Welcome to November’s second issue of Synchronized Chaos Magazine! This month’s issue, Throughlines, contains a wide variety of submissions in a diverse array of styles on many different topics.

That said, there are a few common narrative motifs that emerge and return throughout this issue: pride in and reclaiming of culture, family, parental, and romantic love, artistic craft and creativity, and resilience and determination to achieve one’s dreams.

Olga Levadnaya reflects on how people build new memories and add to the fabric of history in elegant and old cities. Dr. Reda Abdel-Rahim highlights the wonder of the Great Egyptian Museum to showcase history and archaeology. Maftuna Rustamova regales us with her pride in her national Uzbek flag.

We can celebrate and take joy in cultures other than our own. Tourist Anna Keiko poetizes with grace and warmth on the beauty she finds in French society and culture. Maftuna Davlatova traces the development of tourism as an industry in Uzbekistan. Solijonova Dildorakhon outlines methods to improve the service and efficacy of Uzbekistan’s tourism industry.

Jacques Fleury reviews the Boston Center for the Arts’ production of Kim’s Convenience, a play about a Korean immigrant family’s convenience store that speaks to what it means to become a family and how that meaning changes over time.

Rustamova Shakhnoza’s poignant stories celebrate patience, dedication, and intergenerational family love. James Whitehead embraces his American girlfriend while contemplating American vintage art. Izabela Zubko plays in her poetry with love and memory. Royal Rhodes speaks in a reserved, thoughtful manner about memory and nostalgia: trick-or-treating, aging photos and furniture, notable storms.

Nozanin Bahodirova links the Uzbek language and the Uzbek culture, advocating the preservation of both. Zarina Murodova discusses possible roles for technology in language learning. Sevinch Hoshimova outlines advantages and disadvantages of online education and advocates for a balance between screens and traditional classrooms. Tuchiyeva Dilso’z discusses the emerging role of AI technology in student learning. Rayhona Nurdinjonova discusses potential roles for artificial intelligence in foreign language instruction. Kamolova Mashhura compares the possibilities and drawbacks of digital and in-person learning. Sotivoldiyeva Nargiza Shokirjon traces the effects of increased global migration and communications technologies on the field of linguistics. G’ulomova Rukhshona outlines evidence-based teaching methodologies for primary school students to learn their native languages.

Nurmetova Orzu points out the importance of and methods for teaching young children their native language. Dildora Saidjonova explores various methods to learn foreign languages. Khasanova Azizabonu highlights the presence of similar cognate words in English and Uzbek. Maftuna Hayitboyeva outlines the importance of grammar instruction in many different theories of language learning. G’afforova Hadichaxon highlights insights from philosophy that can inform and enhance language learning classrooms. Isaac Aju pays tribute to a special teacher who inspired his studies. Sobirjonova Rayhona pays tribute to a special teacher who possessed compassion and dedication. Jumanazarova Zuxra outlines fresh strategies for teaching language to young children.

Oynur Azimova speaks to the power of literature to inspire emotional resonance and creativity. Faleeha Hassan suggests ways to get beyond initial disinterest to find meaning in seemingly boring novels.

Horror writer Kandy Fontaine puts forth an artist’s manifesto about the complex female characters she creates and how that sets her apart from other writers. Alan Catlin contributes sketches of the soft and vulnerable underbelly of life: refugees, the homeless, bioluminescence, long-disused lighthouses, birds of prey without enough food. Luis Fernando Quiroz captures a witch at the very moment when her powers are interrupted at the break of dawn, revealing character while capturing a bit about the limits of anyone’s power in the face of a complex and cyclical world.

Shahina Olimova honors the poetic legacy of Uzbek writer Alexander Feinberg, who captured the national character and became internationally known. Odina Bahodirova also pays tribute to the legacy of Uzbek poet Alexander Feinberg: his attention to details of craft, his integration of feeling and form, his capturing of ordinary Uzbek life. Journalist Jakhongir Nomozov interviews Azerbaijani writer and academic Vuqar Akhmed about how childhood, patriotism, classic literature, and the methods of scientific research all inspire his own work and that of many other modern Azeri writers. Choriyeva Oynur celebrates the poetic heritage of Uzbek writer Zulfiya Isroilov and the tenderness and beauty of her work.

