On the Pier

I gazed at a moment

From the Marblehead shore

On the pier’s end

A thick muscled arm

Thrust into lake Erie

When the early morning sun

Bounced on the horizon

An infant Apollo tossing 

Flecks of gold leaf paint

Across a restless surface

A father and son cast

Then hook and net two bass

Their rods bowing in unison

Just as a mom and baby

In her stroller arrive

A Madonna and child

Bringing luck

The men seem to want

To rub the baby’s head

With fishy hands

The fisherman and their catch

Pose for a snapshot

The mouths of the fish 

Sucking the air for water

Open as wide as

The men’s boyish grins

And an old couple arrive

On skinny weathered legs

In time to see the fish

Returned to the waves

Their scales for a moment

Throwing a reflection of light

Waiting for Dad

Not so long ago when Dad was spotting timber

I’d follow him up

Steep wooded hills

And beg him to wait

As I caught my breath

His silhouette ablaze

By the sun at the crest

And now after he’s lit up

And sucked down the smoke

Of five decades of cigarettes

The white sticks tally marks

Of hours days and years

After I quit worrying about

Cancer emphysema and stroke

He helps me move from Main Street to Hill Road

And as we dance

With a fat mattress

He asks me to wait

At the top of the stairs

His lungs clutching at air

His chest and

My heart heaving

For Thirty-Eight Years

After thirty-eight years

I need a few pills

To ease the ache

Of love’s history

There wasn’t much schooling

For love when I was growing up

For thirty-eight years

I’ve worked at love

Like being tied to the line

For ten and twelve hour shifts

Or for thirty-eight years

Shoveling corn

Or cow shit all day

And digging post holes 

For putting up fence

After thirty-eight years

I see love easily

Wrapping warmth 

Around my heart

When my baby daughter

Tosses me a smile

Like she’s been doing it 

For thirty-eight years

Pills

Clasp the comfort

Of an amber bottle

When shaken distracts

Like a baby’s rattle reads

Take two tablets twice a day

To smile permanently

An immaculate plastic smile

To recite the right words

At the right time

To the right face

To get noticed and promoted

Gratified and acquitted

To get what’s wanting

When it’s craving

Where it’s lacking

There’s no need to gnaw

On the bitter pretty colors

There’s no need to swallow hard

Kiss them before they slide

Over the tongue and slip

Smoothly into the belly’s nest

Shoving despair aside

There’s no need to notice

A hollowness in a promise

Surging through the veins

With ardent seduction

They’re absolutely-iron-clad-guaranteed

To keep a head serene

In My Pocket

I carry pain in my pocket 

A small smooth stone

Once an ugly jagged rock 

Dulled and polished

By the stream’s hard current

My hand finds it easily – as predictably

As winter drifts and spring buds

And occasionally I remove it

From my denim reliquary

Open my fist and in my palm

Exhibit it as a famous gem

Its mysticism as potent

As a splinter of the true cross

I chat casually about its history

As a bored museum guard

Or as an old veteran who shows

A wide-eyed boy the bullet

Which pierced his chest in the Pacific

On a few winter days each year

I allow the tears to fall

Like snowflakes drifting

Large and reluctantly

From heaven to earth

To wet the stone

And wear it away 

Slightly more

Five Stitches

Five stitches in my back

I can’t reach the wound

Only you can dress it

Each morning before work

With ointment bandage and tape

In hurried maneuvers

Or in a slow loving ritual

We do this together as with

Groceries supper dishes laundry cleaning

Raising our children

And when the day is finished

Falling asleep entwined

In front of the TV

Or making love

With drowsy tenderness

And with a little passion    

About the Author.

