I am Til Kumari Sharma from Nepal. I am the best-selling co-author of Creating a Better World, A Spark of Hope vol 3 and few others. I am a poet in the world record book Hyperpoem. I am a featured poet in anthologies like ThePoetry Posse- 2023, 2024, 2025 and others. I have earned a “World Creative Hero Award” by LOANI. I was a teacher and professor and now I am an internationally recognized writer.
2.How have you started to write poetry?
When I did not get a job as I wished in Nepal, I started writing poetry to address my distressed feelings about my country, politics, and female exploitation in Nepal’s civil war. Then I made myself a regular poet because I published poetry books and used to sell them in schools and colleges of Nepal. I travelled to every city in Nepal.
3.What is the message you want to give through your poems ?
I want to give the message that people, politics, and education must be with ethics and discipline to lead society and the nation. And poetry must be leading people to a way of life that’s not corrupted.
4.Do you believe that new generation is reading and is caring about literature.
I did not think so. But this time my two books are about national politics and criminal or corrupted politicians and Nepal’s corrupted media too. Such corrupt institutions were exposed by youth recently in our country. Similarly to what I wrote, real Nepali youth did take on society. Is this a coincidence or inspired by my writings? Certainly youths read. They are very clever to know about the literary situation in our country.
5. How are you feeling when you see your Poems published in several foreign sites.
I am happy that several foreign sites that published me are like golden jewelers, allowing me to express my emotions or creativity. So, I want to say infinite thanks in this interview to all who published me.
6. Do you want to share with our readers
A phrase that changed your life
That phrase was by you, your original voice: “Poetry unites people” by EVA Petropoulou Lianou. Yes, it is your truth that poetry associates society, community and all to express same common feelings with writing or typing. That inspires not only me, many others too.
7. What is your future project
My future project is to lead society, my nation, and the world by writing poetry of positive thought. In our world women are exploited with violence and secret harassment and those who speak up are silenced. Girl students are silently exploited by males in schools, colleges and many other places. Women are not secure. So self-defense should be made. Poetry writing should give an education into ethics and self-survival morally.
My project wants all people as children, youth, aging to live with good morals. Then world will be better.
Thank you so much ��
EVA Petropoulou Lianou ����
eviepara@yahoo.fr
As World- renowned poetess Miss Til Kumari Sharma is a Multi Award Winner in writing from an international area from Paiyun 7- Hile Parbat, Nepal. She is known as Pushpa Bashyal around her community. Her writings are published in many countries. She is a featured-poet and a best-selling co-author too. She is a poet of the World Record Book ” HYPERPOEM. She is one of many artists to break a participant record to write a poem about the Eiffel Tower of France. Her World Personality is published in Multiart Magazine from Argentina. She is feminist poet. She is published as the face of the continent ( Cover Page of Asia) in Humanity Magazine. She is made as portrait ” Poetic Legend of Asia” by Nigerian Painter. She is world creative hero of LOANI.
Til Kumari Sharma is an internationally awarded poet, essayist, story writer, reviewer, translator and so on. She has won numerous awards through writing around the world. She is a best-seller amazon no 1 poet “A Spark of Hope Vol.III, Creating a Better World, Break the Silence Vol.III” and so on. She is a featured poet “The Poem Posse 2023, 24, 25” and many where around the world. She is a poet in world record book “ Hyper poem”. She has got “World Creative Hero Award” from LOANI. Anyway she is world famous author who was born in Paiyun 7- Hile, Parbat, West Nepal. Now she is in Kirtipur Kathmandu. Her portrait by Ukeme Udo is famous.
Teresa Nocetti was born in Montevideo, capital of the Oriental Republic of Uruguay. She has been a retired teacher for seven years and is a mother and grandmother. She loves to travel, get to know different cultures, read and talk.
Since 2017, she has been a member of the group of international writers “Junto por las Letras,” counting hundreds of participants from different languages to date. In 2018, she published “La visita de Perseo”. She’s published in the anthologies: “Women on the brink of the abyss” (collection), “Vida de Piedra”, “When letters mature”, “A story for a smile” Volume Three, “Uniendo Fronteras” (Bolivia). In 2019 she was awarded a Special Mention from the Outstanding Women in Culture for her cultural trajectory and human values.