Abdukahhorova Gulhayo honors the tender spirit of Otkir Hoshimov’s The Works of the World, a collection of short stories about mothers. Zarina O’rinboyeva highlights the perseverance and accomplishments of a young and hardworking Uzbek girl and her caring mother. Hassan Musa Dakasku celebrates a mother’s love and kindness. Fiza Amir’s short story evokes the joy and wonder of maternal love and early childhood. Hassan Musa Dakasku celebrates a mother’s love and kindness. Abdukakhorova Gulhayo highlights Islamic teachings about respect for parents.

Brajesh Kumar Gupta’s poem reaffirms a lasting love, even in tough times. Mesfakus Salahin revels in the beauty and tenderness of springtime love.

Moustapha Misau’s poetry celebrates romantic love, before and after death. James Tian urges us to love and bless and care for the living while we still have them with us. Tea Russo’s piece highlights the absence of a family member by showing us various unusual things and people included during a time of grief. Taylor Dibbert reflects on how he still misses his beloved dog London. Jelvin Gipson depicts a woman’s internal sorrow over a heartbreak.

Turkan Ergor reflects on how nothing lasts forever, a lesson illustrated in nature. Christina Chin’s haiku dramatize how nature continually changes: someone’s always moving, being born, or dying. Mahbub Alam revels in the beauty of nature, in the elegance of snails in a slough. Dessy Tsvetkova revels in going outdoors on a brilliant sunny day. Aura Echeverri Uribe laments the environmental destruction of a natural mountain landscape. Dildora Xojyozova discusses the growing consciousness of tourists about traveling to scenic areas in ways that respect and protect nature. Yangibiyeva Iroda emphasizes the need for student and public education on environmental protection. Brian Barbeito reflects on the state of peace he finds as a hiker in deserted brown fall marshlands. Sayani Mukherjee recollects the many sights and sounds of a grove of trees near the ocean.

Bill Tope’s feline narrator, Felix, chronicles his life and times with his favorite ‘two-leggers.’ Maria Cecilia Mazza describes the beginning of another cross-species emotional connection, between a human and a robot. Eva Petropoulou Lianou encourages us to preserve the core of what makes us human as artificial intelligence begins to take over human activities: love, friendship, and hope.

Adrina Esparas-Hope explores the multifaceted nature of the metaphorical human heart. Rus Khomutoff brings us to a state of ecstasy that just elides reason. Stykes Wildee incorporates a fresh and wild sound into his rock compositions. Mark Young’s artistry blends the carefully controlled and the wild and vast.

Harry Stammer plays with traditional format, assembling his work from an assortment of scrap punctuation and gathered semiotics. Patrick Sweeney regales us with morsels of short-form that inspire us to imagine a scene or mood. Ari Nystrom-Rice serenades us with a rollicking wave of party sound. Darren Demaree contributes a bit of whimsy to his Dickinson-esque poems for his wife Emily. Jim Meirose presents a hodgepodge of radio signal and static as sports players stop for a bit to listen.

Duane Vorhees poetizes in a longer format on history, mythology, and sensuality with a touch of whimsy. Tanisha Keefe describes various aspects of human relationships and love: steady friendship, recovery after abuse and loss, self-love and self-respect. Kassandra Aguilera steps out of the circus of a failed relationship that never materialized into what she hoped.

Eleanor Hill’s piece provides a dark and visceral take on Cinderella, illustrating stepping into a glass slipper that doesn’t fit. Daniela Chourio-Soto renders subjugation, repression, isolation, and immobilization into intense physical experiences. Nicholas Gunther describes a state of stasis, mental purgatory. J.J. Campbell brings his brand of wry sadness, humor, and resignation for a fresh set of poems. Habiba Malumfashi’s poetry explores how home can both welcome and embrace and trap and imprison. Khadija Ismail spotlights the pain many women endure due to intimate partner violence and urges us not to excuse it because of religion or culture. Bill Tope’s poem dramatizes the pain of sexual abuse survivors in a world denying them agency.

