Sadness arrives like a stone mist, heavy and mute, over the paths of my vision; each step is a knot that ties itself around my legs, and the world shrinks to the size of a trapped sigh.
Grief is a dry riverbed where I walk barefoot, treading on the bones of what once was, and the sun becomes a broken mirror that reflects nothing but shadows of shadows. My breath is a thin thread that breaks every time I try to name what is lost.
But you are the lighthouse made of hands, that shines not with light but with warmth; you pierce my landscape like a tree that grows inward, its roots weaving bridges over the abysses that my feet open.
You are the silence that knows how to speak, the space that opens up in the midst of my anguish; you lift me up as the sea lifts what the wind has dragged to the shore, putting my broken pieces back in place as if they were mosaic. You transform my dust into earth where something can still grow.
GRACIELA NOEMI VILLAVERDE is a writer and poet from Concepción del Uruguay (Entre Rios) Argentina, based in Buenos Aires She graduated in letters and is the author of seven books of poetry, awarded several times worldwide. She works as the World Manager of Educational and Social Projects of the Hispanic World Union of Writers and is the UHE World Honorary President of the same institution’s Activa de la Sade, Argentine Society of Writers. She is the Commissioner of Honor in the executive cabinet in the Educational and Social Relations Division of the UNACCC South America – Argentina Chapter.
Mother tongue
You lie
You cheat
There are maps
of open sores on your face that refuse to heal
They’re as red as an ambulance
They’re like a pot of rice
left too long on the stove
that threatens to boil over
And then boils over
Your wounds, brother, have become my own
I encourage you
I pray for you
Still, it is not enough
I don’t know what you want from me
What do you want me to do for you?
There are days and nights, hours
that I just can’t cope
I just lie there
in the dark, staring at the ceiling
I wear the light like a mask
God is my constant companion
You steal
You curse
You smoke
like a house on fire
And turn the muscles of your lungs
into two orange flames
that dissolves into blackness
in the sea of your chest
That is your mother tongue
The language of addiction
Your crime?
In the sprawling desert of your hands
In the tragedy of your yellow fingers
your slender frame
I search your face
for the signs of addiction
Marijuana
Tik
All I find
are signs of addiction
Instead, I find
your children, walking in your shadow
Two miracles
Two candles
Two burning effigies
like lanterns in the dark
Guiding you, guiding you
It shouldn’t be a teenager’s responsibility, but it is
Your daughter, a rose
Your son, a giant
I think, their love isn’t enough
It isn’t enough to save you
The moon
witnesses my despair
It also witnesses
your own hardship
I thought by now that you’d change
There you are
in the study rolling a joint
The rose standing next to you
Watching you
She is watching you
She is studying your every move
The giant discovers your drug paraphernalia
He continues to play computer games
So, now I pray for them
That a rose will always be a rose
That a giant will always be a giant
That they will be concerned
for the welfare of the children
that they will have one day
That they will be the sun and the moon
in their children’s lives
And I pray
That they won’t
resort to keeping
drugs
and drug paraphernalia
in full view
of their children
I cry everyday, because of you
because of you
Sometimes I look at the rose
and I cry some more
I hide my tears in the garden
in cups of coffee
I want to be brave
like Linda, Charles Bukowski’s wife
I want to be brave
like Charles Bukowski
and Anderson Cooper
who lost a brother and a father
I am only a sister
who doesn’t know who she must blame
I don’t know how to get you
out of this situation
I don’t know
how to save you
I don’t know
how to save the rose, the giant
These hands are ineffectual
And so, I pray.
[Excerpt from Fleury’s Boston Globe featured poetry book Sparks in the Dark: A Lighter Shade of Blue, A Poetic Memoir
archived permanently at the University of Massachusetts’s Healy Research Library]
Dock we’ll dock stones roll and we’ll unroll in my America the big flying eagle birds well done abroad. two groups of people the rich and the poor the young and the old the white and the black and three tons of fat all in procession silent tales are blooming flowers growing shells olive branches climbing white house walls two candles burning shades of gray I trust in god holy bloody sunday comes sunday morning god bless those whose veins bear none twilight swallows the moon darkness descends soldiers gone AWOL run like panthers here and gone they’ve staged a snare running rivers very dry mouths Dutiful soldiers beat their drums paragons of strength and honor masquerade balls dinky shoots smack and the dumb blond flunks fall down stand up walk the line walk backwards juggling well will set you free!