David Sapp, writer and artist, is the recipient of Ohio Arts Council Individual Excellence Grants for poetry and art and is a Pushcart nominee. His poetry and prose appear widely in the United States, Canada, the United Kingdom, and Asia. His publications include articles in the Journal of Creative Behavior; several chapbooks; a novel, Flying Over Erie; a book of poems and drawings, Drawing Nirvana; and four books of poetry and prose, Love and History, Acquaintances, A Precious Transience, and a memoir titled The Origin of Affection, winner of the Violet Reed Haas Poetry Award.

La Belle et la Bête

Opera Parallèle

Zellerbach Hall

Berkeley, California

Beast Against Beauty

A review by Christopher Bernard

Over a recent weekend in March, Cal Performances hosted an original production by the local company Opera Parallèle, combining movie and stage, of Philip Glass’s uniquely beautiful conversion of Jean Cocteau’s classic film La Belle et la Bête into a cinematic opera.

The original “Beauty and the Beast” was written by the eighteenth-century French novelist Gabrielle-Suzanne Barbot de Villeneuve and appeared in her book La Jeune Américaine, et les Contes marins. The story, set in a romanticized High Renaissance France of François Premier and Diane de Poitiers, was later revised and abridged by Jeanne-Marie Leprince de Beaumont in the version best known down the generations. The story’s magnetic appeal has never weakened; in the age of toxic masculinity, it has never been, in some ways, more timely.

To say nothing of the aggression inherent in all masculine sexuality: Has there ever been a sensitive young man in love with a beautiful woman who did not, at some time, darkly suspect that, in reality, he was ugly, disgusting, unworthy of either loving or being loved—a beast indeed? Has there ever been a woman who wasn’t afraid at some point of bringing out the beast in the man who claimed he loved her? And, the claims in the fairy tale notwithstanding, how often has it occurred, not that the beast turned into Prince Charming, but that Prince Charming turned into the Beast?

Cocteau’s film, a masterpiece of French surrealism from the middle of the last century, contains some of cinema’s most famous sequences: the line of chandeliers held by disembodied arms protruding from a corridor’s halls, the moving eyes in the faces carved into a mantel above a blazing chimney fire, a pearl necklace turning into a writhing snake in the hands of a wicked sister, the dissolves from beast to human and from human to beast, and Belle’s gliding down a night-time hallway with windblown curtains without apparently stirring a foot, to name only a few.

The original script, itself rich with poetry yet containing enough realism to empower the magic, and Georges Auric’s film score work with these magical images to create a world of consummate fantasy speaking the curious truths poetry is uniquely capable of expressing. Philip Glass’s decision, half a century after the film’s release, to strip out and replace not only the soundtrack and sound design but all the dialogue as well into an immense musical fabric proved to be, not only as provocative as any surrealist gesture, but brilliantly successful and entirely aligned with the soul of the work. Unlike the notorious mustache on the Mona Lisa, Glass’s gambit enhances and even completes the work in a way one can only feel the original artists (with, of course, the possible exception of the silenced M. Auric) would have completely approved. It doesn’t displace the original but provides a perfectly viable alternative.

When I heard about Opera Parallèle’s production, I imagined one of three possibilities: a straight screening of a silent version of the film, with sound provided by live singers and instrumentalists, much like what I was lucky to experience on my first exposure to Glass’s setting. Or it might be an entirely live staging, with a few discreet bows to the film. Or it might be the most interesting but most perilous of the three: a fusion of the film with live action. But if they tried the latter, how would they solve the problem at the heart of any such attempt: how integrate the two without their blundering regularly and clumsily into each other? Because if staging and film weren’t merged into a seamless whole, it could be, indeed would be fatal: the genius of the film would require equal genius, above all in judgment, taste, and tact, in the staging, otherwise it would be in danger of overbalancing, then irretrievably sinking, the performance.

If this third choice were attempted, surely (I thought) the director would realize that film and staging would need to alternate; presenting them both at the same time would have to be generally avoided, for obvious reasons: the audience would not know which one to watch, the staging or the screen (or if two screens were used, which screen?). Staging theater is not like staging a dance or a concert, where multiple strands of movement or sound can be processed by the human mind without what is aptly called brain freeze.

