SPIRITUAL HERITAGE OF ABDULLA QADIRI

Valijonova is the daughter of Nigora Bakhtiyar
In the city of Namangan, Namangan region

Abstract. In the article, the creativity of Abdula Qadiri, one of the factors that raise the morale of the reader in the work "The Past Days" was devoted to the analysis of the pictures aimed at developing reading.

The author also noted that the role of reading literary works in instilling the love of literature and national and universal values in the minds of the young generation is incomparable
Key words: Spirituality, reading, reading, creativity, healthy environment

Literature is an endless ocean, it knows no boundaries. Along with many great personalities, small amateurs also create in it. Only some of the creators make a radical change in literature, update it. One of such geniuses is undoubtedly Abdulla Qadiri.With his works, he contributed to the spiritual development of the peoples of not only Uzbekistan, but also Turkestan.

Honor, honesty and truthfulness are one of the main principles of the life of Abdulla Qadiri, because the talent gifted by nature combined with true Uzbek hard work, his pen created works that will not become obsolete for centuries. 

His works are of special importance in the formation of the spiritual world of every student. The characters of Otabek, Kumush, Yusufbek Haji, Mirzakarim Kutidor created by him strengthen the feeling of appreciation of positive qualities in people. Although the author states with his own language that "the power of the pen is weak for the image...", the goodness expressed in the words in the process of reading the work cleanses the human soul.The example of Kumush's parents shows a truly healthy family atmosphere typical of the Uzbek nation, which is rarely found in works.  Mirzakarim answers to the suitors who came from Otabek: "I would consider myself one of the luckiest fathers if I could have the honor of making a boy like Otabek, but everything is up to me." There is also a woman who is not in lim, but in the meantime she is breastfed..." the box worker's wife advises the mother of the sun.Look how beautiful the environment is in this family. This one word, said by Kutidar, shows mutual solidarity and respect in the family. Every father who reads the work reflects, maybe some of them take an example, and the mother who reads the work appreciates the author's understanding and image skills. 

Why is this work so popular?

"Abdullah Qadiri's works raise the morale of the student," we say. The content of meaning and the range of expressive language of the work "O'tkan kunlar" created by him is extremely wide. While reading this work, the writer as an intelligent person motivates the students to read the book.  The reader who first read Fuzuli's words from the Otabek language, "You should read Fuzuli carefully", in addition to Kumush's "Fuzuli is a good book, I couldn't take my head off this book when I was alone..." not knowing what kind of artist he is or the "taste" of his poems it is possible, but it is clear that there will be interest in Fuzuli and his work. For some readers, it is a reason to get acquainted with Fuzuli's work. In the work, it is stated that Otabek was busy reading not only Fuzuli, but also such a magnificent work as "Baburnoma": “…Hasanali got dressed from his room and went to Otabek. Otabek was busy with the fabric "Boburnoma."

What aspects of Fuzuli's book and "Boburnoma" fascinated Otabek. Adib wanted to show that his hero has matured to the level of "a young man worthy of a Khan's daughter" by reading books and receiving spiritual nourishment from them.In a certain sense, the writer promoted book reading among the people. He skillfully describes how interesting and enjoyable the process of reading a book is, during which the reader forgets his sufferings and life's worries for a moment:."After the evening prayer, Otabek is in the mood to get rid of his marital worries, he sits by the oil pan and takes Fuzuli Divan in his hand. For some reason, he had "a feeling of depression for some tragedy." When a person is in pain, he tries to do some things involuntarily, not willingly. He also devoted himself to the reading of Fuzuli seriously," he said, noting that reading the book not only gives a person spiritual nourishment, but also helps to forget life's worries and depression for a while.

One of the main factors that extended the life of "Days of the past" as a work of art, and gained value in the eyes of current fans, is the presence of artistic visual tools that encourage the reader to think and observe, as well as encourage his people to read the book. it is no exaggeration to say that there are exhorting and promoting aspects.

List of used literature
1. Abdullah Qadiri. Past days. Tashkent "Sparks of Literature" 2018
2. Khurshid Dostmuhammad. Creativity is the enlightenment of the soul. Tashkent. "Classical word" 2011.



