the erased
Our stories rise from the margins — not as victims, but as architects. We write from pain without fetishizing it, from survival without sanitizing it. We build sanctuary for those denied one.
3. We fuse mythic structure with lived experience
Archetypes are not abstractions. They are the shapes our lives take when we are pushed to the edge. Descent, transformation, return — these are not literary devices. They are the map of the human underworld.
4. We embrace surrealism as emotional truth
The grotesque, the dreamlike, the ecstatic, the impossible — these are not decorations. They are the language of the psyche speaking in its native tongue. We do not explain the surreal. We inhabit it.
5. We reject institutional gatekeeping
No academy, award committee, or self‑appointed authority defines our worth. Our lineage comes from punk clubs, metal bars, spoken‑word stages, underground presses, and the people who survived what should have broken them. We answer to craft, community, and truth — not to institutions.
6. We write with punk ethos and mythic intent
Punk gives us the refusal. Myth gives us the structure. Transrealism gives us the lens. We combine them to create a literature that is raw, visionary, and ungovernable.
7. We treat editing as ritual and publishing as sanctuary
To edit is to witness. To publish is to protect. To curate is to build lineage. A press is not a business — it is an altar.
8. We honor our lineage openly and fiercely
Our movement stands in conversation with punk priestesses, dark fantasists, weird‑fiction innovators, metal icons, surrealist painters, spoken‑word prophets, and the wounded visionaries who came before us. We name our ancestors. We extend their work.
9. We refuse the binary of high and low art
We claim the sacred in the profane, the poetic in the grotesque, the mythic in the mundane. We write for the page, the stage, the alley, the dream, the wound, the ritual. We do not apologize for where we come from.
10. We create worlds that are emotionally real, spiritually charged, and formally free
Mythic Transrealism is not a style. It is a way of seeing. A way of surviving. A way of transforming the unbearable into the mythic.
11. We build community through reciprocity, not hierarchy
We lift each other. We protect each other. We recognize each other. Our movement grows through kinship, not competition.
12. We write to transform — not to escape
Our work is a descent into the underworld and a return with something true. We do not flee reality. We reforge it.
THE CLOSING VOW
Mythic Transrealism is a literature of survival, vision, and sovereignty. It is a movement born from pain, shaped by punk, sharpened by surrealism, and consecrated by myth. We write because the world is not enough — and because the world is too much. We write to build the sanctuary we were denied. We write to give others a map out of the dark.
This is our lineage.This is our movement.This is Mythic Transrealism.
The notion that Black History Month is futile refuted with substantial historical legacies & diversified narratives.
“Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.”-Dr. Martin Luther King Jr.
In an article by Mema Ayi and Demetrius Patterson from the Chicago Defender, they wrote that “actor Morgan Freeman created a small firestorm…when he told Mike Wallace of 60 Minutes that he finds Black History Month (BHM) ridiculous.” Freeman goes on to say that “Americans perpetuate racism by relegating Black history to just one month when Black history is American history.” I agree with Dr. Martin Luther King Jr. that as Americans we are tied together “…in an inescapable network of mutuality…Whatever affects one [of us] …affects [all of us] as Americans in this country.
As you can clearly see, a month dedicated to Black history continues to stir controversy. The point of the matter is we can’t continue to ignore the fact that—although we have made progress towards racial unity—we still have ways to go towards racial, harmony, understanding and tolerance if not acceptance.
Scholars and historians such as Conrad Worrill, chairman of the National Black United Front repulsed the commercialization of the celebration, stated Ayi and Patterson. However, they go on to say that “but [Worrill] agrees that Black Americans still need February and every day to reflect on the accomplishments of Black Americans who contributed countless inventions and innovations into society.”
It was in 1926 when Carter G. Woodson created Negro History Week. Now all these years later has evolved into Black History Month. But why do we still need—even in the twenty-first century—a month set aside to recognize Black history in this country? Perhaps you can look within your hearts for that answer. Negro History Week morphed into Black History Month in 1976, when African Americans developed a renewed interest in their ancestral history primarily as a result of Alex Haley’s revolutionary miniseries “Roots.”
Radio personality Cliff Kelley offers an explanation as to why we need Black History Month. Loosely translated, he said that we need it because capricious historians conveniently leave out certain parts of history that do not corroborate their version of history, which I think consist mostly of dead White men. Blacks are virtually removed from it to substantiate the White historical agenda. Plenty of Black youths do not know their history. Most of them think that their history begins and ends with slavery, wrote Patterson and Ayi.
