The great Eastern sage Abu Ali ibn Sina, when asked, “Why is there so much evil in the world?”, replied: “The cause is you and us. By abandoning the struggle against evil due to ignorance or incompetence, we ourselves open the way for the widespread growth of evil.” Indeed, ignorance and indifference are among the greatest obstacles to the development of society. Therefore, in preventing such vices, it is of paramount importance first and foremost to thoroughly study the Constitution and to comprehend its essence and meaning.

The Constitution is the most important political and legal document of every state and the juridical expression of the will of the people. It reflects everything from the foundations that define the structure of the state, the form of governance, the principle of separation of powers, and the guarantees of human and civil rights and freedoms, to the general criteria that ensure social stability. The Constitution of the Republic of Uzbekistan is of particular significance because it embodies the ideas of building a democratic state governed by the rule of law, forming a free civil society, and prioritizing human interests. For this reason, it is recognized as a solid foundation of freedom, justice, and prosperity.

The term “Constitution” is derived from the Latin word constitutio, meaning “establishment” or “structure.” That is, the Constitution is the fundamental document that defines the structure of society and the state, the form, principles of operation, and powers of authorities and administrative bodies, as well as the basic rights and duties of citizens. The fact that all laws, codes, decisions, and decrees in the country are adopted in accordance with the Constitution is clear evidence of its supreme legal force.

The Constitution directly influences all spheres of social life—political, economic, spiritual and moral, domestic, and labor relations. The following words of President Shavkat Mirziyoyev vividly express the invaluable role of the Constitution: “It can be said with full confidence that the Constitution of the Republic of Uzbekistan is a high example of our people’s political and legal thought. It has been and continues to be a legal guarantee of living freely and independently, peacefully and securely, and in prosperity, without dependence on anyone. It serves as a solid foundation for building a legal democratic state based on market relations and a strong civil society.”

The significance of studying the foundations of constitutional law lies in the fact that a citizen clearly understands his or her rights and obligations, distinguishes between actions permitted and prohibited by law, and becomes aware of the ways and means of protecting legitimate interests. Most importantly, such knowledge instills firm confidence that justice can be achieved by observing the law.

In conclusion, the Constitution of the Republic of Uzbekistan is a noble document that regulates the life of the state and society, ensures the legal protection of every individual, and lays the foundation for a prosperous and just life.

Egamberdiyeva Diloromxon,

2nd-year student, Group 24-04,

Department of Philology, Uzbek Language.

“My Mother Tongue – The Pride of the Nation”

Mother tongue is the most beautiful melody that comes from the heart of a people, the most sacred word. Every person first understands the world through their mother tongue, begins to speak with their mother’s lullaby, and feels life through this language. Therefore, mother tongue is an invaluable heritage for every nation, the most sacred wealth left by ancestors.

The Uzbek language is a language that embodies ancient history, rich culture, and high spirituality. Each of its expressions conveys the spirit, love, honor and dignity of our people. When a person hears words like “Love,” “Homeland,” “Mother,” “Friendship,” feelings of pride and honor awaken in their soul. Through these words, we understand our identity and our roots.

Alisher Navoi said, “A people who know their language will be a people, a people who do not know their language will not be a people.” There is deep meaning in these words. Because a nation without a language is like a tree whose roots have been cut. We must justify the trust of our ancestors by preserving, loving and cherishing our language.

Today, the Uzbek language, as the state language, is taking its place in all spheres of our country’s life. This is a source of pride and honor for us. As the younger generation, we must enrich our language further, and justify the trust of our ancestors by loving and cherishing it.

Language is a bridge. It connects the past and the future, the dreams of our forefathers with our noble goals. Therefore, whoever preserves their language actually preserves the history, honor, and pride of their people.

Let us also speak our mother tongue with love in every word, with pride in every sentence. Because “My mother tongue – the pride of the nation” is not just a slogan, but an eternal truth that lives in our hearts.

Termiz State University 

Faculty of Physics and Mathematics, 

Mathematics Department,

 1st year student – Safarqulova Iroda

Self-Focused Workshop


Workshop happens on a continuous basis

1. Foundation and identity Validation:

Who the heck are you and what do you bring to the ball?

