Nowadays, it is difficult to imagine life without social media. They have become an integral part of our lives: some people use them to stay informed about the news, others to communicate with friends, and some to gain knowledge. Especially among young people, the role of social media is enormous.
However, their impact can vary from person to person — for some, they bring benefits, while for others, they become a reason for wasting time. For me personally, social media brings more benefits. Because I try to use them properly.
For example, through the “Ibrat Farzandlari” app, I do various exercises to learn German, English, and other foreign languages. This app helps me improve my vocabulary and make my speech more fluent. In addition, through the “Mutolaa” app, I read new books and stories every day. Such platforms awaken in me a love for reading and an interest in books.
However, unfortunately, not all my peers use social media correctly. Some spend most of their time watching useless or even harmful content. This reduces their attention to studying and negatively affects their mood. Some, on the other hand, become too immersed in the virtual world and gradually distance themselves from real-life relationships. In my opinion, the problem is not in social media itself, but in us, the youth.
Because we are the ones who choose how to use them. If we use them to gain knowledge, learn languages, and stay informed about new events, they will be useful. On the contrary, if we use them to waste time, compare ourselves with others, or follow meaningless posts, they will harm us.
Social media, in fact, is a great opportunity for young people to expand their thinking, express themselves, and work on self-improvement. The important thing is to know how to use them in the right way. In conclusion, social media can be both useful and harmful — it depends on how we use them. I believe that every young person should learn to use social media in a way that brings benefit. Because every opportunity gives a real result only when it is used correctly.
Dr. Antonello Turco’s Holistic Method Is Art and Culture
From Italy, having spread to other European countries, Dr. Antonello Turco’s holistic method has arrived in the USA.
It is a method for physical and mental health that, especially, has a direct and tangible connection to art.
It is certainly a cutting-edge method for physical and mental health.
I have known Dr. Turco for a year, and our relationship has become increasingly interesting and intense, as it encompasses aspects of both the physical and spiritual, but above all, always related to creativity and art.
Now, if extreme attention to appearance was once exclusive to our world of celebrities, this aspect has extended to everyone in the space of about fifty years, albeit with some discrepancies resolved precisely by Dr. Antonello Turco’s holistic method.
Dr. Turco began with a degree in Nutrition and Sports Sciences, followed by years of experience in fitness and coaching, daily developing a method that places creativity and art at its core.
For those in the celebrity world, everything is geared toward serving the audience , and therefore, the more one’s health, physical appearance, and ability to constantly optimize one’s persona improve, the more fame, one thinks it increases.
Generally, this process is often at the expense of one’s private life, since for those in show business, the priority belongs to public life, not private life.
One of the reasons for Dr. Turco’s growing success is precisely that he “gives” everyone the full range of elements that can generate optimal physical health, including excellent physical appearance.
Despite this, Dr. Turco is often in Malibu and Hollywood, and global stars flock to seek his advice.
The really interesting aspect is that the “Dr. Turco Method” is constantly evolving and therefore we will talk about it again since it is becoming a cultural and artistic motif in itself.
Nepantla, The Tipping Point, Deep Time: A Conversation Between Worlds
By Kandy Fontaine
In an exclusive interview I conducted last year with Weird Fiction master and vertebrate paleontologist Caitlín R. Kiernan, she spoke with haunting clarity about the concept of Deep Time:
“Human history is nothing more than a thin film floating atop the abyss of geologic time… Lovecraft’s god things… creatures that had ‘filtered down from the stars when earth was young.’ … Gothic literature where the phantoms do not haunt castles merely ancient by human standards, but by the standards of the cosmos.”
Kiernan’s words do more than illuminate a literary device—they expose a rupture in perception. Deep Time is not simply a scientific framework; it is a psychic terrain, a confrontation with scale so vast it destabilizes the ego. It is the abyss beneath our myths, our politics, our identities. It is the stage on which cosmic horror unfolds, but also the backdrop against which our most intimate transformations occur.
We are not merely living in historical time. We are drifting in Deep Time, where the boundaries of self and species blur, where the past is not behind us but beneath us, pressing upward through the thin crust of human memory.
The Tipping Point
We are at a tipping point in planetary history. The forces of what Hunter S. Thompson called “old and evil” have rebelled against the inevitable progress that comes with mutation and sudden shifts in consciousness. These forces are not abstract—they are embodied in regimes, in cultural gatekeepers, in the machinery of repression that clings to outdated notions of power, gender, and identity.
As a transfemme author, I have had to negotiate multiple spaces—some of which rejected me outright, others that claimed radicality but recoiled when I didn’t fit their aesthetic mold. The question isn’t whether I’m “better” than those gatekeepers. If Caitlín R. Kiernan—a writer of staggering intellect and vision—entrusted me to curate a literary tribute to her work, the answer is already clear.
What strikes me most about the current despotic regime that has nested itself in the White House is not just its corruption, but its fear. Fear of mutation. Fear of multiplicity. Fear of people like me and Kiernan, who embody a future they cannot control. They cling to an ignoble and outdated concept of masculinity while covering up for systemic abuse and moral rot. These things are not separate issues. They are symptoms of a deeper refusal to evolve.