As of 2020, her works have been virtual. She continues to participate actively in the Virtual Book Fairs, in the virtual book Immortales, and in all the proposals of the “Juntos por las Letras” Group as Cultural Manager. They will publish her next book: “Sinuous Soul.”
Nobel Literature Laureate László Krasznahorkai and the Light Within Ruins: The Enduring Power of Literature in Times of Crisis
Emran Emon
When the Swedish Academy announces that László Krasznahorkai wins the 2025 Nobel Prize in Literature, the citation—“for his compelling and visionary oeuvre that, in the midst of apocalyptic terror, reaffirms the power of art”—resonates with remarkable timeliness. In an era marked by uncertainty, war, climate anxiety, and the slow erosion of collective meaning, the Academy’s choice of the Hungarian novelist feels almost prophetic. Krasznahorkai, often called the “writer of the apocalypse,” has long been the literary chronicler of chaos—yet he is also, paradoxically, one of its most powerful antidotes.
Born in 1954 in Gyula, Hungary, Krasznahorkai belongs to a Central European lineage haunted by totalitarianism, despair, and disillusionment. He follows the literary footsteps of Kafka, Musil, and Bernhard—writers who dissected the human psyche amid societal collapse. With this Nobel Prize, he becomes the second Hungarian laureate, after Imre Kertész in 2002, whose own work bore the moral scars of the Holocaust. But whereas Kertész chronicled survival under tyranny, Krasznahorkai explores the spiritual desolation that follows it.
His debut novel, Satantango (1985), which took seven years to publish due to censorship, announced the arrival of a writer unlike any other. This postmodern masterpiece portrays a decaying village awaiting the return of a mysterious figure—a narrative of false prophecy, collective delusion, and moral decay. The story unfolds through pages-long sentences, each a labyrinthine reflection of confusion and decay. When Béla Tarr adapted the novel into a seven-hour cinematic epic in 1994, the two artists became inseparable in the public imagination—Tarr giving visual form to Krasznahorkai’s textual apocalypse.
Krasznahorkai’s prose style is both ‘his weapon and his world.’ His sentences are famously long, unbroken, and rhythmically relentless, sometimes extending across several pages. To read him is to enter a current that refuses to let go—a sustained meditation, an intellectual marathon. This stylistic audacity is not ornamental; it is existential. His syntax mirrors the chaotic continuity of consciousness, the endless unraveling of perception. In his world, there are no safe pauses. The absence of paragraph breaks traps readers in the same feverish continuum that entraps his characters. The result is hypnotic—exhausting, yes, but profoundly immersive.
Critics have called this approach “obsessive.” Krasznahorkai once responded by describing his method as “reality examined to the point of madness.” Indeed, his writing feels like an inquiry stretched to its breaking point—a sustained stare into the abyss until form itself begins to tremble.
In this respect, Krasznahorkai’s art recalls Proust’s interior infinity and Faulkner’s density, yet it is distinctly his own: not memory’s labyrinth, but apocalypse’s slow unfolding. His syntax makes the reader experience disorientation as a moral act—forcing us to inhabit confusion rather than flee from it. If one were to distill the essence of Krasznahorkai’s fiction, it would be the persistent nearness of collapse. His worlds are suspended between hope and ruin—often rural, provincial spaces that serve as microcosms for humanity’s larger failures.
In The Melancholy of Resistance (1989), the arrival of a mysterious circus and a dead whale in a small Hungarian town triggers chaos, paranoia, and moral dissolution. The novel’s absurd premise unfolds into a profound allegory about society’s vulnerability to hysteria and demagoguery. Adapted by Béla Tarr into the film Werckmeister Harmonies, the story becomes almost biblical in tone—a meditation on collective blindness and the failure of enlightenment.
