New York


Merriment of London walks
Sunshines of New York
The latte amore, my Paris
I bespoke every little detail
With my buckets in hand

I go down a little
Like white swans in 
Deep blue lakes
My overarching newly molten 
Blues 
My guitar friends like those
Who know how to tune
Into a little merriment
My forever Paris in his hand 
Lakes Cities Sheds Apple branches
Spread everywhere
Like a little kid 
She got her cake a blueberry almond pie
My London walking in evenings
Forevermore in bejewelled spectacle

I go up now
In New York
Amidst thousands hand clappings 
I found home
A little louder 
A little bird her squeaky quick
The little blueberry muffins
Understanding
London the pink world
My one day in London. 

Effect of floods on geological processes in mountains

 National University of Uzbekistan

 Faculty of Hydrometeorology

 1st year student Akramova Shiringul

 Furqatjon’s daughter.

 e-mail: akramovali32@gmail.com

 Phone: +998995524473

 Abstract: Floods have a great influence on the geological processes in the mountains. As a result of the movement of the floods, complex processes such as decay, washing, erosion occur in the mountains. This causes the geological composition of the mountains to change.

Key words: floods, geological processes, terrain, meteorological phenomena, hydrological conditions, ponds, physiography.

Key words: floods, geological processes, terrain, meteorological phenomena, hydrological conditions, ponds, physiography.

Key words: flooding, geological processes, relief, meteorological phenomena,
Hydrological conditions, water, physiography.


 Floods are caused by various geophysical mechanisms in a wide range and of great power. Objectives are considered on geological time and space scales, but the main criteria of climatic, topographical and geological factors of the channel predictably influence and limit the size and extent of local floods in floodplains. Many of these effects are specific and not topographical or climatic, with damage, for example, local correlation of specific types of floods. But some are less specific measures, including geological control over the time, location, connection and magnitude of natural dam failures. In this paper, we describe the main factors that affect the magnitude or insignificance of floods and how these factors vary temporally and spatially over geologic time and spatial scales. 

Or risks are addressed. Even experienced hydrologists and geologists each consider floods to be of scientific interest beyond modern experience, such as the Pleistocene Missoula floods. Such large floods are unique. 1. Due to its uniqueness and role in shaping the landscape, it played an interesting and dramatic role in phrasing 2. Flashes for inquiry and debate, but they are not and usually considered. Normal geophysical component 3. Certificate behavior. 

But really, floods of any size and source can be considered a geological process on the same level as any other Earth system, so tectonics and the atmosphere have attributes, causes, effects, and even correlations. Causes processes such as circulation. Practitioners of paleoflood hydrology, who study floods of various scales and in different geologic periods and environments [Kochel et al. Baker, 1982], well-placed rates and the evaluation, description, and even quantification of these correlations. Indeed, many of the articles in this volume present examples of floods that occur under certain conditions as a result of these geological, physiographic, and climatic interactions. The purpose of this paper is to provide a general context for individual paleoflood studies on landscapes. 

Systematic characterization of the spatial and temporal distribution of large floods and flood-causing mechanisms can thus provide a framework for the ecological status of floods and floods in Earth’s history. These results are consistent with the vapor and physical limits for surface flooding determined from total snow. A closer look at flood-generating processes From an empirical perspective, the magnitude, duration, and extent of river floods vary greatly depending on the source mechanism, global location, geology, and physiography, but despite this variation, how large a flood is.

There are real physical limits to what can be. Meteorological floods are caused by various types of storms that deliver a volume of water up to 1011 m3 for several days or weeks, as well as from seasonally stable climatic conditions that deliver more than 1012 m3 for several weeks or months, and the highest leads to flow. As much as 105 m³/s in large, continental-scale basins. The main limits for meteorological flooding depend, first of all, on the level and volume of precipitation, as well as on the efficiency of distribution of precipitation concentrates to channel networks. 

Global and US flood records show that primarily for basins affected by individual storms, the largest flows occur in areas where atmospheric moisture or storm tracks are intercepted by local topographic relief.For larger basins, the largest fluxes result from seasonally stable climate patterns and, on a global basis, tend to be in tropical regions with more moisture. The contribution of high-relief topography to meteorological flooding is particularly noteworthy because of its dual effects of (1) raising atmospheric moisture, thereby increasing local precipitation, and (2) facilitating more rapid concentration of runoff into channels. 

