There were poems she would wait to publish until after her mother had died. That was if she were to outlive the old woman. Barbara-Jane: the reason she wrote, the stem of it all, the beginning and inevitably the end. After all, we all become our mothers. Carolina knew from too young an age that she, just like Barbara-Jane, would embrace death like a sweet relief, like the pills she hadn’t allowed herself to take. She believed she would die young because it was easier to imagine that her suffering wouldn’t last forever. Carolina wore pearls and spent recklessly, she refused to fall in love with anyone or anything but the term promiscuous.
And Barabara-Jane often reminded her. New England-born, New York-bred, buttered slices of bread on blue Italian china. Carolina remembered the home she had grown up in, Carolina remembered the sister-space she’d grown into. Older sisters become writers and younger sisters become actresses, it’s the way of the world. It was a yellow Victorian, white trim with a rosary buried somewhere beneath the foundation. Carolina wanted to be buried anywhere but near the house. Perhaps half a mile off from the Riverton prison’s burial plot, where her father lay. The river was lazy but the criminals weren’t, and Carolina was called an afterthought but her father was called bloodthirsty.
Half a mile was a safe enough distance from him, just as long as she didn’t smell like her mother. If there was one thing she should play safe, it was her proximity to her father’s dead body. Carolina only liked to play the victim, never to truly be victimized. Not like her mother. To hate her father for what he did to Barbara-Jane would be hypocrisy. After all, Carolina would not have been so kind. She would have finished the job. She would have killed the woman.
Welcome, readers, to mid-January’s issue of Synchronized Chaos Magazine!
We recognize various observances this month: American civil rights leader Martin Luther King’s birthday, Holocaust Memorial Day, Clean Energy Month and World Braille Day and strive to make our publication as inclusive and welcoming as possible.
We are also hosting a free public literary reading in conjunction with the Association of Writing Programs conference next month in Kansas City, MO. This will be at 6pm on the evening of February 7th at Prospero’s Books. All are welcome to come and hear the readers!
Now for this month’s issue: Holding Up Our Corners of the Sky.
Don Bormon and Mahbub both encourage us to move forward into the New Year with optimism.
Sayani Mukherjee describes cultivating herself as if she were a garden. Chimezie Ihekuna urges young Nigerian students to apply the lessons of their education to their lives, values, careers, and future leadership.
Makhfiratkhon Abduratkhmonova illustrates one young Uzbek woman’s pathway to success and recognition as a writer and intellectual. Davronova Lobar advises parents on how to raise confident children, while Saida Ismoilova speaks to having the courage to pursue our dreams.
Farkhodova Nodira extols the good exercise, glory, and discipline involved in playing sports. Dildora Toshtemirova reminds her fellow Uzbek nationals of the many vocational training opportunities in the country while Shabnam Shukhratova outlines the advantages of study-abroad programs for enriching students’ lives.
Taylor Dibbert also reflects on travel, in his piece where the speaker’s life begins to make more sense when he has a change of scene and visits Sri Lanka. Meanwhile, Daniel De Culla provides an earthier travelogue, about local customs on a trip to Morocco.
Image c/o Petr Kratochvil
Maja Milojkovic’s poem compares working artists to fish in an aquarium, constantly observed while trying to accomplish something meaningful. Graciela Noemi Villaverde touches on the more personal side of her poetic practice in a piece where she “meets” with her poetry.
Sitorakhon Buriyeva reminds us that life is short so we should make moral choices and make the most of our time.
J.K. Durick’s poetry explores our human limitations, what we can and cannot accomplish or change in life. J.J. Campbell dredges up the frailty of midlife: loneliness, physical weakness, awareness of one’s mortality. Niginabonu Amirova ponders human destiny and how we must all die, while Maftuna Sulaymonova highlights the cycle of life with a poem where a daughter cares for her aging mother.