2. Getting yourself around and getting yourself chosen:

While making your rounds If you wanna get chosen first choose yourself

3. Managing your quirks neuroses while accentuating your positive traits:

Carefully calculate risks versus reward but not at the expense of not being YOU first

4.  Daily functionality and internal stock management:

Identify what works and let go of the rest 

Haiku: Let it Float Away

Let it all float away

Like the boats and the stray leaves

On a moonlit bay…–

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.–

Thirst for Love

‎

‎I will leave this city

‎           I won’l leave you

‎Give me some time

‎           I will find myself.

‎

‎I will leave this air

‎           I won’t leave your scent

‎The scent will intoxicate

‎           My ignorant little soul.

‎

‎I will leave the water of this river

‎           I won’t leave your face

‎I will be alone day and night

‎           A loving poet in the words of poetry.

‎

‎I will leave this sky

‎               I won’t leave your house

‎My sky is huge

‎       The storm of heart will stop there.

‎

‎I will leave the love of the earth

‎                       I won’t leave your path

‎I will walk with the stars

‎                I will definitely look for you.

‎

‎I will leave this body

‎          l won’t escape your touch

‎I will wait in the grave

‎           Where you will be true.

‎

‎ No one can stop me

‎               In the way of love

‎Boat will arrive in the river of time

‎             To take me away.

‎

‎We will meet in a garden

‎              Like flowers on the same stem

‎Becoming the water of a river

‎                  We will wet both banks.

‎

‎Look at this chest

‎               In the sword of your love

‎My love is alive     

‎          In the truth of your Love.

Taro Aizu’s Anthologies as a Global Poetry Bridge

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Taro Aizu of Japan is widely regarded in multicultural literary circles as a poet editor and global cultural mediator whose work transforms personal history into a shared human narrative. Born in 1954 in the Aizu region of Fukushima Prefecture and now living in Ito near Tokyo he carries the memory of his homeland into a body of poetry that spans Japanese English and French and reaches readers across continents. His long dedication to gogyoshi and gogyohka reflects a commitment to concise forms that distill emotion memory and ecological awareness into luminous moments. Critics often observe that his voice blends regional rootedness with planetary consciousness allowing local landscapes to resonate with universal meaning.

.

The events of March 2011 marked a defining moment in his literary journey when the earthquake tsunami and nuclear disaster struck Fukushima. His trilingual volume My Fukushima emerged as both testimony and healing gesture and gained remarkable global participation through translations by readers and fellow poets across social media networks reaching twenty languages. His Takizakura gogyoshi extended even further into thirty five languages demonstrating how poetry can mobilize international solidarity through grassroots collaboration. Multicultural press coverage frequently highlights this phenomenon as an example of participatory translation where community engagement becomes part of the creative process and where a regional tragedy is transformed into a shared global reflection on resilience and renewal.

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Beyond authorship Taro Aizu has played a significant role as an editor and compiler shaping the international presence of gogyoshi. Since 2019 he has produced successive anthologies of World Gogyoshi bringing together poets from diverse linguistic and cultural backgrounds and establishing a platform for cross cultural dialogue. His publications including The Lovely Earth La Terre Précieuse This Precious Earth and Our Lovely Earth created with Indian poet Dr Sigma Sathish reveal an enduring thematic concern for the planet and humanity’s responsibility toward it. Through these works he positions poetry as an ethical practice that fosters empathy environmental awareness and intercultural understanding.

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His influence extends into interdisciplinary collaboration where his poems have inspired exhibitions and performances across Europe Asia and South America including events in the Netherlands Brazil Germany Portugal Spain France South Korea and Macedonia. Collaborative concerts in Japan and international art projects demonstrate how his work moves fluidly between text image and sound creating a living network of artistic exchange. Honors from international festivals and literary organizations including awards in Japan the Philippines Macedonia and Greece affirm his standing within the global poetry community. Viewed through a multicultural lens Taro Aizu represents a model of contemporary literary citizenship whose writing editing and collaborative initiatives continue to build bridges across languages cultures and artistic forms.