Floods from dam failures and terrestrial fresh water sources such as lakes and glaciers have similar total volumes to meteorological floods, up to 1013 m3, but larger 2-107 m³/s with waste. During the Pleistocene Ice Age, glaciers and changing hydrologic conditions disrupted drainage systems, causing the largest well-documented dam floods to breach ice dams and basin divides of the Great Lakes. From the Global perspective, the magnitude, duration, and extent of river floods vary greatly depending on the source mechanism, global location, geology, and physiography, but despite this variation, there are real physical limits to how large a flood can be. 

Meteorological floods are caused by various types of storms that deliver a volume of water up to 1011 m3 for several days or weeks, as well as from seasonally stable climatic conditions that deliver more than 1012 m3 for several weeks or months, and the highest leads to flow. As much as 105 m³/s in large, continental-scale basins. The main limits for meteorological flooding depend, first of all, on the level and volume of precipitation, as well as on the efficiency of distribution of precipitation concentrates to channel networks.

Global and US Water Regulations indicate that the largest runoff for a basin affected by individual storms in the first instance is when atmospheric moisture or storm tracks are intercepted by topography. For the larger basins, the largest fluxes result from seasonal climate conditions and occur in the tropics, where there is more moisture on a global basis. The contribution of relief topography to meteorological flooding is particularly high because of its two-fold effect of (1) raising atmospheric moisture, thereby increasing precipitation, and (2) concentrating flow movement into channels.  

Floods from external dams and terrestrial freshwater sources such as lakes and glaciers have total volumes similar to meteorological floods, up to 1013 m3, but less than 2-107 m³/s. L is greater. With. The Pleistocene glacial reglaciations disrupted fluctuating hydrologic resource systems, leading to the failure of ice dams and basin divides of the Great Lakes, the largest well-documented dam floods. From the Global perspective, the magnitude of river floods, a very global place, varies with water volume and power source mechanism, geology, and physiography, but depending on the difference, there are real physical limits to how large flood transport can be. Meteor floods are caused by seasonal climatic conditions of several days or weeks up to 1011 3, while the control of the water volume is different, leads to big. As much as 105 m³/s in large, continental-scale basins.

The main limits for meteorological flooding depend, first of all, on the level and volume of precipitation, as well as on the efficiency of distribution of precipitation concentrates to channel networks. Global and US flood records show that primarily for basins affected by individual storms, the largest flows occur in areas where atmospheric moisture or storm tracks are intercepted by local topographic relief. 

For larger basins, the largest fluxes result from seasonally stable climate patterns and, on a global basis, tend to be in tropical regions with more moisture. The contribution of high-relief topography to meteorological flooding is particularly noteworthy because of its dual effects of (1) raising atmospheric moisture, thereby increasing local precipitation, and (2) facilitating more rapid concentration of runoff into channels. 

Floods from dam failures and terrestrial fresh water sources such as lakes and glaciers have similar total volumes to meteorological floods, up to 1013 m3, but larger 2-107 m³/s with waste. During the Pleistocene Ice Age, glaciers and changing hydrologic conditions disrupted drainage systems, causing the largest well-documented dam floods to breach ice dams and basin divides of the Great Lakes. 

From the Global perspective, the magnitude, duration, and extent of river floods vary greatly depending on the source mechanism, global location, geology, and physiography, but despite this variation, there are real physical limits to how large a flood can be. Meteorological floods are caused by various types of storms that deliver a volume of water up to 1011 m3 for several days or weeks, as well as from seasonally stable climatic conditions that deliver more than 1012 m3 for several weeks or months, and the highest leads to flow. As much as 105 m³/s in large, continental-scale basins. The main limits for meteorological flooding depend, first of all, on the level and volume of precipitation, as well as on the efficiency of distribution of precipitation concentrates to channel networks. 

Global and US flood records show that primarily for basins affected by individual storms, the largest flows occur in areas where atmospheric moisture or storm tracks are intercepted by local topographic relief. For larger basins, the largest fluxes result from seasonally stable climate patterns and, on a global basis, tend to be in tropical regions with more moisture. The contribution of high-relief topography to meteorological flooding is particularly noteworthy because of its dual effects of (1) raising atmospheric moisture, thereby increasing local precipitation, and (2) facilitating more rapid concentration of runoff into channels. 

Floods from dam failures and terrestrial fresh water sources such as lakes and glaciers have similar total volumes to meteorological floods, up to 1013 m3, but larger 2-107 m³/s with waste. During the Pleistocene Ice Age, glaciers and changing hydrologic conditions disrupted drainage systems, causing the largest well-documented dam floods to breach ice dams and basin divides of the Great Lakes.