State Representative David Miller (D- Calumet City) asserted that Freeman was right in saying that Black history should be a year-round thing. “We’ve shaped America,” he said. And that Black History Month should serve as a reminder of our legacy. The recently deceased Howard Zinn wrote in his book A People’s History of the United States, “There is not a country in world history in which racism has been more important than the United States.” He poses the question “Is it possible for Blacks and Whites to live together without hatred?” And when it comes to the evolution of racism, he had this to say, “…slavery developed into a regular institution of the normal labor relations of Blacks and Whites in the New World. With it developed that special racial feeling—whether hatred or contempt or pity or patronization—that accompanied the inferior position of Blacks in America… that combination of inferior status and derogatory thought we call racism.” He goes on to say that “The point is the elements of this web are historical, not ‘natural.’ This does not mean that they are easily disentangled or dismantled. It only means that there is a possibility for something else, under historical conditions not yet realized.”
In an article in The Phoenix titled “Is There Hope in Hollywood? Three controversial films tackle race in The Age of Obama,” Peter Keough extrapolates the medium of films are making an effort to bridge the race gap by portraying Blacks as heads of state—in movies like Transformers 2, 2012 and Invictus—although the contexts in which a Black man becomes President is often marred by catastrophe in which case the White leader is killed. Or Blacks are still being portrayed in glaring stereotypical roles as in Precious, with racist clichés like when Precious steals and eats an entire box of fried chicken. The undercurrent of racism is evident even from well-meaning Whites like Joe Biden, when he opposed Obama for President. Biden declared that “[Obama] is the first mainstream African-American who is articulate, and bright and clean and a nice-looking guy” Similarly, another fellow democrat and senate majority leader Harry Reid in his book Game Change, said of Obama that America is ready for a Black President, particularly because he is “light skinned and speak with no Negro dialect.” This leads me to extrapolate that despite all that Blacks have contributed to the making of America, our contributions seemingly become extraneous compared to our prima facie colorful appearance. And I am compelled to recall what Dr. King Jr. so eloquently stated that Black people should be judged “by the contents of their character” and not their skin color.
Many modern conveniences are directly related to or derivative of the inventions of Black inventors: blood banks facilitating life-saving transfusions, the bicycle, the electric trolley, the dustpan, comb, brush, clothes dryer, walkers, lawn mower, IBM computers, gas masks, traffic signals, the pen, peanut butter…the list goes on and on…Dr. Patricia Bath, in 1985, invented specialized tools and systematic procedures for the treatment and removal of cataracts. And, on a less serious note, George Crum who invented the potato chip, and Kenneth Dunkley who invented 3-D viewing glasses and holographs, Lisa Gelobter who invented web animation-online videos, and thanks to the Academy Award nominated film, Hidden Figures, we’re now all conversant with the amazing contributions of mathematical geniuses Katherine Johnson, Dorothy Vaughan, and Mary Jackson whose work helped make Neil Armstrong the first man on the moon! All of these achievements have become part of our daily lives here in America and elsewhere as a result of African-American contributions to the economic and scientific stronghold known as America and sadly, we still need Black History Month to remind us!
I sought out some thoughts and comments from local community leaders and young activists on the issue of why we still need Black History Month. I was inundated with a wealth of responses!
Dr. Carolyn L. Turk, an African-American woman and Deputy Superintendent of Cambridge Public Schools stated that “We have moved from celebrating Negro History Week to celebrating Black History Month…these celebrations are…needed and should continue, but I am also a strong advocate for the contributions of African Americans to be recognized…throughout the year, across content areas and to be inclusive of local community history. Knowledge of our past helps connect us to our present and provides hope …for the future…if we are to continue to build on the [legacies of those who came before us].
Bob Doolittle, a white youth pastor living in Cambridge said: “Black History Month can and should take Martin Luther King Day and make it thirty days of celebrating how the right kind of force leaves a legacy of increasing enjoyment of one another by those who are different.”
Shani Fletcher, a bi-racial woman (African- American and Caucasian) of Teen Voices Magazine offered her thoughts… “Black History Month is an opportunity for everyone to celebrate the African-American experience and the role of Black people in the history of the United States… Quite literally, Black people built this country, and our communities’ contributions are a major part of its culture.”