  

are you out there, somewhere?

staring into the dark
searching for the morning light;
are you out there,
somewhere? 

to bring me back 
from the world of bottles and needles;
every one the last
even though there’s always another
waiting in the shadows. 

are you out there,
somewhere?
to hold my hand, 
to feel my pulse
through my bleeding skin? 

the faintest sound
another memory long gone;
destroyed by the booze, 
eradicated by wrong embraces.

I need you, once again,
to keep me warm
through the endless winter. 
freezing, just like then, 
and the needle has lost its warmth. 

are you out there, 
somewhere? 
waiting for my return, 
patiently sitting in the corner
hoping for the promised miracle.

a sun that never rises, 
a mist that shall never be lifted; 
hiding in the dense forest, 
running away, fast and far,
escaping the ruins that burned too fast. 

squinting into the vast nothingness
of eternal damnation
and I smile; 
your former words sweet music
to my perishing heart. 

is it you I see
walking amid the debris? 
are you still out there,
somewhere, 
searching for the final pieces of the puzzle? 

another attempt, 
you’re nowhere, 
I’m everywhere; 
both lost, both found, 
only the needle is keeping us apart. 

are you out there,
somewhere? 
I ask the night, question the stars;
they can’t explain why your
kisses were tossed into the bottomless well. 

another blurry night, 
more mistakes, 
sins added to an already extensive list. 
it’s all right, 
no need for forgiveness. 

I warm the needle, 
the junk has melted.
are you out there,
somewhere?


Eighty Thousand Words

write long novels, said someone I barely knew, one of them advisors
that know nothing but how to sell bullshit.

long novels sell.
 
I spoke to a woman about a novel I wrote at 19,
it’s more than two hundred thousand words long—still not long enough
to match Wolfe—and she liked the plot.

told me to translate it, publish it. she also asked
about the inspiration, the drinking and drug-abusing. 

I said, it’s fiction. it’s meant to be the disclaimer on
whatever’s published—it’s a work of fiction, don’t call the feds.

could I have mentioned I started it when I was underage and 
getting my feet wet on the ring of drunkardism and
finished it on
a spree of rotgut, speed, and pure junk? 

some chapters are repetitive as fuck, I blame blow. 
some are harsh and honest; bourbon does that. 

it’s a work of fiction. like this poem. 
the woman never called again—she wasn’t a drinker,
one beer and she was off. after the date, I got plastered at
a bar near home—some Irish guy bought a barrage
of well scotch shots.

we got under the table drunk, then I was 
teleported in my bed. 

it’s a work of fiction, do remember that, 
when you tell me I’m 86’d or

mention the tab.


The Mauve Moon

lonely wolves howl at the mauve moon 
as marauders come knocking, razing ancient landmarks. 

stare at the starless sky, the great green mushroom—all gone, 
nothing left but the final wails of unborn souls trapped in limbo.
sour grapes turned into sweet wine, bottles emptied horrid taste, 

gruesome realities and morbid details, nets made of fire catching
rational men. eradicate, destroy, rebuild; what a fine writing

on a half-ruined brick wall in the middle of the ocean.

look down, all the towers emerge from under the sea—old homes
now belonging to fish and mermaids. Ulysses’ sirens reappear, 
under the liquor store they swim, amidst the shelves they sing.

if you are, die; if you think, you don’t exist. Voltaire’s ghost
promenades in the ruins, somewhere in the distance
Aristotle’s swilling Thunderbird. 

we’re still around—the liquor store clerk polishes a shotgun, 
two kids shotgun beer in the back alley. 

the mauve moon howls, the echo shattering what remains of the world.

Currently residing in Greece, George Gad Economou has a Master’s degree in Philosophy of Science and is the author of Letters to S. (Storylandia), Bourbon Bottles and Broken Beds (Adelaide Books), and Of the Riverside (Anxiety Press). His words have also appeared in various places, such as Spillwords Press, Ariel Chart, Cajun Mutt Press, Fixator Press, Outcast Press, Piker’s Press, The Edge of Humanity Magazine, The Rye Whiskey Review, and Modern Drunkard Magazine.

The Incoming Sun

The hummingbird of Lagos, I, will stay for the incoming sun,
reciting all the verses on the petals of blossoms.

Through winter, I have held back the butterflies,
in my stomach from flying out,
I will, until my fire is quenched, consume regrets.

My mind is a symphony of love carols,
My body is an exhibition of memories.

Of all the darlings I didn't behold,
Out of this, my coy mistress, this songster,
saying every move I make will make me a jewel
in the seabed of despair.