Jacques Fleury
Jacques Fleury is a Boston Globe featured and internationally published Haitian American poet, theater reviewer, educator, author of numerous books of essays, reviews, fiction, poetry and literary arts student through Harvard University. He was chosen among over 4, 000 competitors from 83 countries as the Recipient of the International Naji Naaman Literary Prize for Creativity (2026) and a Certificate of Participation for his “…esteemed contribution of poetry to the anthology Water: The Source of Life (Volume IV) presented by La Fenetre De Paris.
Jacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self
You are painting and you have already washed everything
with water so that the colors are in such layers
and you are careful with the shades.
It’s all in the shades, you say.
Thats how you are in life,
you dont express yourself quickly about something
and you use all kinds of excuses to avoid
or kept your opinion silent.
It’s all in the shades.
When, very rarely, you have a guiding thought
a certain musical theme is heard throughout the world
which aims to characterize you,
as a person or an event related to you,
which is always repeated when appearing on
stage you as a hero and in memory of that particular event.
It is so important to tell the world what you think,
without hesitation.
You are not a man inexperienced
in the art or your art of silence
you are not a layman, you know a lot.
You recognize the shades of life in the world.
You sometimes feel like
a man running with a burning torch
and you think everyone sees it like
at the opening of the Olympic Games.
And only you see the hot and liquid mass
that volcanoes throw out
which flows from them and which,
when cooled, hardens like stone
painting his washed-out pictures in shades.
And you won’t even admit to yourself
that you felt the eruption of the world
still silent.
In its shades…
Yes, you felt the avalanche
powerful mass, as a contrast,
that destroys everything in front of it.
That you felt both hot and cold.
Tanja Ajtic was born in Belgrade, Serbia. She lived and studied in Serbia. She is a poet and a writer, but she is also an artist. She also deals with fine graphics. Since 2002, she lives and creates in Canada. Moved to Belgrade, Serbia 2023. Tanja Ajtic is a member of many groups and associations. In Serbia, she is a member of the prestigious Society of Writers of Belgrade. Her poems and stories have been published two hundred collections (books), anthologies and electronic books. Her poems have been published in twelve languages. She published her book Outlines of Love. She participated with books and anthologies at many fairs in the world with other authors. In 2024 and 2025, Ajtic collaborated with Indian poet Sourav Sarkar on two joint poetry collections that present two works by the poet in one book. – She won second prize in Great Britain from the Serbian Library in London (2019). – She won III World Prize for Excellence; Cesar Vallejo; 2021 in the category of artistic excellence Lima, Peru, by the World Spanish Union of Writers and International Award of Excellence; from the World Spanish Union of Writers, UHE Mexico.
She won the I International Award of Excellence & “Cita Del Glateo” Antonio De Ferrariis, IX edition 2022 – Rome, Italy, a prestigious award in the group of poets for the English language (IX edition of the award for foreign poetry in English) in 2022, Rome, Italy. – Winners of Foundation Naji Naaman literary prize iz 2023; (21 st Edition), from the Republic of Lebanon, Honor Prize (for complete work) for Literary prizes 2023. Poetry for the competition was submitted in three languages: English, French and Arabic. – Winning the 2023 “Zheng Nian Cup” Literary Award – Third Prize by the Beijing Mindfulness Literature Museum, China. – Winning Third Prize, Friedrich Schiller International Literary Competition (2025). She is the winner of many awards, diplomas and certificate. She is currently writing poetry, short stories, haiku, Gogyoshi poetry as well as graphics artist as a freelance artist.
Nodira Akhmetova Pulat qizi Uzbekistan, Karakalpakstan, Student of School No. 69, Ellikkala District
Abstract This article examines the importance and impact of digital literacy in Central Asia. The study analyzes the role of modern information technologies in the development of the Central Asian countries. The results indicate that digital literacy contributes significantly to the progress and advancement of the countries in the region.
Keywords: digital literacy, youth, education, survey, observation.