Marla Marcum, a white doctoral candidate at the Boston University School of Theology had this to say: “I can give you a concrete example of why Black History Month is vitally important: … This extremely bright young woman—a freshman at MIT—who graduated from one of the best high schools in Massachusetts upon finding out about Coretta Scott King’s death asked, ‘Was she Martin Luther King’s sister?’ Are we content that this young woman (and so many others) has been taught something about Dr. King, yet she understands so little of his context that she learned nothing at all of his life? Of course, our education system should be integrating Black history into the broader curricula, but when it has not happened even in the best public-school systems, I think we need to recognize the critical importance of continued attention to Black History Month.”
The fundamental nature of Black History Month based on these spectrum perspectives is to celebrate variety and inclusiveness of all people, build on the prophetic and heroic legacies of our ancestors who fought for our freedoms today, recognize that Black History Month is essentially American history despite racial diversity, acknowledge an honor the contributions of African-Americans to this country, advocate for change in our public school systems to include more Black history in their curricula. Dr. Martin Luther King Jr. once said: “Our lives begin to end the day we become silent about things that matter” and that “Injustice anywhere is a threat to justice everywhere.” Black history is not separate from American history. As Americans, we are all one blended entity. We need to bridge the interpersonal and inter-racial gap in a highly mechanized society so… “TAKE OFF YOUR HEAD PHONES AND CARE!!!”
The memory of history is often picky. BHM serves as a reminder of its often-colorless state of existence. So, do we still need Black History Month? The answer is a resounding “Yes!” As long as Blacks are portrayed as stereotypes in the movies, as long as Black contributions to the bastion that is America are marginalized or altogether ignored, as long as Black leaders like former President Barrack Obama are seen as “acceptable” by Whites simply because he is light-skinned and speak without Negro dialect, Black History Month will continue to be necessary and indispensable.
Jacques Fleury
Jacques Fleury is a Boston Globe featured Haitian American Poet, Educator, Author of four books and literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self” & other titles are available at all Boston Public Libraries, the University of Massachusetts Healey Library, University of Wyoming, Askews and Holts Library Services in the United Kingdom, The Harvard Book Store, The Grolier Poetry Bookshop, Amazon etc… He has been published in prestigious publications such as Spirit of Change Magazine, Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, Poets Reading the News, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide, Boston Area Small Press and Poetry Scene among others…Visit him at: http://www.authorsden.com/jacquesfleury.–
Jacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self
Today, global warming is one of the most serious environmental problems facing humanity. In recent years, the increase in Earth’s temperature, the rapid melting of glaciers, and the rise in natural disasters show how serious this problem has become. Many people are interested in what is causing global warming.
The main cause is human activity. Gases released from factories, power plants, and cars pollute the atmosphere. These gases are called greenhouse gases, and they trap heat from the Sun in the Earth’s atmosphere. As a result, the temperature of our planet continues to rise year by year.
Another important factor contributing to global warming is deforestation. Trees absorb carbon dioxide and help clean the air. However, as forests are cut down, the amount of harmful gases increases and the natural balance of the environment is disturbed.
In addition, the increase in waste, excessive use of plastic, and wasting energy also have a negative impact on the environment. People often do not think enough about the consequences of their actions.
In conclusion, the main cause of global warming is humans themselves. However, reducing this problem is also in human hands. If we protect nature, plant more trees, and use energy wisely, we can help prevent global warming. Every small action by each person can lead to big changes.
Yo’ldoshaliyeva Zinnura was born on June 17, 2011, in Rishton district of Fergana region. She is an 8th-grade student at the Fergana branch of the Specialized School named after Muhammad al-Khwarizmi and also serves as the leader of the “Talented” direction in the Rishton District Council of Leaders.
She has actively participated in various educational and intellectual projects, including “Anim Camp,” “Future Founders Online Forum,” “Young Reader” and the regional stage of STEM subjects. Her scientific article was published in the book “Feelings on Paper,” and another article of hers appeared in the “Synchronized Chaos” journal. In addition, she has taken part in many other projects and initiatives, demonstrating strong academic interest and leadership skills.
First of all, published poet and contributor Tao Yucheng is still hosting a poetry contest, open to all readers of Synchronized Chaos Magazine.
Synchronized Chaos Poetry Contest: We seek short, powerful, imaginative, and strange poetry. While we welcome all forms of free verse and subject matter, we prefer concise work that makes an impact.