From the Global perspective, the magnitude, duration, and extent of river floods vary greatly depending on the source mechanism, global location, geology, and physiography, but despite this variation, there are real physical limits to how large a flood can be. Meteorological floods are caused by various types of storms that deliver a volume of water up to 1011 m3 for several days or weeks, as well as from seasonally stable climatic conditions that deliver more than 1012 m3 for several weeks or months, and the highest leads to flow. As much as 105 m³/s in large, continental-scale basins. The main limits for meteorological flooding depend, first of all, on the level and volume of precipitation, as well as on the efficiency of distribution of precipitation concentrates to channel networks.


REFERENCES

 1.E. Costa, U.S. Geological Survey, 10615 Sf Cherry Blossom

Dr., Portland OR, 97216.

G. E. Grant, USDA Forest Service, Pacific Northwest Research

Station, 3200 Jefferson Way, Corvallis. OR 97331

lE. O’Connor, U.S. Geological Survey, 10615 SE Cherry

1990 Blossom Dr., Portland OR, 97216. (oconnor(usgsgov)

———————————————————————————

seeking ghosts

i sometimes think

of my life as trying

to play jazz in a

world of strip clubs

and heavy metal

i’m a neon light

weaving through

broken glass and

burnt spoons

an old man on a

porch seeking ghosts

that may or may not

have ever existed

the lonesome howl

of a saxophone in

the rain

frank always had a

way of making me

stop and ponder just

how deep did i want

the pool to be

it’s a birthday

spent in a cemetery

but it’s not the

tombstone i was

hoping for

———————————————————–

another excuse to get depressed

i come from a long

line of radicals

irreverent assholes

hell bent on drinking

away the pain

let’s go fuck like

the fish in the indian

ocean

let’s go dance naked

on the north pole

let’s go march through

the streets of los angeles

chanting for a better

tomorrow that doesn’t

exist

another birthday

another excuse to get

depressed

another night spent

alone

———————————————————————

the never-ending chaos of the world

it’s every night

alone in bed trying

to sleep through the

pain of life, death,

old bones and the

never-ending chaos

of the world

there’s a part of

you that longs for

death more than

the other part is

willing to take

three steps into

the great wide

open and live

a little

there’s no room

for broken souls

any longer

they are being

replaced by robots

and dogs that need

batteries

there’s no gold

at the end of any

rainbow

not even a little

fucker dressed

in green

—————————————————————–

ever dreamed about dunking

i remember being the

only white kid on my

basketball team and

we were at a summer

camp as a team

and one of my black

teammates noticed i

was the only white

kid that wasn’t in

the free throw finals

he asked why was that

i said you guys never

allow me to get in the

paint

i have to stand out here

and shoot threes all game

let’s have a three-point

contest and see who the

fuck wins that

i then asked why there

weren’t any black guys

in the free throw finals

he didn’t answer

instead he asked me

if i ever dreamed

about dunking

i said no

have you ever dreamed

about being automatic

from thirty-four feet

he laughed and asked

have you

i chuckled and said

i don’t have to dream

that

i’m good from wherever

i am in the gym

he dared me to shoot

from where i was

forty feet from the

basket

i took two dribbles

and let it fly

i banked it in because

i could

——————————————————————–

take secrets to the grave

the spanish princess

and i trade war stories

of childhoods torn apart

way too soon

and i know each confession

is a test of my loyalty

but she knows i take secrets

to the grave if asked to

but she also knows i am

capable of burning bridges

and completely erasing a

soul from my memory

with a snap of the fingers

her eyes are smoldering

and she wishes to smother

me with her breasts

i laugh and curse all

the miles between us

one day, before the

tumors take us all

we will meet

lock lips

and come back up

for air a few days

later

J.J. Campbell (1976 – ?) is trapped in suburbia, plotting his escape. He’s been widely published over the years, most recently at Horror Sleaze Trash, The Beatnik Cowboy, The Asylum Floor, Misfit Magazine and Disturb the Universe Magazine. You can find him most days on his mildly entertaining blog, evil delights. (https://evildelights.blogspot.com)

The Space Maker


1
"Moon Walker"


Never dreamed
I would find myself
here


after so many years of life
on tender Mother Earth


rubberized boots
walking
and breathing through a mini globe


marvelling at the skin of the moon
a pitted and quiet
barren buffer against a cast
of stones and new discoveries 


almost soundless
but eerie


as the distant horizon
takes on a reddest hue
bringing me to a stop


red smoke creeping toward me
settling over the mouths of craters


what could be burning
and where is it coming from?