Would my father know my mom by embracing
the flimsy vocalists in his nerves?

In the coffee shop where you steal the gaze of flowers,
And yearn for the coffee entering your mouth to be tenderness,
the kind of tenderness with which you build laughter nests,
where you will place your head for rest.

This too I desire—the incoming sun,
in whose landscape I shall hum my empathy.


Dusk 

We have normalized eating dusk in the cafeteria of life,
Every day breaks with a knife that prays into our bodies,
We are phantoms chewing on the bones of despair.

There are too many ants in my heart
Stinging the little part of me trying to stay alive,
The remnant of the light in the custodian
of darkness is being harassed by the wings
of vultures that devour the skin of the sun.

How much more will our bones scream
Out light,
And leave us as vacuums that welcome featherless birds,

On a dinner table where our spoons try to seize
A little moment to crackle,
Earthquake took over my sister's body,
And our tongues went sour with sorrow.

This darkness raining like memories of war,
In the hands of a boy holding the skull of his mother,
Has engulfed my spirit,
And our home convulses.

The walls are falling apart to the mockery of my broad nose,
At this moment, I am a snail wishing to stay safe,
In my shell,
To nurture my ambitions that are not lost.

Philip Chijioke Abonyi, a native of Nsukka, Nigeria, is a writer and photographer. His exceptional talent has garnered him several awards, including the 2022 Brigitte Poirson Poetry Prize and the 2023 Archipelago Poetry Competition. Notably, Philip was shortlisted for the renowned Eriata Oribhabor Poetry Prize in 2018. His remarkable literary and visual creations have been showcased in esteemed publications like Eve magazine, Agape Review, Typehouse magazine, and other notable platforms. It is his desire to continue to inspire audiences, leaving an enduring impact on the creative landscape.

First of all, we have an announcement, an open call for video submissions from women of color, up to four minutes long, showing any artistic practice or medium and how it helps you heal yourself or others. This is for Sista Creatives Rising, a mother-daughter run nonprofit in New Hampshire. Claire Jones and Amaranthia Sepia invite you to submit videos here.

PAID OPEN CALL

Art & Mind: I Know Who I Am! Journeys of Women of Color & Femme-Expressing Creatives in partnership with @sistacreativesrising & @dancingqueerly

Please share our call with any BIWOC or femme-expressing creatives of color! A newsletter will be sent at least once a week, into July, featuring our team and other info!

Now, for mid-June’s issue of Synchronized Chaos.

Even with all that we have learned about life, much of our existence is still blanketed in mystery.

This month’s submissions express encounters on different levels with the unknown.

Rezauddin Stalin’s fanciful pieces draw on mythology to remind us of all that we do not yet know. Z.I. Mahmud analyzes the comedic aspects of Christopher Marlowe’s Faust, a character driven by an infernal quest for knowledge.

Kahlil Crawford reviews Jeff Deutsch’s In Praise of Good Bookstores, which discusses the life of the mind and the curated bookstore, the physical architecture of the store and how it can encourage learning and discovery. Quademay Usanova probes the linguistic structure of Russian, Uzbek and Central Asian languages while Mamatkasimova Sitora urges us to understand ecology in order to show respect for the world in which we all live.

Sayani Mukherjee conveys the mystical, distinctive gauzy light of evening, while Mercedes Lawry finds moments of art in everyday outdoor scenes and Patrick Sweeney renders glimpses of children and the outdoors into haikulike poetic phrases.

Anshi Purohit renders homeless street survivors as heroes and protagonists, inspirations for art.

Kimberly Gomes and Christina Chin collaborate on tan-renga poetry that takes closeups of everyday scenes from various vantage points. Michael Todd Steffen’s tribute piece celebrates and memorializes Seamus Heaney and the spirit of his poetic readings.

Mark Young contributes some more of his geographies: fanciful, yet intricate enough to contain an element of realism. Channie Greenberg creates painted computer images of various kinds of flowers. Don Bormon describes the welcoming and lovely environment of a local beach in his South Asian homeland.

Joan Leotta’s poetry probes the balance of nature’s elements, and what happens when things get out of kilter during a flood. In contrast, Damilola Oyedeji’s work celebrates the rhythm of rain and Rob Plath evokes the calm that comes and returns between life’s literal and figurative storms.