One of the main problems was that some in the audience might resent any attempt to deflect their attention from the brilliance of Cocteau’s film. Concentrating the audience’s focus is, of course, one of any stage director’s primary responsibilities; diffusing attention must be avoided except for brief periods and for reasons that are perfectly clear to the audience as well as emotionally telling, whether dramatic or comic. And deliberately dividing their attention can court disaster.

Alas, this production did not solve the problem described, mostly because it did not seem to realize there was a problem to solve in the first place. The film and the staging stubbornly refused to combine; at times, they even stood in hostile and irreconcilable opposition: the concept for the piece was often at war with the piece’s aesthetic, with frustrating consequences.

Almost all of Cocteau’s film was screened on a darkened wall placed mid-stage as part of the handsomely designed and lit set (kudos to the unnamed set designer). At apparently random moments, live singers, in full costume, walked onstage and, distractingly, more or less imitated what appeared on film. In a few instances the film was paused and the action of the story was given entirely by live singers on stage. These few scenes were the most effective in the performance; effective enough for one to wish there had been more.

To add to the problem of divided attention, there were also a (gratefully) few attempts to screen a second film, which again imitated the action in the Cocteau. The concluding scene of the production abandons Cocteau’s film entirely, replacing it with a shot-by-shot imitation of the film’s famous concluding sequence, this time of the singers we had seen live onstage. If this was meant to bring all of the elements of the performance together in a transcendent conclusion, it was only partly successful.

It is always dangerous to fiddle with a masterpiece once; to fiddle with it twice can be fatal.

Fortunately, the musical elements of the evening came off, for the most part, very well: Hadleigh Adams was in excellent form in multiple roles, including the Beast, as was Chen Kang as Belle. Sophie Delphis did fine double duty as both of the evil sisters, and Aurelien Mangwa was strong-voiced in three well-differentiated roles. Nicole Paiement conducted the small but powerful ensemble, perhaps pressing too hard at times on the volume. The wonderful costumes were designed by Natalie Barshow, and not to be forgotten, given the opulence of the era in which the story takes place, were the hair and makeup designs by Y. Sharon Peng.

_____

Christopher Bernard is an award-winning novelist and poet. His most recent book is the poetry collection The Beauty of Matter.

Regular contributor Bill Tope has launched a new literary magazine, Topiary, which is now accepting submissions! Please send short stories to billtopiary1950@gmail.com.

In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!

So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.

Our next issue, Mid-March 2026, will come out Sunday March 22nd.

Yucheng Tao announces the winners of his poetry competition, Steve Schwei and Mark DuCharme. We’ve invited both winners to submit their poetry to Synchronized Chaos for everyone to read!

Now, for March’s first issue! This issue, Fingering the Spines, pays homage to our annual in-person reading, the Audible Browsing Experience. It’s a visual metaphor for looking through various titles in a global bookstore or library.

Genevieve Guevara rings in the dynamic energy of the Fire Horse for Chinese New Year.

Odiljonova Mohlaroyim Iqboljon qizi celebrates the many styles of Uzbek spoken word art. Umarova Gulsevar Ubaydullo qizi highlights the rich semantic and lexical expressiveness of the Uzbek language. Shuhratova Mohinur Abbosjon qizi explores the layered meaning of “k’o’ngil” (heart) in the Uzbek language.

Jesus Rafael Marcano celebrates the beauty of France, likening the nation to butterflies. Timothee Bordenave honors the beauty and majesty of Christian faith, as shown through Notre Dame. Su Yun’s abstract work reflects a meditative, spiritual sensibility. Soumen Roy describes a physical and mental journey towards spiritual inspiration.