Guidelines: Submit up to five poems per person to taoyucheng921129@proton.me. Each poem should not exceed one page (ideally half a page or less). All styles and themes welcome. Deadline for submissions will be in early March.
Prizes: First Place: $50 Second Place: $10, payable via online transfer. One Honorable Mention. Selected finalists will be published in Synchronized Chaos Magazine.
Also, past contributor Alexander Kabishev is seeking international poems of four lines each on the theme of friendship for a global anthology. The anthology, Hyperpoem, will be published by Ukiyoto Press and a presentation of the poem will take place in Dubai in August 2026.
Kabishev says the new vision of the project goes beyond commercial frameworks, aiming to become an international cultural and humanitarian movement, with the ambitious goal of reaching one million participants and a symbolic planned duration of one thousand years.
The focus is on promoting international friendship, respect for the identity of all peoples on Earth, and building bridges of understanding between cultures through poetry and its readers.
Please send poems to Alexander at aleksandar.kabishev@yandex.ru
This month’s issue asks the question, “Who Will We Become?” Submissions address introspection, spiritual searching, and moral and relational development and decision-making.
This issue was co-edited by Yucheng Tao.
Sajid Hussain’s metaphysical, ethereal poetry, rich with classical allusions, reminds us of the steady passage of time.
Jamal Garougar’s New Year reflection emphasizes ritual, spirituality, and the practices of patience and peace. Taylor Dibbert expresses his brief but cogent hope for 2026.
Dr. Jernail S. Anand’s spare poetry illustrates the dissolution of human identity. Bill Tope’s short story reflects on memory and grief through the protagonist’s recollection of his late school classmate. Turkan Ergor considers the depth of emotions that can lie within a person’s interior. Sayani Mukherjee’s poem on dreams lives in the space between waking thought and imaginative vision. Stephen Jarrell Williams offers up a series of childhood and adult dreamlike and poetic memories. Alan Catlin’s poem sequence renders dreams into procedural logic: how fear, guilt, memory, and culture behave when narrative supervision collapses. Priyanka Neogi explores silence itself as a creator and witness in her poetry. Duane Vorhees’ rigorous poetic work interrogates structure: individuality, myth, divinity, agency, culture. Tim Bryant analyzes the creative process and development of craft in Virginia Aronson’s poetic book of writerly biographies, Collateral Damage.
Nurbek Norchayev’s spiritual poetry, translated from English to Uzbek by Nodira Ibrahimova, expresses humility and gratitude to God. Timothee Bordenave’s intimate devotional poetry shares his connection to home and to his work and his feelings of gratitude.
Through corrosive imagery and fractured music, Sungrue Han’s poem rejects sacred authority and reclaims the body as a site of sound, resistance, and memory. Shawn Schooley’s poem operates through liturgical residue: what remains after belief has been rehearsed, delayed, or partially evacuated. Slobodan Durovic’s poem is a high-lyric, baroque lament, drawing from South Slavic oral-poetic density, Biblical rhetoric, and mythic self-abasement.
Melita Mely Ratkovic evokes a mystical union between people, the earth, and the cosmos. Jacques Fleury’s work is rich in sensory detail and conveys a profound yearning for freedom and renewal. The author’s use of imagery—“fall leaf,” “morning dew,” “unfurl my wings”—evokes a vivid sense of life’s beauty and the desire to fully experience it. James Tian speaks to care without possession, love through distance and observation. Mesfakus Salahin’s poem evokes a one-sided love that is somewhat tragic, yet as eternal as the formation of the universe, as Mahbub Alam describes a love struggling to exist in a complicated and wounded world. Kristy Ann Raines sings of a long-term, steady, and gallant love.
Lan Xin evokes and links a personal love with collective care for all of humanity. Ri Hossain expresses his hope for a gentler world by imagining changed fairy tales. Critic Kujtim Hajdari points out the gentle, humane sensibility of Eva Petropoulou Lianou’s poetry. Brian Barbeito’s lyric, understated travel essay passes through a variety of places and memories. Anna Keiko’s short poem shares her wish for a simple life close to nature. Christina Chin revels in nature through sensual, textured haikus.