Chuck Taylor’s young and broke protagonists remember the fascination of watching lighting strike near their fireworks stand. Leslie Lisbona speaks to life’s precarity: young adventures traveling and dating in the face of death. Peter Dellolio probes the mindset of those with survivors’ guilt and trauma in his one-act play about a car wreck survivor.

Lorena Caputo writes of travel around the Caribbean, watching locals and tourists and vegetation come and go. Brian Barbeito also aims to capture the spirit of natural scenes through his photographic images, which include many closeups of flowers and stems.

Daniel De Culla regales us with pastoral scenes of dogs and cats and chickens around a small historic village in Spain.

Other contributors look to what is less understood about human psychology and relationships.

Maja Milojkovic depicts efforts to communicate with people who are distanced, either by fear of being themselves or by societal and gender misunderstandings. Azemina Krehic relates a desperate attempt to stay together, to cling to union with another person, while Elmaya Jabbarova affirms undying and elemental love. Mesfakus Salahin speaks to how love affects our brains and psyches.

Damilola Oyedeji’s second piece explores the awkwardness of processing lost love and figuring out how to re-categorize and understand the person who has left your life.

Vlad Volochun writes of a deathly, crushing breakup, while Yahuza Uzman probes the pain of loneliness and J.J. Campbell speaks of aged, broken bodies harboring broken dreams.

Stephen Jarrell Williams describes the journey through life under a shadow of continual grief.

C.L.S. Sandoval addresses death and people’s outer and inner griefs, as well as the inevitable and even healthy tension that arises in relationships.

Chimezie Ihekuna’s suspense novel involves unhealthy tension, the inter-generational effects of intimate partner abuse and trauma.

Mukhlisa Safarova looks at political tension at a much broader level than Ihekuna, with an analysis of a way to understand the balance of power among states. Tuyet Van Do suggests a darker reality behind our own, along with caution about technology. Pat Doyne satirizes Donald Trump in the language of card games, rendering him a historical caricature while Mark Blickley and Dario Saraceno contribute an ekphrastic spoof of both high art and life coaching.

Other writers look inward. Ammanda Moore’s poetic speaker reflects on losing control of her psyche, rapidly cycling through a bipolar manic episode that distorted her sense of reality.

John Culp describes a different sort of loss of control, spiritual and romantic ecstasy.

Others continue in the vein of celebrating human connection. Kuziyeva Shahrizoda’s piece explores the meaning of gratitude and respect while Sevara Eshonqulova shares memories of her mother’s generosity in hard times. Shoxijahon Urunov advises readers on how to choose a good friend while Mokhinur Abduhalilova relates a story of how a young boy overcoming obstacles inspires others to do the same.

Noah Berlatsky reflects on our search for beauty while Rus Khomutoff’s speaker embraces the moment where he finds himself even while transcending it.

Fotima Sayfullayeva discusses self-awareness, figuring out who she is, wondering if she can change herself.

Mytyka Rzyhykh reflects on where we find joy, on the compromises we make to live, while J.K. Durick explores our relationship to time, how we remember and forget.

MORPHOLOGICAL FORMATION OF NOUNS IN UZBEKI, RUSSIAN AND KORAKALPAK LANGUAGES
                                                                            

              Abstract.  This article examined the morphological way horses in Uzbek, Russian and Karakalpak languages are made, their comparison, similarities and differences.
            Keywords: Noun, object, affix, thing, weapon, measure, object, work-action, verb, ravish, pronoun, number, imitation words.

In Uzbek, Russian and Karakalpak languages, the noun means an object. In all 3 languages, the meaning of the noun is different, it refers to living objects (dog-собака-iyt, cat-кошка-pishiq) (child-ребёнок-bala, bird-птица-qus), things, objects and events. (milk-молоко-sut), (rain-дожд-jawin), (notebook-тетрадь-da'pter, kitab-книга-kitap), (majlis-собрание-jiynalıs).
In the current Uzbek language, the noun group makes up the number of words in the tugat. Because the noun word group is a group that gets rich quickly due to new words compared to other word groups. In the Uzbek language, nouns are formed by morphological, syntactic and abbreviation methods.  Below we will look at the morphological formation of nouns in the Uzbek, Russian and Karakalpak languages, as well as their similarities and differences.