Priscilla Bettis also looks at mortality, with gentle haikus about grief and the burial of a loved one. Mesfakus Salahin reminds us that we are all mortal and will all arrive equally empty-handed in the grave. Sabina Abdulazizova’s poetic speaker speculates on how she’d like to be remembered.
A.G. Davis’ poetry evokes death imagery alongside that of outer space and the mythical underworld. Christina Chin and Uchechukwu Onyedikam’s collaborative haikus also reference death and the underworld, alongside space aliens.
Faleeha Hassan’s lush, imaginative poem illuminates the death of creative imagination that is writers’ block. Noah Berlatsky evokes the impermanence of memory and how past relationships fade into the background.
Jerry Langdon illustrates the storm of heartbreak, when his speaker is no longer able to pull into the safe harbor of his past partner. Mavluda Rusiyeva also describes the intense pain of a broken romantic relationship. Gulsanam Abdullayeva speaks to lost love and heartbreak, while Mohichehra Rustamova quests for interpersonal and emotional peace while grieving having caused someone pain.
Maid Corbic’s poetry extols giving love, but recognizes that his love has limits because of his humanness. Cheryl Snell’s work also probes the limits of love, as she relates coldness and neglect within family relationships.
In contrast, John Culp talks of persevering in love, not shutting the door on each other, even in intense moments. Shukratova Shabnam offers a lament and a tribute to a mother’s hard work and sacrifice while Dildora Toshtemirova probes the complexities of a mother and daughter’s relationship.
Kristy Raines writes of a gentle companionship while Sayani Mukherjee evokes a moment where she meets with God, envisioning perfect communion and realization of her best self. In Charos Makhamova’s piece, spiritual and human love commingle, while Elmaya Jabbarova narrates a vivid dream of a spiritual union with a loved one from whom she draws inspiration. Abdusodiqova Fotima urges people to come to God with their pain, as He is a perfect listener.
David A. Douglas’ formal poem shows a bystander, powerless to prevent the train wreck he’s watching, but infused with courage from his faith to endure being a bystander and bear witness to the scene.
Favour Raymond also bears witness, to domestic violence and its impact on children. Daniel De Culla critiques and diminishes the power of today’s warmaking leaders by locating them within the historical context of other warlords whose empires have come and gone. Mykyta Ryzhykh describes the violence of modern warfare, yet illustrates how life as a whole perseveres and outlasts the individuals who are killed. Evie Petropolou urges world leaders to pursue peace and justice and for all people to remember our interdependence.
Bahora Boboyeva conveys the terror of a family facing political or ethnic persecution. Jeff Rasley describes a riot where activists leave ordinary passersby to bear the brunt of repercussions for their actions.
Brian Barbeito witnesses and laments people’s increasing post-pandemic harshness and pettiness. Arthur Chertowsky describes slowly losing his ability to read or listen to books as he ages, wondering if he is slowly dying away as he ages.
Fayzullo Usmonov narrates the struggles he faced while growing up in poverty and earning a hard-won university admission. Many other contributors discuss education, including Rejabova Dildora, who outlines modern teaching methods for primary education, Mashxura Maxammatova, who suggests innovative methods for teaching English to youngsters, Fatillaeva Nehrinoz, who discusses language instruction in higher education, Shamuratova Shoira, who highlights podcasts as a tool for language learning, Malika Isomiddinova, who covers new methods for teaching vocabulary, and Alisher Ergashev, who goes into information technology tools for teaching foreign languages.
Farrukh Amirov’s poetic speaker escapes real-world injustice through retreating into the historic poetry of his nation.
Dilnoza Xusanova remembers Erkin Vakhidov, a versatile legend of Uzbekistan’s literary heritage. Bahora Boboyeva discusses Bernard Shaw’s sophisticated analysis of social class, education, and personality formation in Pygmalion. Diyora Bakhodirovna outlines psychological theories of the concept and development of personality.