Introduction Today, the rapid development of digital technologies has a significant impact on the advancement of many countries. In particular, digital literacy in the Central Asian states is expanding educational opportunities for young people. Therefore, studying measures to further improve digital literacy among the population has become one of the most relevant issues of our time.
Literature Review In recent years, many scholars have investigated the effectiveness of digital literacy. According to their findings, digital platforms increase access to books and support students in pursuing independent learning. At the same time, some researchers have also highlighted the negative effects associated with prolonged use of electronic devices.
Research Methodology The study employed observation, survey, and comparative analysis methods. The collected data were analyzed using statistical techniques.
Results and Discussion The survey results show that the level of Internet usage in Central Asian countries has been increasing from year to year. However, key components of digital literacy—such as critical evaluation of information, fact-checking, and cybersecurity awareness—remain insufficiently developed. Among the countries of the region, Kazakhstan holds a leading position, while Uzbekistan is also achieving notable positive results in its digital transformation processes.
Conclusion The understanding of digital literacy among the peoples of Central Asia is increasing day by day. Moreover, the strong interest of young people in this field is an important factor contributing to the growth of digital literacy. The effective use of electronic resources can help improve the quality of education. In the future, it would be advisable to further expand the opportunities provided by digital libraries.
Akhmetova Nodira Po’lat qizi was born in 2012 in Ellikkala District, the Republic of Karakalpakstan, Uzbekistan. She has recently completed the 7th grade at School No. 69. She is interested in the exact sciences, and mathematics is her favorite subject. In her free time, she enjoys studying English. Her dream is to become a successful economist in the future.
Because of this to a falling-out with the yeast cells clog and close a cut. A Because of this, I tame mallang mallangha.High With a soft face.
Blood, Yeonhapa Like wine gets hot inside me.
Any defect is a huge diamond. Scratch Have lofty feelings that cut. Number Or chuka Pain Window Ha The persimmon.Jung of the existence of just a stone’s throw away reveals (咫尺).
The bread is like flour for existence prior to a *. This person because of this that can not be removed from bones.I The table of wheat fields.
My Hunger is a On a wheat field Be a flock of birds to fly off. The organizations that fly in the sky in the sky.Willingness Che will be
If this is being limited to, flour. On a tray. A glass of wine and a slice of bread is. Ceremony Tak This table We have probably only for dinner one meal.
Drawing on the tray of fish. I don’t know why you are full and eat one’s knuckles and blue. Ha Is all the time The Shemiramoth,
A chunk of space, is only water and air. A piece of sacred pieces of bread honorable’is mixed.
My God there is (神) because of this
* ereulleu pongti <symbols in >
성체聖體
강영은
빵이라 부를 때 이것은 존재 한다
누룩과 불화하는 이것 때문에 상처가 아문다 상처를 길들이는 이것 때문에 나는 말랑말랑하고 부드러운 표정을 지닌다
빵이 되기 위한 밀가루처럼 존재에 선행하는 존재* 뼈에서 떼어낼 수 없는 이것 때문에 나의 식탁은 밀밭이다
나의 굶주림은 밀밭 위로 날아오르는 새떼가 된다 이 하늘에서 저 하늘로 날아다니는 조직의 지체가 된다
만일 이것이 밀가루에 국한된 존재라면 쟁반 위에 놓인 한 잔의 포도주와 한 조각 빵은 식탁이 차려준 한 끼니 식사에 불과했으리라
쟁반 위에 물고기 그림을 그린다 먹고 배부른 까닭을 알지 못 하나 손가락 마디에 푸른 하늘이 스민다
물과 불과 공기가 관계한 한 덩어리 우주, 한 점의 빵 조각을 성스럽게 받든다
이것 때문에 나의 신(神)이 존재 한다
*에를르 퐁티<기호들>에서
Romance with the Evening
Kang young eun
– <Translation by Ko Chang-soo>
In the evening’s expression,
An emotion with a differing color of blood blooms and fades.
Like jasmine that shifts the color towards violet, soft violet, white,
In those moments the evening takes on an expression that most resembles solitude.
Thus I forget for a moment that my limbs have become awkward,
And my ears, neck, mouth and nose have bloomed.
Though several people walk together, the evening touches one eyeball.
Like a corridor that gets increasingly calm each time light deflects,
In those moments the evening becomes a lover;
I become friendly with death like a child roaming in a maze.