For Krasznahorkai, apocalypse is not a future event but a permanent condition of existence. His characters—fallen intellectuals, wanderers, monks, derelicts—inhabit a world perpetually on the verge of collapse. Yet, he resists nihilism. Beneath his darkness lies a persistent belief in the redemptive force of art and moral contemplation. His more recent works, such as Seiobo There Below (2008) and A Mountain to the North, a Lake to the South, Paths to the West, a River to the East (2018), signal a spiritual evolution. Moving beyond European decay, these texts draw on Japanese and Buddhist aesthetics, embracing the idea of eternal recurrence, sacred precision, and aesthetic humility. Through them, Krasznahorkai seems to shift from apocalypse toward illumination—from despair to the fragile beauty of being.
The Nobel Committee’s phrasing—“reaffirms the power of art”—is crucial. Krasznahorkai’s worldview, though soaked in ruin, insists that art remains the final refuge of meaning. His works argue that literature’s endurance lies precisely in its ability to face darkness without flinching.
In his 2015 Man Booker International Prize acceptance speech, Krasznahorkai said that literature is the last space where “the complexity of the human soul is still allowed to exist.” This conviction radiates through every sentence he writes. His novels challenge a world of simplification and speed—a world increasingly allergic to ambiguity. His art is not escapist; it is resistant. It resists simplification, commodification, the flattening of experience. In that resistance lies a politics of the spirit—a subtle defiance against conformity and amnesia. By making readers dwell in discomfort, Krasznahorkai reminds us that true art should disturb before it consoles.
No discussion of Krasznahorkai is complete without acknowledging his deep collaboration with filmmaker Béla Tarr, whose visual language mirrors the author’s prose. Films such as Satantango and Werckmeister Harmonies are not mere adaptations; they are extensions of a shared vision—long takes, grayscale landscapes, and slow pacing echo the rhythm of Krasznahorkai’s sentences. This partnership between writer and filmmaker redefined how literature and cinema can converse. Tarr’s camera, like Krasznahorkai’s pen, denies instant gratification. Both invite the viewer—or reader—to confront time itself, to witness the erosion of meaning and the endurance of beauty in the same frame.
The Nobel Committee described Krasznahorkai as “a great epic writer in the Central European tradition that extends through Kafka to Thomas Bernhard.” Indeed, Krasznahorkai redefines what “epic” means in the modern age. Gone are the heroes, the conquests, and the gods. In their place stand weary villagers, failed intellectuals, anonymous bureaucrats—all trapped within absurd systems or meaningless waiting. His epics unfold not across battlefields but across the corridors of consciousness, where doubt replaces destiny.
In this, Krasznahorkai revives the moral grandeur of the epic form within the despair of the modern condition. His protagonists may not triumph, but their persistence to perceive—to see clearly even in darkness—becomes its own kind of heroism. Though deeply rooted in Hungarian soil, Krasznahorkai’s imagination is global. His later works draw inspiration from Japanese temples, Chinese landscapes, and Buddhist philosophy. This cosmopolitan evolution positions him as a rare bridge between Western metaphysical pessimism and Eastern contemplative serenity.
Whereas his early novels depict the failure of human systems, his later ones seek harmony beyond them. In Seiobo There Below, art itself becomes divine—a force through which human beings glimpse eternity. The novel’s episodic structure, spanning from Kyoto to Venice, portrays art as an act of devotion, not production. This Eastward gaze expands the emotional and philosophical scope of European modernism. It suggests that the answer to apocalypse may not lie in reconstruction but in attentive stillness—in seeing, in silence, in art.
The Nobel Prize now secures Krasznahorkai’s position among the literary titans of our age. But his true legacy lies not in institutional recognition, rather in his courage to write against the grain of the times. In an age of brevity, he writes long sentences. In an age of clarity, he embraces confusion. In an age of distraction, he demands attention. His art thus becomes an act of resistance—not only against despair but against superficiality.
His readers, scattered across languages and continents, share a common experience: the exhaustion that gives way to revelation. Reading Krasznahorkai is to endure, but in that endurance, one feels the renewal of attention, the recovery of depth, the reawakening of wonder.