In his latest set of postwoman poems, Mark Young receives deliveries of various icons of history and culture. Lorette C. Lukajic offers up 13 different ways of looking at Edward Hopper’s painting Nighthawks, about the loneliness, or peaceful solitude, of being in a quiet cafe in the evening.
Duane Vorhees writes of history, the passage of personal and mythic time. Z.I. Mahmud’s essay analyzes how T.S. Eliot and Samuel Taylor Coleridge viewed the purposes of art and literature.
Mirzaliyeva Zarinakhan outlines the history of church reformer Jan Hus, while Daniel De Culla evokes the character of an old fashioned road cleaner. Rbs Nsj gives the background of the Village of the Saint shrine which faithful Uzbeks visit on pilgrimage. Farangiz Safarova discusses Korean greetings and social etiquette.
Arts video journalist and filmmaker Federico Wardal announces his upcoming interview with Italian journalist and music promoter Adriano Aragozzini.
Some more modernist writers play with language. Jim Meirose’s onomatopoetic tale appears to concern a spear-throwing game while Daniel Y. Harris encodes Proxy Godbot the Black Hat Hacker into verse that resembles software. J.D. Nelson contributes his signature word fragments for a piecemeal glimpse of the world.
Laylo Mamatova shares the history of the Central Asian spring holiday of Navruz, while Zuhra Ruzmetova waxes effusive about the beauty of Uzbekistan in the spring. Wazed Abdullah writes of the history embedded within a long-flowing river while Muntasir Mamun Kiron rejoices in the beauty of the land and culture of his native Bangladesh, Lilian Dipasupil Kunimasa anticipates the fun of summer in an upbeat piece and takes comfort in gentle winds, and Mahbub Alam reflects on a foggy, quiet morning.
Isabel Gomez de Diego’s photography explores how people experience built environments, on small and larger scales.
Steps
The auric field
Of my own nemesis
Own your tribe
Nurture the sockets of your heart
As if a newly polished
High school ground
That transports your
Little brittle garden
Into a big pool of
Melancholic ambrosia.
My other half as if it
Gently spoke my rawness
My wet treasured hydrangeas
Into a wooden coffin of
Tumultuous laughing stock
The soft peached rainbow
Bulking around the lawn
The little trinklet of a choir
My sudden bemused allegory
It's fair enough
Leaden steps
With my own nemesis
3. My dreams are my life.The most important question is who do you want to be? It doesn’t matter if someone tells you: “It’s impossible.” It doesn’t matter how many such people you meet in your life. The most important thing is that you are the only person who says these words.
Know that even if you are on the right path, even if they step on you, even if you do not move, even if you sit on the road! Don’t waste your life on trivial things. Be interested and strive with your being for something higher than you, higher than your experience. go on, your life is like that.
Every person, without exception, has the power to move towards his dreams and imagination. Every time you allow yourself to dream about something great, you allow yourself to be evaluated, your self-esteem is strengthened, and you allow yourself to be more helpful and proud.
Such dreams improve your self-image. Buy confidence in yourself. They will increase your personal self-respect, internal pride and emotional level. High dreams and high imaginations have a power that enlivens us, inspires us, and encourages us to act faster than before.
for this to destroy your dreams into traps. The first life is a big trap: “Never allow yourself to think that it is over!” Know that if you don’t follow your dreams, no one will do it for you.There is nothing more interesting in our life than walking towards our dreams. The hopes of a person who ignores and forgets his dream will be dashed. People who have not forgotten their dreams stop for a while and ask themselves the following questions:
– Am I pursuing my dream?
Such people know that they can plan their future. They build a decent life for themselves. The more we dream, the more power we have. A wise man said: “People often do not want to believe that they have everything they need to become the person they want to be.” That’s why they get used to what they don’t deserve, and we forget that it is necessary to pay a fee to achieve a dream.
Many times we make many goals in life but we do not try to achieve them. A simple example is that your goal is to study at a higher educational institution, and your biggest dream is to become a mature and good doctor in the future. Now, in order to achieve this dream, first of all, you need to pass the university entrance exams. For this, you need to go to a tutor or take additional classes to prepare for the exam. This, in turn, requires a certain amount.