.

AWARDS

First Prize, 28th All Japan Modern Haiku Competition, Japan, 1991

Special Prize, 2nd Love Poems Competition, Japan, 1991

Three gogyoshi selected for TAKE FIVE Best Contemporary Tanka Volume 4, USA, 2012

Poet Laureate Award, Philippines, 2013

International Excellent Poet Award, Japan, 2014

Literary Career Award, Ditet e Naimit International Poetry Festival, Macedonia, 2015

Award of the Poem, Heraklion, Greece, 2016

ACHIEVEMENTS

Wrote gogyoshi and gogyohka in Japanese for over 12 years and in English and French for 6 years

Published My Fukushima in Japanese English and French following the 2011 Fukushima disaster

My Fukushima translated into 20 languages by global literary community

Takizakura gogyoshi translated into 35 languages through international collaboration

Inspired art exhibitions in Netherlands Brazil Germany Portugal Spain France South Korea Macedonia Belgium UK and Korea between 2012 and 2018

Invited guest and award recipient at international poetry festival Ditet e Naimit in Macedonia, 2015

Co published haiku collection Our Lovely Earth with Indian poet Dr Sigma Sathish, 2016

Compiler and editor of World Gogyoshi anthology series since 2019

Founder figure in global promotion of Gogyoshi Art Project International exhibitions

Collaborative poetry concerts held in Japan including Inawashiro Aizuwakamatsu Tokyo and Kanagawa

WORLD GOGYOSHI ANTHOLOGY SERIES

The First Anthology of World Gogyoshi, 2019

The 2nd Anthology of World Gogyoshi, 2020

The 3rd Anthology of World Gogyoshi, 2021

The 4th Anthology of World Gogyoshi, 2022

The 5th Anthology of World Gogyoshi, 2023

The 6th Anthology of World Gogyoshi, 2024

The 7th Anthology of World Gogyoshi, 2025

The 8th Anthology of World Gogyoshi, 2026 (forthcoming)

Gogyoshi is a contemporary poetic form that distills thought and emotion into five concise lines, yet within this brevity it offers remarkable depth, flexibility, and cross cultural adaptability. Originating in Japan and shaped through modern practice, gogyoshi differs from traditional syllabic forms such as haiku and tanka by freeing the poet from strict syllable counts while preserving a disciplined economy of language. Each line functions as a unit of perception, allowing images, reflections, and emotional shifts to unfold in quiet progression rather than in a single moment of revelation. This structure makes the form especially suited to contemporary themes including ecological awareness, displacement, memory, technological change, and spiritual inquiry, while still retaining the contemplative spirit associated with Japanese poetics. In international contexts gogyoshi has become a bridge form because it is easily translatable and adaptable across languages, enabling poets from diverse traditions to participate without losing their linguistic identity. The work of Taro Aizu has been central to this global expansion as both practitioner and editor, promoting the form through multilingual publications, world anthologies, collaborative exhibitions, and community translation projects that invite participation from poets, artists, and readers worldwide. Through these efforts gogyoshi has evolved from a national innovation into a shared global practice that encourages clarity, emotional resonance, and intercultural dialogue. Its five line architecture invites both discipline and freedom, allowing poets to juxtapose stillness and movement, personal memory and collective history, local landscapes and planetary concerns. As a result gogyoshi stands today as a living poetic form that embodies the values of accessibility, collaboration, and global literary citizenship, demonstrating how a concise structure can hold expansive human experience and foster meaningful connection across cultures.