Dr. Jernail S. Anand highlights the value of compassionate and ethical living, causing no harm to self or others, as opposed to simple rule following. Perwaiz Shaharyar puts forth a plea to the world’s leaders to choose peace. Dr. Ashok Kumar calls for peace, unity, and oneness among humanity. Rand Morsy calls the world and humanity to peace. Andres Loriente acknowledges the unity of the world’s people, how we are more alike due to common experiences than we are different because of race. Dianne Reeves Angel’s short story illuminates how she began to understand and oppose the injustices in South Africa while in the country making what was going to be a glamorous film.

Najmiddinova Shahinabonu encourages us to pursue virtues such as perseverance, resilience, and family love, even more than we strive for riches. Luz Myriam Moreno Puerta speaks to overcoming rejection with perseverance. Zamira Moldiyeva Bahodirovna speculates on the psychology behind why we remember negative experiences more so than positive ones and encourages us to strive for mental and emotional balance. Wansoo Kim sends up poems of personal, social, and natural hope and renewal.

Zikrillo Latipov’s short story highlights the value of our hopes and dreams. Bekturdiyeva Nargizabonu emphasizes the importance of youth to society and therefore, the responsibilities of young people to learn and contribute. Aisha MLabo reflects on the inner drive and energy in the heart of a young person. Guzliebo Matniyozova rededicates herself to self-discipline and self-improvement as a writer and a student. Dilnoza Rakhimova celebrates her personal journey towards academic and professional success. Amonboyeva Shahnoza Yusupboy speaks to how one can build lifelong character through the habits one develops as a student. Dildora Toshtemirova urges people to have perseverance in pursuing their dreams.

Omonova Shakhzoda considers how extracurricular activities shape student leaders. Priyanka Neogi celebrates the many women joining the ranks of cricket players. Nidia Garcia speaks to an artistic partnership between a musician and her violin.

Z.I. Mahmud highlights the artistry of older American cinema, some iconic acting performances in particular. Actor and critic Federico Wardal spotlights the movie in which he most recently appears, Anita, which is being shown in San Francisco and receiving the Italian Courage for Freedom film award.

Film is one form of human creative endeavor, and there are many more we celebrate in this issue. Sotvoldiyeva Muslima affirms the crucial nature of the rule of law to a civilized society. Odilova Odinakhon discusses the need for lawyers to receive continuing education. Aziza Toshpo’latova goes in depth about the roles and responsibilities of translators and proposes ways to strengthen the field. Emran Emon presents himself to the world as a qualified international journalist. Boboqulova Durdona presents technical solutions for improving the efficiency of the electrical grid in Uzbekistan. Nordona Norqulova outlines problems with and suggests solutions for the administration of Uzbek public institutions.

Our knowledge can enhance our capacities for protection and wisdom as well as for expansive creation. Baxronova Vasila urges moderation in prescription of antibiotics to children. Nurboboyeva Dilshoda’s essay highlights strategies to intervene and lessen the risk of youth suicide in our age of social media. Nazirova Madinakhon outlines strategies for protecting our digital data from online miscreants.

We hope this issue will serve as a guard against the dangers of boredom, alienation, loneliness, and lack of inspiration. Please enjoy our pages!

SCIENCE REQUIRES OBJECTIVITY, PRECISION, AND ETHICAL RESPONSIBILITY

Today’s interlocutor is Doctor of Philology, Professor, People’s Poet of Turan, Academician of the International Academy of Sciences, Head of the Department of Press History and Journalism at the Nizami Ganjavi Institute of Literature, Azerbaijan National Academy of Sciences, laureate of numerous international awards, distinguished literary scholar, well-known poet and publicist, and a member of the Azerbaijan Writers’ and Journalists’ Union, Vuqar Akhmed.

Childhood is the happiest and purest season of our lives. All future dreams start in childhood. So let’s begin our conversation from your childhood…

— I always remember my childhood with particular reverence. Childhood is the first stage of a person’s emotional world and imagination; it is the first school where the soul is formed. The desires, fears, and simple joys that arise there form the foundation of future creativity and perception of the world. That is why it is appropriate to begin our conversation from my childhood — both my poetic and scientific interests can be traced back to that period.

Childhood dreams come to mind, My mischief and playful charms. Crying and laughing, Being upset with adults over anything.***It was full of sweets, I would wear gloves when it snowed. The last night of childhood was beautiful, It was a mugham, a ghazal for me.***Childhood dreams come to mind, Frightful winter tales, Little gifts in Novruz trays, The boys and girls of those years.