Imaginary Crimes and the Politics of Projection
Among the most risible accusations leveled against Caitlín R. Kiernan are claims that she is a white supremacist and a transphobe. These are not critiques—they are projections, often made by individuals who have not engaged with her work, her life, or her legacy in any meaningful way.
Kiernan is a transfeminine author whose fiction has consistently challenged normative boundaries of gender, species, and time. Her protagonists are often liminal beings—neither fully human nor fully alien, neither male nor female, but something else entirely. Her work is not just inclusive; it is expansive, offering readers a vision of consciousness that transcends binary thinking.
To accuse Kiernan of transphobia is to ignore the lived reality of her identity and the radical empathy embedded in her narratives. To accuse her of white supremacy is to flatten the complexity of her Southern Gothic heritage, her critique of American mythologies, and her deep engagement with the monstrous as metaphor.
These accusations are not just false—they are symptomatic of a cultural moment in which nuance is sacrificed for outrage, and where the politics of purity often mask deeper insecurities. They are part of a broader pattern of imaginary crimes, invented to discredit voices that refuse to conform to the aesthetic or ideological expectations of the moment.
Kiernan’s work is difficult. It is unsettling. It does not offer easy answers or moral clarity. But that is precisely its power. It invites us into nepantla—the space between worlds—where transformation is possible, but never comfortable.
Nepantla: Walking Between Worlds
What many critics lack—especially those who’ve passionately excoriated Kiernan for imaginary crimes—is a nuanced understanding of nepantla, a Nahuatl term popularized by Gloria Anzaldúa. Nepantla is the space between worlds, the liminal zone where transformation occurs. It is not a place of comfort. It is a place of friction, of contradiction, of becoming.
To live in nepantla is to be a walker between worlds. It is to inhabit the gulfs of Deep Time while navigating the immediacy of cultural violence. It is to be trans, bi, straight, neurodivergent, nonbinary—not as fixed categories, but as fluid rotations on an axis. This is not chaos. It is rhizomatic, as Deleuze and Guattari described in A Thousand Plateaus—a network of overlapping consciousness, not a hierarchy.
Sexual identity, gender, and orientation are not static. They are dynamic systems, evolving in response to pressure, trauma, joy, and revelation. We are not fixed points. We are constellations.
Beyond Speciesism
To walk in Deep Time is to recognize that speciesism—the belief in human supremacy—is a delusion. We are not above the plants, the fungi, the microbial intelligences. We are among them. Our pleasure, our delight, our grief—they are not uniquely human. They are part of a larger ecology of being.
We must evolve. We must embrace mutation. We must see ourselves not as rulers of the earth, but as beings in Deep Time, destined to be recycled, reimagined, and reborn. This is not a metaphor. It is a biological and spiritual imperative.
Let us explore the manifold species of pleasure and delight. Let us decenter ourselves in the fullness of being aware that consciousness is multiple and overlapping. Let us maintain our grip on logic, even as we dissolve the boundaries of identity. Let us walk between worlds—not as exiles, but as architects of the future.
This is the work. This is the walk. Between worlds, across gulfs of time, toward a future that is not merely inclusive—but expansive.
About Kandy Fontaine: Kandy Fontaine is the transfemme alter ego of author Alex S. Johnson, first manifest in the story “The Clown Dies at the End,” published in truncated form in 2015 in Imperial Youth Review. Their short stories, poetry and essays extensively explore liminal states. Forthcoming from Fontaine/Johnson as of this writing is the first issue of Black Diadem: Magazine of the Fantastique, which reproduces the Kiernan interview in full alongside “Ballad of a Catamite Revolver,” a story written by Kiernan for her Sirenia newsletter. Next year Fontaine helms The Language of Ruins: A Literary Tribute to Caitlin R. Kiernan, at her request.
the African deities who gave birth to our humanity!
it is said to evoke visions of nobility, royalty, wisdom
creativity, spirituality, mystery magicality
a colorful synthesis of soothing blue and spirited red!
becking forth recollections of powerful deities
it’s paler shades suggest romantic allusions
and a state of peaceful composure
while its darker shades shift
to suggest a state of dejection and spiritual elevation
its rich darker shade signify wealth luxury grandeur power
but it is double sided in that it can betoken melancholy
and frustration when applied superfluously
I suspect for some men it can denote
some feminine qualities… rightfully regulating
the dominant notions of masculinity
while its violet shade can symbolize passion, ambition
creativity and mourning in some aspects of cultural identity
it can accentuates one’s individuality in a crowd
replete with antiquated notions of conformity
its blending of red and blue can birth
deliberate intrinsic serenity and stability
it is a celebrated historical scarcity
purple pigment extracted from seal mollusks
enhanced its costly rarity attainable only to the aristocracy…
But now the color purple has been reclaimed
and integrated into our everyday commonality
and individuality attainable to anyone who
deems themselves fit for royalty!–
Jacques FleuryJacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self
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.-