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Gogyoshi stands today as one of the most open and adaptable forms of contemporary Japanese poetry, defined by its essential structure of a title and five concise lines while remaining free from rigid syllabic counts, rhyme schemes, or prescribed line lengths. First introduced in 1910 by poet Tekkan Yosano with specific syllabic patterns that saw limited adoption, the form was revitalized in the early twenty first century when poets began embracing a modern version liberated from numerical constraints, allowing expression to emerge through clarity, brevity, and layered meaning. Unlike related five line forms such as tanka or gogyohka, gogyoshi is distinguished by the presence of a title that frames the poem’s emotional and conceptual field, guiding readers into a compact yet resonant experience. The term gained international recognition when Mariko Sumikura introduced the English word gogyoshi in 2009, paving the way for global practice and translation. A significant milestone in its evolution came in 2018 when Taro Aizu proposed World Gogyoshi, a bilingual adaptation designed to foster intercultural dialogue and world friendship through poetry. His framework emphasizes seven guiding principles including the use of two languages, capitalization conventions, brevity in each line, and the goal of strengthening global connection. Through annual anthologies and collaborative initiatives World Gogyoshi has expanded into a participatory international movement that invites poets to retain their mother tongues while engaging a shared English medium, transforming the form into a living bridge among cultures. Today gogyoshi is recognized as the freest of Japanese poetic forms, valued for its accessibility, translatability, and capacity to hold profound reflection within minimal space, enabling poets worldwide to articulate personal memory, ecological awareness, spiritual inquiry, and collective experience in a structure that is both disciplined and boundless.

The Retired French Gangster to his new Yoga Master

« Nothing remains to me

Anymore, I have lost

My wife in Miami

And which is maybe worse

All my money in Nice…

But then why would I care

It was not mine, I guess

The life of a gangster

Full of speed and distress

Drags you to the abyss…

And… Life is a true chance

If you like what you do

As my friend Mamadou

Used to tell me in France

In two thousand and two

I will start from anew

And while I stay with you

I will be happy to

Settle in Bangalore !

And I will learn some more

Of your science, Hindu…

You will open the door

For a karmic rescue,

To lift me from the floor ! »

(a moment of silence)

…

« Do you know Nice ?

It’s very nice ! »

*****

A Parisian party fiend (What he did last summer)

Partied, party again,

Toast for Amanda Lear,

With my mate Édouard Baer,

At festival de Cannes…

Moved on to Athens, Greece…

Big one in Mykonos…

The second was a loss !

Epic comeback to Nice…

Casual gig in Paris,

A place called “Trois souris”.

But, the weather was dull…

Two weeks in NYC,

Dropped it with the MCs,

Flirted with a fit girl…

Ended in Normandie,

Bound to homeland again…

Party with some old friends !

*****

The Mansion

There are trees, lawns around, a mansion and the skies…

The Sea is not here though, or as a remembrance,

The Sun plays hide and seek and a fly there dances

Trees, lawns, the Sun, the skies, this house and a fly…

And there are you and me, and we read the poems,

With a glass of juice, and smoke dims the indoor lights

As the afternoon passes and runs out of sight…

We are quiet children in the mansion of dreams !

*****

The Sea (Discussion)

The beauty of a wave

The deep warmth of the Sun

And I dream ! And Dream on

With joy for this day saved…

– Sail the Seas o my pale

Wild Dreams – I will stay here

With my girl on the clear

Sand shoreline stream – She’s Kale… 

Could you buy cigarettes ?

Asks Kale

Honey they’re off

But I Have Davidoffs

In my blue jeans pocket 

– Poke

– Once they will be back

We have a plane to take ! 

– Yes… Berlin sounds great !

I can’t wait ! 

– Please, give me a kiss…

Darling Miss !

*****

The wizard’s in love

« – I am your wizard !

Sweet Ma Margot !

What should I catch ?

Three days of blizzard ?

Or a snatch ?

Or a gin-cargo ?

A crown of dandelions ?

Or a French mansion ?

Or maybe a lark,

Singing on a birch ?

Or a bench in a church ?

Or a ship and its pavilion,

Sailing far and far ?

Or a dimension,

Of our perception,

Where we look bizarre,

And I wear a trench ? »

« -Can we light a torch,

And walk in the dark ?

Then sit to watch,

The stars ? »

*****

Kalina

Kali, o Thy, love of Shiva,

Reign onto me, with all Justice !

For my few instants : Glory, Bliss,

Of you o Thy Kali, deva…

To Kali my life will provide,

I will revere Her, night and day,

Until a new heart grows inside,

My heart ! Rectified from astray…

“- Serve ! Whisper the echoes… – Serve Her !