My first freedom ran and hid, In hide-and-seek my joy was plenty, The taste of sweet tea and salty bread, I still recall the delight of my first appetite.***We were very happy, lucky then, I never thought of the beginning or the end. Childhood dreams remain in my memory, And there was a child named Vuqar.—

Your poems and songs are full of delicate emotions. For you, what is the greatest source of inspiration — people, nature, love, or history?

— The sources of inspiration are diverse. For me, the strongest is the human being themselves — their inner world and love. Yet, the memory of the people, national spirit, and history also give poetry a rich context. Nature can sometimes be a simple metaphor or sometimes a profound silence for the soul. Inspiration cannot be tied to a single source — these elements complement each other and synthesize in poetry.— The true value of a human life is not measured by the years lived but by what one creates and the impact left on others’ hearts.

Have you ever asked yourself how you have lived your life so far?

I always carry such questions with me. I measure the value of life not by the number of years, but by the significance of the marks left. Science, teaching, literature, and family — these are activities that become history for me.— Some people want to possess everything, as if their life were enough to claim it all.

To what extent have you been able to cherish and use the blessings and opportunities given to you?

Opportunities have never been perfect, but I have tried to make the most of what was given: scientific research, publications, journalistic activity, and poetry. Particularly, I have worked in the fields of children’s literature, press history, and the topics of Southern Azerbaijan and Karabakh, achieving certain results. I consider this work a duty and a responsibility to preserve the national spirit.

To live with science requires patience, because it destroys illusions that cannot be restored. Especially, living in accordance with science is very challenging. In your opinion, what responsibilities does carrying the burden of science entail?

Science demands objectivity, precision, and ethical responsibility. It also carries a social responsibility: acquired knowledge must be shared with society and the younger generation. Patience, humility, and consistent professionalism are essential on this path.

What conclusions have you drawn from your scientific work on children’s literature? How does children’s literature contribute to forming the national spirit?

Children’s literature is a key factor influencing the early development of the national spirit. The first images, values, language, and stories given to children lay the foundation of their national consciousness. My research also shows that children’s literature is a strategic field for transmitting language, cultural values, and historical memory, which is why it deserves special attention.

You also conduct scientific work in journalism and press history. How responsible or dangerous do you consider modern journalism compared to classical journalism?

Classical journalism ideally emphasizes responsibility and objectivity. Modern journalism, however, faces rapid information flow, commercial pressures, and short-term sensationalism. These changes may sometimes weaken responsibility and lower content quality. Nevertheless, professional and ethical media still uphold classical journalism principles.

At the Nizami Ganjavi Institute of Literature, the Department of Press History and Journalism, which I lead, has achieved significant success in researching national press history and producing new scientific results. One of our achievements is the first publication of the Molla Nasreddin Encyclopedia under the leadership of academician Isa Khabibbeyli.

What needs of society does poetry satisfy today — spiritual consolation, social struggle, philosophical inquiry, or personal expression?

Poetry meets various needs: it can provide spiritual comfort, voice social-political arguments, raise philosophical questions, and express personal emotions. Each era’s poetry highlights one or several of these functions depending on its context. The most effective poem is one that resonates within the reader and stimulates thought.— In the history of Azerbaijani poetry, there are geniuses like Nizami, Khagani, and Fuzuli.

How do modern poets use their legacy? Do they study it sufficiently?

Learning from the great classics is essential — their aesthetic, philosophical, and linguistic capacities provide rich resources for contemporary poetry. Many modern Azerbaijani poets draw from this legacy, yet it requires both deep study and creative transformation. In my observation, deep analysis of the classics remains relevant, and many approach this legacy with new layers of meaning.