And I witness the alleys lengthen out gradually.
While waiting for a call-taxi before a florist where pollen scatters,
I think of you
Like a memo paper that will be forgotten tomorrow,
Like the slight fever of bored time.
In those moments the evening is lost in a love affair.
So I, blooming under an old window-frame,
Become unfamiliar.
On some evenings I’m absent;
So, if the landscape has disappeared into my inside,
I’m absent, that is, in the place left behind by the evening.
In those moments, the evening, not knowing it is evening,
Seeps into the window.
The consolation of being alone suddenly comes in hundreds of faces
In that very moment.
저녁과의 연애
강영은
저녁의 표정 속에 피 색깔이 다른 감정이 피었다 진다
보라 연보라 흰색으로 빛깔을 이동시키는 브룬스팰지어자스민처럼
그럴 때 저녁은 고독과 가장 닮은 표정을 짓는 것이어서
팔다리가 서먹해지고 이목구비가 피었다는 사실을 잠시 잊는다
여럿이 걸어가도 저녁은 하나의 눈동자에 닿는다
빛이 굴절될 때마다 점점 그윽해져가는 회랑처럼
그럴 때 저녁은 연인이 되는 것이어서
미로 속을 헤매는 아이처럼 죽음과 다정해지고
골목이 점점 길어지는 것을 목격하기도 한다
화분이 나뒹구는 꽃집 앞에서 콜택시를 기다리는 동안
당신이 생각나기도 한다
내일이면 잊혀 질 메모지처럼 지루한 시간의 미열처럼
그럴 때 저녁은 연애에 골몰하는 것이어서
낡은 창틀 아래 피어 있는 내가 낯설어진다
어느 저녁에는 내가 없다
이내 속으로 풍경이 사라진 것처럼
저녁이 남기고 간 자리에 나는 없더라는 말
그럴 때 저녁은 제가 저녁인 줄 모르고 유리창 속으로 스며든다
혼자라는 위로는 불현듯 그때 수백 개의 얼굴로 찾아온다
Profile
Poet Kang Young-eun was born on Jeju Island and earned a Master’s degree in Literature from the Graduate School of Culture and Arts at Kookje University. She made her literary debut in 2000 through the quarterly literary magazine Minerva. Since then, she has published the poetry collections The Green Silk Python, Floating Reef, the Back of the Sea, Mago’s Jar, A Gentle Poetics, The Bird Beyond, and Longing Gravity. She has also published the selected poems Poems Dedicated to the Japanese Nutmeg Yew, the essay collection Letters from the Mountain Hydrangea, the collaborative travel poetry collections The Crescent Moon of Tibet, Mingalaba, Myanmar, and Nazar Boncu, as well as the anthology of poems in English, Faces of the Festival, featuring twelve poets.
Kang Young-eun’s poetic world is deeply rooted in the landscape of Jeju, where the vitality of nature, the sense of loss, and the solitude of writing converge. She has described writing poetry as “the loneliest and freest way to embrace time and space,” revealing an attitude that accepts even her own transience and futility as an inevitable part of existence. Her essay collection Letters from the Mountain Hydrangea, which combines poetry, photography, and reflective prose, demonstrates how her creative practice extends beyond lyrical poetry into visual imagery and contemplative essays. By interweaving images of nature with profound inner sorrow, she has developed a distinctive poetic voice that has been consistently recognized across multiple collections rather than at a single moment in her career.
Her honors include the Excellence Award of the Siyesul Poetry Prize (2006), the Korean Poetry Literature Award (2012), the Arts Council Korea (ARKO) Literary Creation Grant (2014), selection as a Sejong Outstanding Book (2015), the Writers Association of Korea Author Award (2016), the Literary Youth Award and recognition as an Outstanding Content publication by the Korea Publication Industry Promotion Agency (2018), the Seogwipo Literary Award (2023), and selection for the Literature Sharing Program (2024).
She previously served as an instructor of creative writing at the Lifelong Education Center of Seoul National University of Science and Technology and as Chair of the Organizing Committee for the Seogwipo Chilsimni Literary Award. She currently serves as a Board Member of the Korean Poets’ Association and an Editorial Board Member of Literary Youth.