I quicken my slow plodding
and come to the edge of a gaping crater


slow smoke reddish into a dull pink
coming out of a cave on the far wall


I consider climbing down
but something whooshes out of the cave
and flies over me


I duck
looking up as it passes


a Nazi insignia on the bottom
of an old flying saucer


war seems to be everywhere 


I turn and face the sphere of earth
out there in dark space
so near I feel
I could touch it


seemingly nothing ever changes


so I wake up and wonder why
there's someone's blood in my bed.



2
Spinning


Sweet earth of blue
what have we done to you


I stand on your sister moon


squinting through space
over to your sphere


my slow spinning
mother earth
turning into a lonely


immense skull


but the great change is coming
earth reborn
with God's people.



3
Soon


All the land of all the people
all the years settled and dying


so many believing
sky, sea, and sacred places


and prayers and rapture
of saints to heavenly clouds


the Word
directing
footfall and stars


The Space Maker.

An ant

In the garden so small, yet bold,
An ant navigates, steadfast and old.
Tiny feet upon the earth they roam,
Seeking crumbs and treasures to bring home.

With strength not seen by a simple glance,
They carry burdens, they advance.
A colony working as one,
Their tasks in harmony, never undone.

Their homes underground, a bustling maze,
Where life's intricate dance always plays.
In unison, they toil and strive,
Their unity makes them truly thrive.

Oh, to be like the ant, small but strong,
To persevere when the journey seems long.
A testament to diligence and might,
The ant embodies a resilient light.

Don Bormon is a student of grade 9 in Harimohan Government High School, Chapainawabganj, Bangladesh.

nature writing and the heart of the forest worlds

if there are twelve to twenty one forests, some loosely connected, some not connected at all, then the woodlands can in a way be seen or broadly interpreted as a being, as a living thing. and where then is the heart, the centre of it all? it is not what a surveyor or trail walker might at first think, which might be where a large pond waits at the bottom of a hill. and it might not either be the large northern tract that houses a marsh and indeed seems like something more extraordinary than the rest. or up by long wide fields that live at the purlieu of a connected woodlands,- it’s reeds and strange old tree branches watching all seasons and all things w/in each season. it is rather, at the end of the long walking trail that travels through autumnal leaves yellow and orange, and wild sumac preternaturally red. there are hundreds if not thousands of evergreens different in size, providing shade to the fairytale-like acres below. this is where the heart of the region’s forests is, and it is quiet and confident, healthy and untroubled by the outside world.

Life as a Virgule ‘n Caesura

for N. Karfakis, G. Kokkinidis, and C. Batmanghlich

after Philosopher and Poet by Giorgio de Chirico (Italy), 1916 C.E.



Life can only be understood backwards; but it must be lived forwards.
– S. Kierkegaard
(excerpt from Journals and Papers (1843))

He who has a why to live can bear almost any how.
– F. W. Nietzsche
(excerpt from Twilight of the Idols)


   I	The Virgule: Either/Or

Either an Adapa (Adam) to the all-knowing Ea (Elahi); Or a covenant-breaking Judas to one Christ (one the cross) / Either with a silver spoon in the mouth (devoid of dichotomies ‘n dilemmas); Or abandoned on a raft en route to a Pharoh’s spouse / Either the golden throne in a king’s/queen’s court at a palace; Or a joking jester hired to amuse the populace in the town centre / Either an epic with the protagonist being rescued from an eternal torment; Or a ghazal summersaulting in a poet’s throat / Either a blue-tale in hieroglyphs on the pyramids’ walls; Or a spirited-eye painted on the noses of the triremes / Either a newly-hatched chick reduced to fodder for ants on the forest’s floor; Or the twins suckled and raised by a she-wolf, Lupa / Either the cipher engraved on a clay ‘n stone ‘n emerald ‘n glass tablet; Or a bead of ink on the nib of a scribe’s quill pen. 

   II	The Caesura: – Hyphenated

   The sunyata took to an intermission – some portion of the debris took to the milky way ‘n sun ‘n earth ‘n moon.1

   A juvenile boy ‘n girl are all liberated, id est, devoid of hunger ‘n intimacy ‘n what ‘ve you – lo ‘n behold, a gleam from an apple dangling from a branch of a tree.