The world of 2025—fractured by wars, rising authoritarianism, digital addiction, and ecological grief—may seem far from the obscure villages of Krasznahorkai’s fiction. Yet his novels speak directly to our condition. When the social order disintegrates, when meaning feels lost, what remains? For Krasznahorkai, art remains. The act of describing, of perceiving—of refusing to turn away—is itself a moral stance. His literature becomes both a mirror and a sanctuary: it reflects collapse but also shelters the human capacity for awe.
In awarding him the Nobel Prize, the Swedish Academy implicitly recognized this truth: that art’s endurance amid ruin is not decorative but essential. Krasznahorkai’s fiction does not escape catastrophe; it redeems it through attention. In every long sentence, every moment of delay, there is resistance to erasure.
László Krasznahorkai is the writer of the end who writes for the future. His Nobel Prize is not only a triumph for Hungarian letters but for the idea of literature as a spiritual vocation. His works are reminders that art’s highest duty is not entertainment but revelation—to confront, to clarify, to sustain. He has shown that even amid “apocalyptic terror,” the written word can remain a light—trembling, flickering, but unextinguished. And perhaps that is his ultimate gift: the belief that beauty endures, even when the world does not. As the great Hungarian laureate once said, “The apocalypse is not coming—it has already arrived.” But in his prose, we discover something else, something the Nobel Committee, too, must have felt—that in the very ruins of language, there still rises the stubborn flame of art.
Emran Emon is an eminent journalist, columnist and global affairs analyst.
Formation of creativity and thinking in preschool children
Abstract
This article analyzes the theoretical foundations of the process of forming creativity and thinking in preschool children, pedagogical conditions, and advanced approaches used in world practice. The importance of play activities, art, fiction, modern information technologies, and parental cooperation in the development of creative thinking in children is highlighted.
In the context of today’s globalization, the development of human capital, the formation of a broad-minded and creative personality is one of the priorities of state policy. In particular, the preschool period is a decisive stage in the personal development of a child, in which the formation of creativity and thinking directly affects the effectiveness of future education and social activity.
According to the scientific views of psychologists J. Piaget, L.S. Vygotsky, E. Torrens, the period from 3 to 6 years is considered the period of active formation of a child’s thinking and imagination. During this period, the child not only acquires knowledge, but also forms their own views, strives for independent thinking. Therefore, ensuring the development of creative thinking in the preschool education system is one of the most pressing tasks of modern pedagogy.
Main part
The concepts of creativity and thinking are interpreted differently in pedagogical and psychological literature. Creativity allows a child to create something new,
if there is an ability to freely express one’s ideas, then thinking is its ability to comprehend reality, draw logical conclusions, and
means the activity of finding solutions in problematic situations. In preschool age, these two processes develop harmoniously.
The role of game activity in the formation of creativity is invaluable. Role-playing games enrich the child’s social experience.
allows you to try out roles and find creative solutions. Construction-games and constructors allow a child to develop spatial thinking and engineering skills.
develops their abilities. In the “Kodomo Challenge” program, used in Japan, children encounter problem situations through play,
to independently find a solution.
Art activity is also an important means of developing creativity. Through drawing, handicrafts, music, and singing, the child develops their own
expresses feelings, enriches imagination. According to UNESCO, the widespread use of artistic activities in preschool children
develops their aesthetic taste and intellectual potential. Also, methods of reading and compiling fairy tales, figurative thinking of the child.
and is an effective tool for enriching speech.
In addition, national values and traditional games also play an important role in the development of creativity. For example, folk tales
singing national songs and playing folk games broadens a child’s worldview and strengthens their national self-awareness.
Handicraft activities – carpet weaving, making items from clay, and the use of national ornaments not only develop the child’s creative abilities,
but also develops patience and fine motor skills.
The STEAM (Science, Technology, Engineering, Arts, Mathematics) approach is of great importance in the modern educational process. USA, Finland
and STEAM projects in preschool institutions in South Korea allow children to experience simple experiences, technological activities, and creativity.
through assignments, they learn new approaches. STEAM elements are also being gradually introduced in Uzbekistan, and this creativity
serves as an effective tool for developing thinking.