Doniyorov Shakhzod describes the need for healthy and humane raising of livestock animals. g emil reutter hits us on the nose with cold weather and frigid social attitudes towards the suffering of the poor and working classes. Patricia Doyne lampoons authoritarian tendencies in the American government. Eva Petropoulou Lianou reminds us that we cannot truly enjoy freedom without a moral, peaceful, and just society. Sarvinoz Giyosova brings these types of choices down to a personal level through an allegory about different parts of one person’s psychology.
Dr. Jernail S. Anand critiques societal mores that have shifted to permit hypocrisy and the pursuit of appearances and wealth at all costs. Inomova Kamola Rasuljon qizi highlights the social and medical effects and implications of influenza and its prevention. Sandip Saha’s work provides a mixture of direct critique of policies that exploit people and the environment and more personal narratives of life experiences and kindness. Gustavo Gac-Artigas pays tribute to Renee Nicole Good, recently murdered by law enforcement officers in the USA.
Dr. Ahmed Al-Qaysi expresses his deep and poetic love for a small child. Abduqahhorova Gulhayo shares her tender love for her dedicated and caring father. Qurolboyeva Shoxista Olimboy qizi highlights the connection between strong families and a strong public and national Uzbek culture. Ismoilova Jasmina Shavkatjon qizi’s essay offers a clear, balanced meditation on women in Uzbekistan and elsewhere as both moral architects and active agents of social progress, grounding its argument in universal human values rather than abstraction.
Dilafruz Muhammadjonova and Hilola Khudoyberdiyeva outline the contributions of Bekhbudiy and other Uzbek Jadids, historical leaders who advocated for greater democracy and education. Soibjonova Mohinsa melds the poetic and the academic voices with her essay about the role of love of homeland in Uzbek cultural consciousness. Dildora Xojyazova outlines and showcases historical and tourist sites in Uzbekistan. Zinnura Yuldoshaliyeva explicates the value of studying and understanding history. Rakhmanaliyeva Marjona Bakhodirjon qizi’s essay suggests interactive and playful approaches to primary school education. Uzbek student Ostanaqulov Xojiakba outlines his academic and professional accomplishments.
Aziza Joʻrayeva’s essay discusses the strengths and recent improvements in Uzbekistan’s educational system. Saminjon Khakimov reminds us of the importance of curiosity and continued learning. Uzoqova Gulzoda discusses the importance of literature and continuing education to aspiring professionals. Toychiyeva Madinaxon Sherquzi qizi highlights the value of independent, student-directed educational methods in motivating people to learn. Erkinova Shahrizoda Lazizovna discusses the diverse and complex impacts of social media on young adults.
Alex S. Johnson highlights the creative energy and independence of musician Tairrie B. Murphy. Greg Wallace’s surrealist poetry assembles itself as a bricolage of crafts and objects. Noah Berlatsky’s piece operates almost entirely through phonetic abrasion and semantic sabotage, resisting formal logic and evoking weedy growth. Fiza Amir’s short story highlights the level of history and love a creative artist can have for their materials. Mark Blickley sends up the trailer to his drama Paleo: The Fat-Free Musical. Mark Young’s work is a triptych of linguistic play, consumer absurdity, and newsfeed dread, unified by an intelligence that distrusts nostalgia, coherence, and scale. J.J. Campbell’s poetry’s power comes from the refusal to dress things up, from humor as insulation against pain. On the other end of the emotional spectrum, Taghrid Bou Merhi’s essay offers a lucid, philosophically grounded meditation on laughter as both a humane force and a disruptive instrument, tracing its power to critique, heal, and reform across cultures and histories. Mutaliyeva Umriniso’s story highlights how both anguish and laughter can exist within the same person.
Paul Tristram traces various moods of a creative artist, from elation to irritation, reminding us to follow our own paths. Esonova Malika Zohid qizi’s piece compares e-sports with physical athletics in unadorned writing where convictions emerge with steady confidence. Dr. Perwaiz Shaharyar’s poetry presents simple, defiant lyrics that affirm poetry as an indestructible form of being, embracing joy, exclusion, and madness without apology.
Ozodbek Yarashov urges readers to take action to change and improve their lives. Aziza Xazamova writes to encourage those facing transitions in life. Fazilat Khudoyberdiyeva’s poem asserts that even an ordinary girl can write thoughtful and worthy words.
Botirxonov Faxriyor highlights the value of hard work, even above talent. Taro Hokkyo portrays a woman finding her career and purpose in life.
We hope that this issue assists you, dear readers, in your quest for meaning and purpose.
THE CLOSING VOW