— Today’s Azerbaijani poetry: Rainy is my winter, my spring,My stringed saz plays a sorrowful tune,It is my soul, my dear flag.Both smiling and crying,Azerbaijan, Azerbaijan.We are Majnun, she is Leyli,We poured love into her, freely,Both from the North and South,Karabakh’s hair turned gray,Azerbaijan, Azerbaijan.Flying high, flying high,I travel the road to Savalan,Praying to the Creator.I say to my Tabriz: “Life!”Azerbaijan, Azerbaijan.Wounded in wars,Ripped apart its lands,Divided into two.When will it be united again?Azerbaijan, Azerbaijan.Sixty million compatriots,Our Azer-Turk brothers,Separated, our tears remain.God above, Quran on Earth,Victory, Azerbaijan.

Your poems convey spiritual quest and inner elevation. How do Sufis like Rumi, Shams Tabrizi, Nasimi, and Yassavi influence your worldview?

The spiritual search, inner purification, and ideas of compassion from Sufis have shaped my worldview. Their symbolic language and spiritual quest appear in my poetry as metaphorical layers. For me, the most valuable aspect of Sufism is its emphasis on individual responsibility and the elevation of morality.

You have participated in international scientific journals and congresses. How is Azerbaijani poetry perceived in the context of global literature?

Azerbaijani poetry is increasingly recognized in international forums — especially for contemporary topics, national motifs, and translations. Based on my experience in congresses and journals, Azerbaijani poetry is recognized for its unique voice and attracts attention abroad.— Works that provide pleasure, spiritual nourishment, and invite reflection on life and the human soul are rare today.

How do 20th–21st century Azerbaijani poetry and prose differ?

The 20th–21st centuries demanded flexible literary forms due to national liberation, social, and ideological upheavals; the 21st century provides a more magical and multifaceted expression within globalization, new media, and individual freedom. In prose, the transition from realist and modernist traditions to postmodern and experimental techniques is evident. In both eras, the dialogue between content and form enriches the literary language.

Are works being created today that will endure in eternity?

Yes. Works that reflect deep human issues, the spirit of the times, and original aesthetic search are created in every era. Both form and content must hold value for literature to endure.— Writing about masters is both easy and difficult. Easy because you know their creative path and friends well.

Could you share your thoughts on your mentors and their place in your creative and life journey?

My mentors include both classical and contemporary scholars and poets. Their lessons, critiques, and personal guidance have taught me scientific methodology and poetic taste. Each mentor has left an imprint on my creative and pedagogical work, enriching my worldview.— As A. Krylov said: “A critic shows the flaw with one hand and crowns the beauty with the other, refining taste.”

As a professor and poet, what criteria do you rely on when analyzing and critiquing a work?

Firstly, I consider the text’s aesthetic quality, linguistic accuracy, and conceptual coherence. Then context: the author’s intent, historical-cultural background, and genre conventions. Critique must be constructive and objective — the aim is not to destroy the work but to reveal its potential. Academic requirements, sources, and fact-checking are also essential.

Jakhongir NOMOZOV, is a young poet and journalist from Uzbekistan.  He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

THE NEXT DATE

Dr. Jernail Singh Anand

After spending a life time in the company of Babas, who always preached against alcohol and bad habits, [don’t ask me whether they themselves acted on their own advice or not], and serving in the ‘deras’ [holy places] for a lifetime, I remember how I impressed some other people also, by telling them some inflated truths [truth if inflated is also an untruth], so that when they joined, and became followers of the Baba, the Baba then conferred on me the title of a Group Leader [Chhote Sahib]. There were thousands of Chhote Sahibs, who were working for the Baba.

There may have been many things going amiss, but I was lucky I did not see anything. And as a result, I had a peaceful death, and after serving the Baba and the people, I was sure God will house me in a special cell in Heaven. On reaching the assembly waiting for the judgement, with Dharamraja listening to each one’s historic deeds on earth, I found they paid no attention to my titles. But I was sure to be admitted to Heaven on the basis of my hard work, and sincere followship of the Baba.

When my turn came, they handed over to me a charge sheet, and I was asked to reply in six months. During those six months, I was to stay in the Over Lap, a newly designed place where all good and bad people were made to stay. The charges shocked me. I was quizzed for every good thing that I had done on the earth under the influence of the Baba, whom I revered as my Guru. Every person had a different charge sheet. I had a fast look at the end of the list where they had mentioned that I was 90 percent eligible to enter Hell.