Information technologies are another effective tool for supporting creative thinking. Interactive programs, virtual constructors and
educational cartoons arouse children’s interest, directing them to create something new. However, excessive technology addiction is a child’s
), it should be used in moderation.
In the formation of creative thinking, the cooperation of parents and educators is of great importance. Creating a creative atmosphere in the family, free for the child
asking questions and supporting their interests stimulates independent thinking in the child. The teacher is creative in the lessons.
By applying assignments and valuing the child’s thoughts, they reveal their abilities. Parents and children in the experience of Israel
joint participation in classes and joint implementation of creative activities yielded good results.
From a psychological point of view, creating an environment that encourages creativity is very
is important. Search for news without fear of mistakes
If they have the opportunity, they can freely demonstrate their abilities. Therefore, educators and parents should not allow the child to make mistakes.
Instead of punishing them, they should teach them to accept it as an experiment. This approach increases the child’s self-confidence and creativity.
directs.
Also, various international pedagogical approaches – Montessori, Reggio Emilia, Waldorf systems – are aimed at developing the creative abilities of children.
is widely used in development. For example, in the Montessori method, the child is given freedom and chooses activities according to their interests.
In the Reggio Emilia approach, creative forms of expression are widely used based on the principle that “a child is the owner of a hundred languages.” In the Waldorf method, art
and nature, creative abilities are developed.
As practical recommendations, it is possible to organize small projects for the development of creative thinking in children. For example, family album
creation, staging small performances, observing natural phenomena and discussing the results, conducting simple experiments – all of this
increases the child’s creative interests. At the same time, creative tasks allow the child to make independent decisions, work in a group.
strengthens their skills and social activity.
In general, the formation of creativity and thinking is a multifaceted process, in which games, art, national values, modern technologies,
high effectiveness is achieved only through the harmonious application of parental and educator cooperation, as well as international pedagogical experience.
Conclusion
The formation of creativity and thinking in preschool children is of great importance in their personal, intellectual, and social development. Studies show that children raised in a creative environment are characterized by high academic performance, independent thinking, and a striving for innovation later in school.
Despite the fact that significant reforms are being carried out in the preschool education system of Uzbekistan, the study and implementation of world experience will further improve the process. In particular, important tasks include increasing the methodological literacy of educators, the widespread introduction of STEAM approaches, promoting the creation of a creative environment in family education, and providing preschool educational institutions with modern didactic tools.
Thus, the development of creativity and thinking in preschool age not only increases the effectiveness of the educational process, but also serves to strengthen the intellectual and innovative potential of society.
References
1. Decree of the President of the Republic of Uzbekistan “On Measures for the Fundamental Improvement of the Preschool Education System.” – Тошкент, 2017.
2. State Program of Preschool Education “Ilk Kadam.” – Tashkent: Ministry of Preschool Education, 2018.
3. Vygotsky, L.S. Imagination and Creativity in Childhood. – Moscow: Prosveshcheniye, 1991.
Piaget, J. The Language and Thought of the Child. New York: Routledge, 2005.
5. Torrance, E.P. *Creativity: Prospects for the Twenty-First Century*. Westport, 1993.
Gardner, H. Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books, 2011.
7. Runco, M.A., & Acar, S. Divergent Thinking as an Indicator of Creative Potential. Creativity Research Journal, 2012, 24 (1).
8. Sawyer, R.K. Explaining Creativity: The Science of Human Innovation. – Oxford University Press, 2012.
Craft, A. Creativity in Education. London: Continuum, 2005.
Edwards, C., Gandini, L., & Forman, G. The Hundred Languages of Children: The Reggio Emilia Approach. – Тошкент, 2012.
Robinson, K. Out of Our Minds: Learning to be Creative. – Тошкент, 2021.