In the Uzbek language, according to the morphological method, a new noun is formed by adding special noun-forming affixes to the base of the word. Noun-forming affixes are made from independent word groups such as noun, adjective, number, pronoun, verb, adverb, as well as modal and imitative word bases. Morphologically, noun-forming affixes semantically form nouns of the following group:
1. Affixes forming personal and professional nouns.
2. Affixes forming nouns of things, weapons, units of measurement.
3. Affixes forming place-time nouns.
4. Affixes forming abstract nouns.

Affixes forming personal and professional nouns are mainly added to the root of the noun to form personal nouns related to the object understood from the root and professional nouns engaged in a certain field and profession.  These affixes include: -chi: o’qituvchi, -dosh: kursdosh, -gar,-kor: zargar, -bon,-boz: bogʻbon, -paz: oshpaz, -kash: suratkash, -dor: chorvador, -shunos: tilshunos, -soz: soatsoz, -xon: kitobxon, -doʻz: etikdoʻz, -xoʻr: choyxoʻr. Among the personal and professional affixes, the affix -chi is one of the most frequently used affixes.

Affixes forming the nouns of a thing, a weapon, a unit of measurement, are mainly added to the base of the verb, which is the result of the action and situation understood from the base, or the thing that is used to perform the action, forms the noun of the weapon . These affixes include: -k, -ak, -q, -oq: kurak, teshik, soʻroq, -gich: suzgich, -gi: supurgi, -m: toʻplam, -ma: qiyma, -don: qalamdon, -indi: yuvindi,  -qin: toshqin,  -in: yigʻin,  -a: jizza,  -os: chuvvos,  -moq: quymoq, -cha: olacha,  -chiq: yopinchiq, -ildoq: shaqildoq,  -noma: taklifnoma 

  The affixes that make place nouns are mainly added to the noun root and form the nouns of place where there is an object understood from the root. These affixes include: -zor: olmazor, -loq: qumloq, -iston; Oʻzbekiston, -goh: oromgoh, -xona: choyxona.
Abstract noun-forming affixes noun, adjective, number, pronoun, verb, adverb are sometimes added to modal word bases to form a noun with an abstract meaning related to the concept represented by the base. These include affixes such as -liq(-lik): goʻzallik, -ch(-inch): sevinch, -chilik: paxtachilik, -gilik: koʻrgilik.

In Russian, it is more possible to create new words by morphological method, because in Russian, in addition to suffixes, new words are created with prefixes or with the simultaneous use of prefixes and suffixes. For example: -ник: колхозник, -ак: рыбак, при-ход, за-пись, вы-крой-ка, под-готов-ка, etc.
The Russian language is very rich in suffixes. Even the same meaning is expressed by different suffixes. For example: -тель: писатель,  -щик: стекольщик, -чик: лётчик, -ник: колхозник,  -ист: тракторист,  -ец: борец, -ак(-як): рыбак suffixes form the noun of a person engaged in a profession.

In the Russian language, it is possible to express unrelated meanings with the help of one suffix . For example: with the suffix - -ниц, nouns are formed as follows: a) a noun denoting a woman with a profession: колхоз-ниц-а, b) names of dishes: -сахар-ниц-а c) names of special buildings used by the public: бол-ниц-а, гости-ниц-а, d) sick names: such as -груд-ниц-а.
In the Russian language, when new words are formed with some suffixes, some phonetic changes occur in the word structure that are characteristic of Russian grammar. For example: друг-дружба, партия-партиец. In the Uzbek and Karakalpak languages, such phenomena are very rare: son-sana - san-sana, ulugʻ-ulgʻay, isi-issiq, - isi-issiqlash, etc.

In Russian, the formation of new words with suffixes depends on the grammatical stem category. Therefore, when expressing the same meaning, suffixes are added depending on the grammatical stem of the word. For example: мужской род: колхоз-ник, учи-тель; женский род: колхоз-ниц-а, учи-тель-ниц-а etc.
There is no rod category in Uzbek and Karakalpak languages. If it is necessary to emphasize that the owner of the profession is a woman, the syntactic method is used, that is, one of the words girl, wife, woman is added to the personal word and it is written like this. For example: traktorchi qiz – трактористка – traktorshı qiz, kolxozchi xotin – колхозница – kolxozshı hayal. 