From this we can see that you have to pay a price to achieve your dream. Therefore, a simple formula arises by itself. That is:
Goal+Payment=Dream
There are different dreams in human life. Small dreams and big dreams. All this is a dream.
I Saida Ismoilova was born on January 10, 2005 in the village of Ovshar Hazorasp district Khorezm region.
Currently, I am a 1st-year student at Berdaq State University.
I am currently engaged in writing books, and I have been preparing to publish my books.
Nowadays it is common for young people to travel to far-flung places to study. This essay will argue that despite the fact that it often leads to financial difficulties, it is far more advantageous to study in places that are far away from one’s parents because it leads to independence.
Young people frequently face financial problems if they decide to enrol in a degree course in a distant town. This is because it is no longer possible for them to live in their parents’ house, and they, therefore, have to pay for their own accommodation as well as utilities and food. This can come as quite a shock for many young people who have never had to pay a bill in their lives. For example, in this country, it is common for young people in this situation to take on part-time jobs so that they can pay their expenses while at university, and perhaps the most popular such job is being a waiter in a restaurant or bar.
The great advantage of studying in a far-off place is that it allows young people to experience what it is like to be independent of their families. In many Western countries, it is humiliating for someone over the age of 18 to have to ask their parents for money and also to not be able to live their life the way they want to because they have to live by their parents’ rules. Leaving the family home allows them to choose whatever lifestyle they want and not be under any influence from their elders. For instance, at universities in the UK, it is noticeable that students who are no longer living in their parents’ houses mature more quickly than those who are still living at home, and this is clearly because they cannot depend on their parents and must instead embrace their newfound independence.
In conclusion, travelling to a distant place to study might be financially challenging for those who have just left their childhood home, but the advantages of being independent far outweigh that drawback.
Shabnam Shukhratova
8th grade student of school 21, Navbahor district, Navoi region. Her creative works have been published in international anthologies. She is the holder of international certificates.
There are various greetings in Korea, ranging from gentle nods to bows. When exchanging greetings, actions are as important as words since the behavior expresses respect towards others.
In Korea, people greet each other by lowering their head or bending forward at the waist, and these actions demonstrate respect for the other party. On ordinary occasions, or when greeting unspecified individuals, people exchange nods, slightly lowering their heads. Korean soap operas commonly show scenes of workers entering their offices exchanging morning greetings with gentle nods. When politely greeting one's elder or superior, people usually bow. For example, sales clerks in department stores bow to customers and sometimes people bow to individuals in higher social positions.
There is a type of greeting called Jeol (a deep bow), which involves kneeling down and bowing the head to the ground. This is more courteous than a greeting done standing up. Jeol was more common in previous times of Korean history, but presently it is only done on special days or circumstances. In the past, the deep bow was given to show respect for parents, when leaving for a long travel, or when thanking somebody. However, now it is only performed on special occasions, such as on Lunar New Year's day, during traditional wedding ceremonies, as part of ancestral rites or when newlyweds visit their parents after returning from their honeymoon
Korea's modern way of greeting is the handshake. The handshake came to Korea through the influence of western culture and is usually done in public situations rather than in less formal occasions. While it is generally considered appropriate common between men, women tend to offer their hands first in meetings of mixed gender.
Korean culture has various ways of greeting, and there are some differences with the greetings of the West. In western culture, people usually look each other in the eye when sharing their greetings. However, in Korea, it is considered impolite to make eye contact with an elder while greeting them. As such, it is more appropriate for the inferior to lower their eyes when greeting their superiors. Even so, it is considered polite to make occasional eye contact during conversations after the greeting is complete.