– You might be in Her Graces, flare !”

I dear, and I dear my prayers…

The noble Mysteries we glean,

Praying Kali, drive on a lane,

Of flowers, the thoughts of Her priests…

“Kali ! Asceticism ! Feist !”

*****

Ode to the Sun

If one looks right into the Sun

For a second the sight grows dim

Then varies the actual esteem

Of Futures, Presents and Times Gone

O Thy Sun Keeper of our Dreams

Lead us ! For an Eternal dance…

We will not forget the immense

Love you showed as laced on your beams…

When we darling buds of a tree

From Earth live the scope of our lives

Light our ways ! Everlasting Wise !

Galactic

     Glorious

           Memories !

*****

What did the French do ?

(Cock a doodle doo !)

Frenchmen are well known for their meals

Since the dawn of Time -And they set

Up many useful things : they let

To day Stew, Barrels, Omelet

Mayonnaise, Mustard, Red Wine, Ale…

After these, they hosted the Christ

Back from revival -In Marseille

He taught them Courtesy, and stayed

For a while -Till Temple’s betray…

-He left with His long kept secrets…

Then the French found out Vinegar

Of the four birds, a medicine,

Measured the weight of oxygen

With Pascal -“They think thus they are”

Had said Descartes…

Then : White Sugar

Then : Aspirin

Spleen…

Rimmel

Modern Art…

Cinema

Bras

Atome

Perfume

Swing…

Air Mail…

…

Let’s stop with Bikini !

“Et les filles

Qui habillent

Leurs menus

Coeurs Nus

Dans le Gris

Paris

Sourient…

Dis !

C’est le Paradis !”

*****

Prayer

O Thy

Lord

In the Skies

Up High…

At your

Chords

Love pours

The Hours

Angels

Orb

Channels

Eternal

My Faith

Ore

Thy Blesseth

Forever !

*****

T.26. 

In Control

How far away can we be,

How remote, how little

Involved? At some point

Distance became an issue

And involvement followed.

I haven’t opened or closed

Our garage door in years. As

If the simple twist of a wrist

And a tug were things I gave

Up on purpose. I haven’t had

To stand by the TV to adjust it,

Change the station, volume or

Brightness. I start the car, hot

Days and cold, in the living room

No need to face the temperature.

The car can do that without me.

I have become more and more

Remote, the guy pushing buttons

And telling electronics what I want

“Play my playlist, ‘Opera’ Alexa”

And she does. “Pause.” “Order

This one, order that.” I’m becoming

A voice that speaks in an empty

Room to an electronic device, an

Inert being waiting for all these to

Act for me – my more and more

Remote self.

                       The List

Let’s see, there’s broccoli and carrots

On the list, along with celery and limes

And there’s grapes and lemons There’s

Potatoes, of course, russet it says, but to

Me they’re all the same or look the same.

I’ve spent too much time and money here

In the produce section and haven’t even

Got to the wine section or the rice section

Then the bread, then V8 and oh yes stuffing

And brown sugar. The list keeps me on the

Move getting in my steps, and I still have to

Get to the canned vegetables and frozen spinach.

The list reminds me of what we eat and how we

Eat – peel, chop up, mix, strain, put on the stove

Or in, and then we wait for it to be done and served.

There’s nothing left for me to imagine about all

This hum-drum part of my day, of my life – no

Hunting, no cleaning out and dragging, or dressing

Our kill. There are no fields to plant or tend, no

Harvest to bring in. No, I am a creature of habit

A creature following a cart up and down the aisles

A creature who follows a list as if his life, or at least

His dinner depended on it.

    A Poem

Wanted a poem

Got a paragraph.

It happens –

All those years

All those comp

Classes, classes

As far as the eye

Could see

At the time

And now

They haunt me

When I write

A poem and I’m

Thinking thesis

Statements, intros

Conclusions

Summing up

What was said

Nothing metaphoric

Nothing left to

Readers to get

Or add to.

Comp classes

We have to begin

Somewhere and

There we were

And now

Here I am

Stuck in freshman

Comp pretending

To be a poet.