   Irtiqa is an aficionado of “slow ‘n steady wins the race” – hold thy horses, one man has devised a wheel ‘n A.I. ‘n more as the catalyst.2

   The schools of pink salmon ‘n rainbow trout follow the pulsations of the river – a hibernation-eloping brown grizzly bear steals a micro stock from the overflow.

   The horse ‘n cattle ‘n sheep are all sophists in the cherry blossom-‘n-beebalm-laden fields – the multithemed snowflakes in billions ‘n gazillions terraform the territory into a tabula rasa. 

   The folklorists have the camp ‘n bonfire all prepared for the twinkle-twinkle little night – an empiricist in a laboratory somewhere has the lenses of the microscope cleaned to debunk the age-old pompous oratory of (anthropomorphic) Devas ‘n Devis.

   One Vyasa’s convinced of conceiving a magnum opus in an ovulating thalamus – one Ganesha’s > keen on a game of hide ‘n seek.3




______________

1. Sunyata (Sanskrit): Emptiness/voidness/nothingness. In the classical Hindu(ism) teachings, ‘Sunyata’ is a school of thought that advocates a non-intrinsic nature of things/phenomena, i.e., things/phenomena are subject to the phenomenon of flux (change/transmutability).
2. Irtiqa (ارتقا) (Arabic): Evolution.
3. Vyasa and Ganesha – the epic of Mahabharata: According to a Hindu legend, Ganesha (Lord of Wisdom) only agreed to being a scribe to Vyasa on one condition: no breaks while dictating the said epic.


Stairways ‘n Catwalks

for Nikolas, George, E. Rahim, and L. Jacobs

after Homage to a poet (Omaggio a un poeta) by Giorgio Barbarelli da Castelfranco (aka Giorgione) (Italy), 1477–1510  C.E.



We have two lives, and the second begins when we realise we only have one.
– Confucius

The pen is mightier than the sword!
– An English Proverb


   I

‘Round the rear end of the red-bricked bungalow,
the (fire escape) stairway spirals like the Fibonacci sequence
– 0, 1, 1, 2, 3, 5, 8, 13, … – bearin’ thirteen odd stainless-steel steps.

[
‘N < thirteen odd thousand years or so ago,
our very own Dear Mother Earth took to walkin’ the catwalk
to step away from one long age of the ice age (aka Younger Dryas)
      – like a feisty protagonist of an epic poem –
‘n fashion for us, homo sapiens, a canopy to breathe ‘n breed under.

…

‘N we fashioned all manner of Stairways ‘n Catwalks
– one or two odd Zeuses ‘n Heracleses ‘n Helens ‘n Achilleses 
‘n Medusas ‘n Perseuses ‘n Rostams ‘n Sohrabs ‘n Ramas ‘n Ravanas.
											]

    II

‘N I walk the catwalk scrollin’ up the steep anti-slip steps
– which feels like strollin’ up an elongated perron
to one Buddha’s Temple in the Tibetan Himalayas –
to arrive before a wooden cedarwood door on the 2nd floor
– which makes you want to pronounce افتح يا سمسم –*
I push the copper handle down,
‘n the reverberations from my plantigrade + digitigrade footsteps
have already set the pull tab on the zipper off rattling
of my half-opened black mamba-black cowhide leather postman bag’s
– which projects a notion of a rattle on the tail of a rattlesnake’s–
‘n unlike the venom from one mamba’s or rattlesnake’s mouth,
the verbosity from one mighty fiery dragon’s mouth
– occasionally hibernating inside the belly of my زنبیل –**
is far more intoxicating and indelible than any kinds of poisons
from one or two solenoglyphous or proteroglyphous or opisthoglyphous fangs!

   III

‘N the past twelve odd thousand years or so
of the red blood cells + white blood cells duo
has rather rendered my intellectual-metabolism
immune to [its] persevering strikes ‘n bites—
‘n I grab hold of it by its ovulating throat
– with my pulsating thumb + forefinger + middle finger;
which feels like one Horace pronouncing “Carpe Diem” –
‘n make [its] شہ رگ take to walkin’ the catwalk-of-words***
to pay an homage to one Confucius
in the spiral of 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, … – thirty-four+ odd lines!



______________

* افتح يا سمسم (Iftah Ya SimSim): Open Sesame.
** زنبیل (Zambiil): Bag.
*** شہ رگ (Sheh Rag): Jugular vein.
Le Voyage

for Nashwa Y. Butt & Umme A. Ali

after Road Trip in the Woody by David Michael Hinnebusch (U.S.A.), 2017 C.E.