12. UNESCO. Arts Education for the Development of the Whole Child. – Тошкент, 2019.
13. Ministry of Preschool Education of the Republic of Uzbekistan. Innovative approaches in preschool education. – Тошкент, 2021.
14. Kim, K.H. The Creativity Crisis: The Decrease in Creative Thinking Scores on the Torrance Tests of Creative Thinking. Creativity Research Journal.
15. Decree of the President of the Republic of Uzbekistan “On the Development Strategy of New Uzbekistan for 2022-2026.” – Тошкент, 2022.
Abdirashidova Ozoda, Born in Chiraqchi district of Kashkadarya region, studied at the Pedagogical Faculty of Karshi State University, majoring in Preschool Education. Ambassador and member of international organizations. Holder of international certificates.
spilling from the eyes of a retiree cat on the stairs.
My form now a kettle
boiling with longing.
My voice, cracked and dry,
from pleading too long in mud.
Put flowers not on a grave
but on the dinner plate
for I will join you there,
in the bread,
in the steam of coffee,
in laughter bursting too soon
like a mirror too fragile for love.
If you wish to speak,
speak to the wind all tangled in curtains.
If you wish to cry,
I will harvest your tears
and plant them behind the house.
One day, a tree will bloom
its leaves whispering with my voice,
its shadow resembling
somebody you still cherish.
H.MAR
Brunei
The Empty Chair that Hugs Your Breath
The chair is still warm,
although you vanished yesterday.
Even the sky is guilty:
why will the pillow not own up to its loss?
I rest in your memory
an empty space that’s forgotten how to remember.
The floorboards creak,
not beneath footsteps,
but beneath prayers that never learned to find their way out of the throat.
A cup of tea goes cold,
even though I fill remembrance into it each morning.
And that chair
still retains your breath,
like air refusing to be released.
H.MAR
Brunei
Author Biography
Dr. Haji Mohd Ali bin Haji Radin, known by his pen name H.MAR, was born on 5 August 1968 in Brunei Darussalam. He holds a Doctor of Philosophy (Ph.D.) in Malay Literature from Universiti Brunei Darussalam and currently serves as a Senior Language Officer at Language and Literature Bureau, under the Ministry of Culture, Youth and Sports, Brunei Darussalam. He began writing in 1984, producing works across various genres including poetry, short stories, novels, drama, and essays. His literary works have been published both domestically and internationally, and translated into multiple languages worldwide.
His local publications include Hidup Yang Mati (Anthology of Poems and Short Stories, 1996), Kota Kaca (Novel, 2003 & 2020), Taman ‘O’ (Anthology of Drama and Short Stories, 2003), Gelora (Poetry Collection, 2011 & 2023), Exotis (Short Story Collection, 2018), Taman Mimpi (Drama Collection, 2021) and Pemanah Bulan (Poetry Collection, 2025), all published by Dewan Bahasa dan Pustaka, Brunei. Internationally, his works include حديقة الفلسفة / Philosophy Garden (Poetry Collection, Morocco, 2022, The Association La Vague Culturelle), Jardins Du Rire (Drama Collection, Egypt, 2023, Diwan Al Arab), Garden X (Short Pieces Collection, Egypt, 2023, Diwan Al Arab), KAMEO Y Las Cartas Perdidas (Short Story Collection, Egypt, 2023, Diwan Al Arab), Moon Archer (Poetry Collection, Egypt, 2023, Diwan Al Arab), Taman O (Drama Collection, Malaysia, 2024, Nusa Centre), Arciere della Luna (Poetry Collection, Egypt, 2025, Diwan Al Arab), and قمرٌ دمويّ / Bloody Moon (Poetry Collection, Egypt, 2025, Diwan Al Arab).
H.MAR’s literary works have been translated into English, French, Spanish, Russian, Italian, Arabic, Chinese, Mexican Spanish, Colombian Spanish, Serbian, Albanian, Macedonian, Uzbek, Turkish, Greek, Nepali, Urdu, and Korean. H.MAR is the recipient of the “Borneo Book Award” Special Book Award from the National Book Development Foundation, Kuala Lumpur, Malaysia 2025.