You were expected to do good, and believe in simply joys, and live in innocence. Why you joined this band of idlers? Remembering God is no job in itself. On the earth, you were expected to do some good work for your family and the society. You wasted your time in the service of the Baba who is already on our hit-list. All the work you did in the name of ‘Sewa’ [service] was miscarried. You told lies to unsuspecting people and forced them into the servility  of your master. You told deliberate lies. It is unpardonable. You say you have done ‘simran’ of God every day in the morning and evening.

Chanting God’s name, without following holy edicts, is a waste of time. God does not believe in such practices which are hollow. You have been running round and round your self styled demigod. There are millions like you wasting their time around these gods. The sewa [service] that you are doing is useless if you do not understand the fundamental issues. The fundamental issue is your innocence. You work for yourself, but at the same time, make sure, your work helps the society, and it does not harm others in any way. If you are aware of it, and act accordingly, you do not need such godmen.

You also do not need to read any holy books or even to recite the name of God, if you remember one thing: to be innocent. Regarding lots of deprivations imposed arbitrarily by these Babas, you are better advised to follow your wishes. If you want to eat non-vegetarian food, or drink alcohol, if you take tobacco and enjoy smoking, if you enjoy bar dances, we have no problem so long as you do not cause any harm to society, your family and even to yourself. There is no sin, no crime if you can feel happy the way you want to live.

We have given you this beautiful body. A beautiful mind. A beautiful family. And a wonderful society of men, women, and a life in which there are huge reserves of vegetation, animals, beasts and birds. It is meant for your enjoyment. Only beware of of Knowledge. It is the gift of Satan to Adam and Eve. Knowledge alone is not enough. It is wisdom which tells you to act when, how, why and when not. What should not be done, is as much your duty, as what should be done.

We give you six months to learn, realize and accept what we want from you. Dharamraja then said, give him the next date after six months. 

Dr. Jernail Singh Anand, with an opus of 180 plus books, is Laureate of the Seneca, Charter of Morava, Franz Kafka and Maxim Gorky awards.  His name adorns the Poets’ Rock in Serbia. Anand is a towering literary figure whose work embodies a rare fusion of creativity, intellect, and moral vision.

About the hadiths of Imam Bukhari. Imam Bukhari. He is considered one of the most famous people of the Islamic world and is called the “Imam of Muhaddis”.

We can come across many hadiths during our life, but the hadiths of Imam Bukhari are very beneficial for Islam and cause a radical change in the way of life.

There are 7379 hadiths in the book of Imam Bukhari “Al-jame’ as-sahih”. These hadiths are about the good and bad sides of people, about honoring parents, about giving zakat to relatives, about pride and love. It is a hadith. After hearing the name of this hadith, I had a question. How can a person insult his parents, and I learned the answer to this question after reading this hadith. The hadith begins like this: A person does not insult his parents!

Abdullah bin Amri narrates: “The Messenger of God, may God’s prayers and peace be upon him”, said: “One of the greatest sins that a person commits is to insult his parents!” Then he said: “O Messenger of God, how can a person insult his parents?” they answered. I read this hadith and wrote down the sentences that I remembered for people. No one should insult the parents of another person, because the person who insults him is considered to have insulted his own parents.

Abdukakhorova Gulhayo was born in 2006 in Namangan region. Currently, he is a 2nd-year student of the Uzbek language Department of Philology at the University of Business and Science. Ambassador of the International Organization for the Protection of Children’s Rights in India to Uzbekistan. He is the author of many scientific and journalistic articles.

The Great Egyptian Museum is Egypt’s Gift to the World 

Dr. Reda Abdul Rahim 

There is no doubt that the connection of the Grand Egyptian Museum site with the Giza Pyramids gives it a special importance that is not available to other museums, as it is a museum of all ancient Egyptian antiquities within sight of the majestic Giza Pyramids in a visual association that calls for reflections on the symbolism of the place, the connection between the past and the present, and between modern technologies, and the techniques of building pyramids from stones. And I will take you, dear reader, on a brief trip to this great edifice, on a visit that urges you to visit it as soon as possible, to stand on the greatness of grandparents and grandchildren together.

The Grand Egyptian Museum takes triangular geometric shapes that overlap in the facade different dimensions and shades of color, with a rhythm of dark triangles in color with the use of transparent alabaster(alabaster) sometimes in variations extending to the landscape layout surrounding the museum, with a visual extension on the one hand to the top of the Great Pyramid and on the other to the top of another faraway landmark.