In Korea, people give gifts while exchanging heartfelt greetings on special occasions such as weddings, funerals or when visiting hospitals. People show their affection by giving gifts, which are sometimes in the form of cash or gift certificates. In Korea, the type of gifts varies based on the occasion and relationship to the recipient. Throughout the ages, people shared rice cakes made with red beans with their new neighbors after moving. This is because Korean people believed that the red color of the beans prevented bad things from happening. Sharing red bean rice cakes remains a custom in the rural areas, and this custom is sometimes even seen in apartments in the city.
Safarova Farangiz, 19 years old. Second year student of the Faculty of Korean Language of the International University of Kimyo.
“Pygmalion” is a play written by George Bernard Shaw. It is named after a Greek mythological figure and was first presented to the public in 1913. Having carved his Galatea from ivory, the mythological Pygmalion appealed to Aphrodite to breathe love and life into the statue. After falling in love, the statue came to life, became the wife of the hero and gave birth to his daughter. However, a psychological play and a psychological novel of the twentieth differs from the ancient myth in that it does not recognize formal endings. A realist writer appeals to everyday experience, and from experience we know that life is far from always obedient to our intentions.
Taking the myth of Pygmalion as the basis of the dramatic plot, Shaw permeates it with irony. While the reader or viewer, having believed in the mythologism of the drama in advance, patiently, albeit with some distrust of the new Galatea, awaits a happy ending.
“Pygmalion” has the subtitle “A Romance in Five Acts”, which emphasizes the closeness of the play in its style and artistic objectives to the English realistic prose of the early twentieth century. Meanwhile, this mature, artistically perfect work of the English writer is a vivid example of the genre of “drama of ideas” he himself created. Sometimes this favorite genre of Bernard Shaw is also defined as “intellectual” or “paradoxical” drama.
“Pygmalion” explores how social identity is formed not only through patterns of speech, but also through one’s general appearance. The book highlights the complexity of human relationships, and the interaction between classes. One of the biggest lessons is from Eliza and it is if you keep on elevating and making yourself better in life, it is virtually impossible to return to the way you were. The book teaches us how the upper class ostracized the lower class. Shaw highlighted the errors in people’s ideas of how the lower classes lived and all the social prejudice including views of women and of the poor.
The plot of the work is quite ironic due to parodic stylization, tragedy of the life of society, directed against a spiritually rich person, and the main elements of the play are numerous paradoxes and discussions. Thus, the theme of the work emphasizes the spiritual awakening of people possible through the art of words and creativity. This play has a more social and democratic orientation, being a work about the natural equality of people living in society.
This work is like a psychological love drama, which entailed the hatred of its participants for each other. It shows how carefully people ought to treat all living things, the author tells us about the fear and avoidance of cold experiments on people.
During the writing of Pygmalion, Shaw was particularly fond of phonetics. He believed that ideally correct English speech is possible to change a person’s character and behavior. Subsequently, he donated a large amount of money to compile a new English alphabet, helping to eliminate the line between writing and pronunciation of words. The theme of “Pygmalion” in the minds of Shaw’s contemporaries was connected with the ideas that he shared with all his heart – the ideas of social equality and female emancipation. However, later, having survived the social recipes of its time, this work essentially returned to the mainstream of those eternal themes that originate in the ancient myth. This is a play about how a person in his creation of another person can become like the divine creator.
The play “Pygmalion” tells us how the lives of people can change thanks to the received education. So, the play’s problems are multifaceted. We emphasize that Bernard Shaw was able to highlight the problem of inequality of people in society in his work. The play also has an instructive and educational value related to education. After all, proper education and upbringing plays an important role in the life of any harmonious and self-sufficient person.
After reading this book I have to conclude that it takes more than just talking as a lady to become one. In my point of view, Eliza was able to be a lady, however it is not so easy. It was very complicated to change one’s character or behavior. Even Eliza has just chosen another life with different society. At the end, she has understood that this kind of life is not for her and she just wanted to be happy, to stay the way she was with her kindness.
Uzbekistan state world languages University the third year student of the faculty of English Philology Boboeva Bakhora