In Russian, the relationship of a person to his place of birth and residence is expressed by suffixes such as -ец, -анец, -янец,  -як, -ин, -ич, -анин, -янин, -чанин. For example: Испания- испанец, Грузия- грузин, север- северянин, etc. In the Uzbek language, instead of these affixes, the suffix -lik is used, and in the Karakalpak language, the affix -liq is used. For example: Amerika- Amerikalik – Amerikaliq, Ispaniya – Ispaniyalik – Ispaniyaliq.
  In the Karakalpak language, as in other Turkic languages, one of the main methods of creating new words is the morphological method. In the Karakalpak language, noun-forming affixes are semantically divided into 3 different types:

1. Affixes forming personal and professional nouns.
2. Affixes forming nouns of things, weapons, units of measurement.
3. Affixes forming place-time nouns.
The affixes forming personal and professional nouns are -shı, -shi, which are added to the base of the noun and denote an object or a person engaged in some work: balıqshı, suwshı, etikshi, etc.
Added to a noun, it refers to a subject, a job or a person who works in social organizations: Leninshi, kolxozshı, bozshı, etc.
Added to the noun base, it means a person with a certain character: sedentary, stubborn, etc.

It is add oʻtirikshi, urlıqshı ad to the words that express the meaning of action or are related to the action by content, and is applied to the person who performs the action or performs this task: oqıtıwshı, boyawshı, terimshi, etc.
The affixes -ker, -ger, -kesh are very close in meaning to the meanings of the affixes -shı, -shi. Nouns formed with these affixes are also used to refer to a person performing a specific profession: zerger, pidaker, xizmetker, etc.

The suffix -man, -ban means a person who keeps or takes care of the object represented by the noun root: bagʻman, daʻrwazaman, etc.
The suffix -paz means a person who deals a lot with the object represented by the noun root or creates this object: aspaz, oyınpaz, etc.
The meanings of the affixes -das, -des, -las, -les are the same. That is, in all of these, it means partnership: joldas, kewilles, etc.
-purysh affix indicates a person engaged in the sale of an object understood through the root of a noun: shaypurısh, otınpurısh, etc.
The affixes -lik, -lik, -laq are also added to a number of nouns, indicating that the subject is abundant in this place: tawlik, togaylik, etc.

  In short, the most productive of the methods of forming nouns in Uzbek, Russian and Karakalpak languages is the morphological method. Morphological formation of nouns is different in all 3 languages. Morphologically, in Uzbek, noun-forming affixes are semantically divided into 4 different types, in Karakalpak language into 3 different types. When forming a noun, suffixes and prefixes also form a noun in Russian. It is even possible to combine suffixes and prefixes to form words in Russian.

The Russian language is very rich in suffixes. Even the same suffix can have different meanings. There is no rod category in Uzbek and Karakalpak languages. In the Russian language, the formation of new words with suffixes depends on the root category. In Uzbek, -lik and -liq affixes in Karakalpak indicate a person's relationship to the place of birth and residence, while in Russian there are several - -ец, -анец, -янец,  -як, -ин, -ич, -анин, -янин, -чанин suffixes are reported. The meanings of noun-forming affixes in the Karakalpak and Russian languages are shown in full. In the Uzbek language, it is understood only with the help of examples. This, of course, can cause some inconveniences, and in turn, it can cause certain difficulties not only for representatives of other nationalities, but also for ourselves in the comparative study of the language.


REFERENCES:
1. Azizov O. and others Comparative grammar of Uzbek and Russian languages Tashkent: "Teacher" publishing house, 1965.
2. Hamroyev M and others. Mother tongue . ‒ Tashkent: "Economy-Finance" publishing house. 2007.
3. Nasirov D. and others. Modern Karakalpak language Nokis: "Qarakalpakstan" publishing house. 1981.


Nukus State Pedagogical Institute 
                                                                                            
First level student of Uzbek language 
foreign language groups 
Faculty of Turkish Languages
USANOVA QADEMAY MURATBAY QIZI 
Phone: +99891 305 69 79
Email: qademayusanova@gmail.com 

Chimezie Ihekuna (Mr. Ben)’s short dramatic novella The Broken Mirror explores the intergenerational loss of self that can result from abuse and broken family relationships. The conflict between two Nigerian immigrant twin sisters, Shade and Joke, involves Shakespearean twists and devices as characters destroy those who were once closest to them. 