The visual relationship of the museum, from a perspective that emphasizes the close connection between modern Egypt and what was lost in the Tallied. In front of the museum stands an obelisk symbolizing Majesty and power, belonging to King Ramses II from the city of San al-Hajar, east of the Delta, it was moved by lifting it on a base of four columns, engraved with the name of Egypt in all languages of the world, the base was designed to show at the bottom of the obelisk the cartouches of King Ramses II, becoming the first hanging obelisk in the world.

From the spacious obelisk Square, visitors enter the museum through a pyramidal gate to the main square, where the huge statue of Ramses II stands, which was initially transferred from MIT hostage in 1957 to the railway square” iron gate”, which has since been named Ramses Square. the huge statue rises in the museum’s spacious, high-rise interior courtyard with its pyramidal geometric shapes in which natural light manipulates with geometric designs through transparent alabaster stones and others in sloping ceilings that intersect with geometric formations triangular architectural blocks, suggesting pyramidal voids through which visitors move to a great staircase lined with statues of great Kings, while your steps lead you on 24-meter-high steps, through a distance of 64 meters, from the era of ancient Aquarius to the Greco-Roman era, through 72 statues, including the statue of Queen Hatshepsut, Amenhotep III, Akhenaten.

King Senusret I, in his Osirian form, and the god Ptah, whom the ancient Egyptians believed to have created the world with a word, also overlooks us through the eternal past, while Amenhotep III appears to us with “RA Hor my sister” to remind us of the cosmic philosophy of which the Royal Institution was an integral part, and RA The Sun God of Heliopolis was united with Horus the God of the south when the two countries United. The visitor passes on the stairs ascending from the thresholds of history to the era when the Mediterranean world opened up to the ancient Egyptian civilization, which in the Roman era combined Osiris and APIs into a Greek god called” Serapis” to spread his worship in the third century BC. From the great staircase through the glass facade overlooking the pyramids, the visitor enters the twelve exhibition halls, which begin with prehistory and end with the Roman era.

The shows celebrate three main themes: the property system, society and beliefs in galleries with an area of up to 18 thousand square meters. It is used to display collections and artifacts of more than 54 thousand pieces from different eras, and from all over Egypt and its spots, which are full of time-preserved Antiquities, rare collectibles in a chronological sequence that allows the visitor to choose his path through the ages, exploring societal transformations in each era. In addition, the museum includes a display of two of Khufu’s boats, and galleries dedicated to the contents of Tutankhamun’s Tomb, displayed together for the first time since its discovery in 1922.

Radiant day

Smiling to the sun, morning has arrived.

A few little birds walk on the railing of my balcony.

My suitcase is ready, the door drives me,

I go out, my destination is the weekend, free as a falcon.

Smiling to the sun, I sit in the train.

Road is twisting spine all in front the eyes 

Lovely glamorous day, in the sky flock of cranes,

in my palms crumbs of bread, 

in my suitcase – a handful of rays. 

LESSON

Wherever I look

I’m take lesson from

Even from the tree

Even from the bird

I hear a sound

Firstly slower than

Then it gets faster

Thundering

It’s raining

People running away

Rain stopping

Rainbow coming out

And people

Being happy

From this life.

Türkan Ergör, Sociologist, Philosopher, Writer, Poet, Art Photography Model. Türkan Ergör was born in 19 March 1975 in city Çanakkale, Turkey. She was selected International “Best Poet 2020”. She was selected International “Best Poet, Author/Writer 2021”. She was selected International “Best Poet, Writer/Author 2022”. She was awarded the FIRST PRIZE FOR THE OUTSTANDING AUTHOR IN 2022. She was awarded the 2023 “Zheng Nian Cup” “National Literary First Prize” by Beijing Awareness Literature Museum. She was awarded the “Certificate of Honor and Appreciation” and “Crimean Badge” by İSMAİL GASPRİNSKİY SCIENCE AND ART ACADEMY. She was awarded the “14k Gold Pen Award” by ESCRITORES SIN FRONTERAS ORGANIZACIÓN INTERNACIONAL.