     The Green Belt

     He pulls the car over; too fast and too close to the green belt (wide dividing strip) in the middle of the dual carriage-boulevard. The car/rikshaw (tuk-tuk) drivers, motor/cyclists et alia become instantly occupied in their heads (the ones that sit on their shoulders) with making-a-meal out of the sudden break on his part. Time has come to go, pack your bags, hit the open road; our hearts just won’t die, it’s the trip, keeps us alive. … So many miles; so many miles, he turns the volume all the way down on “The Trip” by Still Corners to zero. 

     The Qalam

     He hysterically starts looking for a qalam (fountain) pen) inside all the immediately visible and accessible storage compartments – the glove box, cup holders, ashtray holder, door side pockets, storage trays on the dashboard, et cetera. But, there’s no sign of a stylo ((fountain) pen) or a pencil. Swearing follows, heedfully: “GOD DAMN IT – I curse this bastard habit of relying too much on the lead and ink and paper! I CURSE IT!” The heavy shower has stopped, but his mind has left the windshield wipers waving at him. The out-of-the-blue cloudy and rainy post meridiem forces him to reminisce about the drizzles and streets and walks and drives in Leicester, UK; the evocations render le voyage (the trip) into a grey day.

     Miniature Automata

     As a last resort, he takes to the micro keyboard on his Samsung smart phone (he’s a bit old school in that regard; not a great aficionado of the modern technologies and gadgets and IT): “… . And sometimes, the muse does transmute into a rather petit jealous/possessive toddler; she WANTS it all for herself – as an infant on breast-feeding WANTS both boobs for him/herself! … And as such an instant manifests, life – of an artist/poet – comes to an utter halt; and then, the power of co/m/motion-in-inertia takes control of every facet of life; and as such a moment transpires, … .” Midway through recording the aphorism (in the default proprietary Notes application), the phone battery dies on him. The phone charger (with a detachable USB cable) and/or the portable power bank is not to be found anywhere either—neither on the car floor, nor in his tan leather mini briefcase, or in the shalwar/kameez (trouser/shirt) pockets. “The day before, before taking this vahana (ride) to the TOYOTA Service Station, I’d removed all the petit accessories – just in case, the servers couldn’t resist the temptation of nicking my property (a commonplace here – stealing),” he’s solved the l'énigme (the riddle). Swearing follows, mindfully: “GOD DAMN IT – these good for nothin’ miniature automata! I CURSE ‘EM!”

     Oyster & Pearl

     He hits a petit lever ‘round the right side of the wheel console and a petit blinking amber light (in the front and the back) instantly puts him back on the road; and he rushes – oh, he KNOWS how to RUSH – as if a rabbit desperate to get to his ovulating mate. All the while, he works hard to retain the musings in his head (the one that sits on his shoulders) – as an oyster keeps a pearl safe in its belly – until he reaches the 7/11 (a local equivalent of TESCO Express) at TOTAL Parco – he urgently borrows a cheap notepad and a cheap ballpoint pen from the server at the checkout counter, and resumes securing the dictation from la muse: “…, the matter/s-of-rumination/s transcends one’s intellectual/cognitive realm; one’s ‘free will’ even cannot come-forth as a redeemer; one’s only left with the choice of bearing witness to the tapestry of an orgy of alphabet/s and memories unfolding before one’s very sentient being!”



Biography
(Wordcount: 149)


Saad Ali (b. 1980 C.E. in Okara, Pakistan) has been brought up and educated in the United Kingdom and Pakistan. He is a poet-philosopher and literary translator. His new collection of poems is titled Owl Of Pines: Sunyata (AuthorHouse, 2021). He has translated selected ekphrases by Lorette C. Luzajic into Urdu – compiled into a chapbook, Lorette C. Luzajic: Selected Ekphrases: Translated into Urdu (2023). He is a regular contributor to The Ekphrastic Review. His work has been nominated for the Best of the Net Anthology. His poems (after Amin Rehman) have been showcased at an Art Exhibition, Bleeding Borders, curated at the Art Gallery of Grande Prairie in Alberta, Canada. Some of his influences include: Vyasa, Homer, Ovid, Attar, Rumi, Nietzsche, Freud, Jung, and Tagore. He enjoys learning different languages, travelling by train, and exploring cities/towns on foot. To learn further about his work, please visit saadalipoetry.com, or  www.facebook.com/owlofpines.