While each person is responsible for their own actions, the choices they have are impacted by those of the others around them. The book kicks off with a vicious argument between husband and wife Bode and Cynthia that results in Bode beating Cynthia badly enough to send her to the hospital and her filing for divorce. Soon, though, we see that Bode himself was a victim, unemployed due to a conspiracy of dishonest coworkers. 

Rather than excusing characters’ actions by implying they are the result of impersonal societal forces, this book gives even greater importance to the need for each character to act as ethically as possible, because their actions have the potential to impact even those beyond their immediate circle. 

The short length of this book means that the settings – homes, hospitals, and workplaces in California over the past several decades – and the physical action are described quickly. This leaves some things up to the imagination and gives the book the feel of a stage play. 

Overall, Chimezie Ihekuna’s The Broken Mirror builds high suspense as we watch the drama unfold towards its tragic conclusion. It’s readable in one sitting and also suggests through the title and the literary device of identical twin characters that when we choose to harm others, we destroy not only the others, but parts of and reflections of ourselves. 

Chimezie Ihekuna/Mr. Ben’s novella The Broken Mirror can be ordered here.

Ecological culture is the foundation of the future

Nature is sacred meat for all living beings on earth. Nature feeds them, clothes them, protects them from heat and cold. In turn, a living being also loves nature. This love can be considered real only if it can be combined with the feeling of protecting nature and increasing its resources. In the recent past, we pretended that we love nature, but we forgot that we are responsible for its preservation. This irresponsibility has created a new science known as “Ecology”. The word “Ecology” is derived from the words “eko” – home, dwelling, “logos” – science, and it is the development of measures to prevent environmental destruction and the factors that cause it. explores the basics of exit knowledge promotion.

It is the need of the hour for a mature person of the new century to be able to show the elements of ecological culture. Ecological culture is an in-depth knowledge of the environment, a sense of protecting nature, caring for plants and animals, rational use of natural resources, and their reproduction. is a high indicator of practical activity aimed at grieving.

A person who can reflect these qualities can be called the owner of ecological culture.

Do not allow excess water from consumption to flow from taps, do not pollute water bodies, do not throw garbage around.
  Keeping places tidy, not breaking seedlings and flowers and planting them, taking care of animals, taking care of birds, turning houses and alleys into flower beds are the simplest manifestations of ecological culture.

In the current period, there is an imbalance between man and nature, scientific and technical development and the environment, society and ecology. All this puts the question of further improvement of ecological culture.

It is known that everything in nature is harmonious. And the person who is making good use of scientific and technical achievements is breaking this harmony, treating him cruelly. Improper use of natural resources: water, land has changed the ecology. Improper planning of agricultural crops, excessive use of chemical fertilizers have a negative impact on soil fertility and human health. Toxic effluents from factories pollute water bodies, primarily causing harm to animal and plant life. The smoke and gas coming out of vehicles spoils the air quality. All this requires ecological culture from a person.
Everyone can enjoy nature. But this does not mean love for nature. Love for nature begins with understanding it, understanding its beauties, and entering into a relationship with nature.

On the other hand, nature nurtures feelings such as observation, sensitivity, and tenderness in a person. This is manifested in a person in two ways: in relation to nature and to himself.
Zahiriddin Muhammad Babur described what he saw and experienced, the nature, wealth, animals, plants and people of the places he visited, and the customs of the peoples. It has many ideas related to earth, water, air, various natural phenomena. Babur respected and valued people who knew the country and always consulted with them. In particular, he paid attention to the breeding of flowers, decorative and fruit trees.

We leave to future generations our spiritual and material wealth, the nature that existed before us and our attitude towards it, that is, our ecological culture. Ecological culture means not only not to harm nature, but also to contribute to its restoration, beautification, and prosperity, and to fight fiercely against those who plunder the environment.

Mamatkasimova Sitora Bakhtiyar’s daughter was born on May 8, 2000 in Mirzaabad district of Sirdarya region. One of the active students of Gulistan State University. His creative works are published in the anthology “Parvoz”, on the international site synchchaos@gmail.com, in the republican magazine ” Creators”, in the international magazine “Raven Cage” of the German state, in the international newspaper “Page 3 news” published in America, Thailand, India, Canada, Australia. , published in the international anthology “Charming pearls of Uzbek amateur poets and writers” of the state of Moldova. Currently, he works as a propagandist and teacher in the 34th school of Boyovut district on creative and cultural issues.