Abdumajidova Zuhroxon Ibrohimjon qizi explores themes of hardship and endurance, destiny, faith, patriotism, and loyalty in Shuhrat’s classic Uzbek novel Oltin Zanglamas. Iroda Ibragimova explores themes of resilience and human dignity through oppression in Shukrullo’s novel Buried Without a Shroud. Bakhtiyorova Zakro Farkhod qizi speaks to the role of the short story in Uzbek literature. Ro’zimatova Madinaxon Sherzod qizi analyzes themes of strength, weakness and humanity in Abdulla Qahhor’s story “Ming bir jon.” Anvarova Mohira Sanjarbek qizi contributes a heartfelt poem from the perspective of Gulchehra, a character in O’lmas Umarbekov’s “Being Human is Hard.”

Azimov Mirsaid draws on Ray Bradbury and traditional Uzbek crafts and hospitality to illustrate the value of human warmth and imperfection. Dr. Jernail Singh Anand urges humanity to look into the words of our past and present writers and philosophers for wisdom in this age of great technological advancement. Dr. Jernail Singh Anand also expresses hope for the continuance of human creativity in the age of artificial intelligence. Daniela Chourio-Soto renders all-too-human morning sleepiness with lively humor. Eva Petropoulou Lianou explores the feelings and inspirations of emerging Greek painter Vivian Daouti.

Author Victoria Chukwuemeka discusses her creative journey towards exploring psychology and the subconscious, becoming deeper and more straightforward in her words. Kassandra Aguilera’s work mourns her speaker’s incompleteness, probing whether we need observers to fully realize ourselves. Ananya S. Guha reflects on distance, separation, and reunion, how roads can both bring us apart and together.

Emeniano Somoza poetically compares creative writing and glassblowing: arts where creators shape, rather than force, their materials. Poet Su Yun collects a set of poems from children at the East-West Public School in Bangalore on the theme of “the power of the pen vs the sword.” Taylor Dibbert’s short piece is almost anti-poetry, suggesting without communicating a metaphor.

Stephen Jarrell Williams’ poetry speaks to the risks and joys of openness to emotion and experience. Komilova Parizod reminds us to make the most of our lives and appreciate the joy around us. Priyanka Neogi urges us to act with wisdom and restraint. Boymirzayeva Dilrabo highlights the importance of motivation and discipline in reaching one’s goals.

Sobirova Oydinoy Nozimjon qizi discusses symptoms and types of neurosis. Mashhura Ochilova speaks with poignance and grace of a young woman’s inner battle with depression. Graciela Noemi Villaverde speaks to gaining wisdom through life’s losses. J.J. Campbell’s voice is older, raw, bruised, with hard-won exhaustion and experience.

Axmedova Gulchiroyxon expresses her tender love and concern for her mother. Nurmurodova Masrura Xurshedovna honors the patient, dedicated, behind-the-scenes love of her father. Gulsanam Sherzod qizi Suyarova explicates the value of friendship and how to be a good friend. Aminova Feruza Oktamjon kizi celebrates the beauty and innocence of young love. Qozoqboyeva Husnida yearns with devotion for her soulmate’s arrival. Mesfakus Salahin falls into a reverie about a fanciful love that exists between his imagination and his memory. Prasanna Kumar Dalai smiles through a delicate and tender love. Joeb expresses his hopes for personal and global love and peace. Lan Xin celebrates transcendent union with all others and the universe, with the world as her homeland, in her fanciful dinner piece. Husanxon Odilov laments a love which he acknowledges will never return. Nicholas Gunther reflects on a high school lost love or friendship through a casual ghazal. Bill Tope and Doug Hawley present an unusual relationship arrangement that seems to make several older people happy. Masharipova Yorqinoy Ravshanbek qizi celebrates the tenderness of a mother’s love. Brian Barbeito’s gentle childlike piece creates a surreal atmosphere rich in memory and care. Orzigul Sharobiddinova Ibragimova versifies her love and longing for her Uzbek homeland.

Zarifaxon Nozimjon Odilova qizi highlights the historical contributions of Uzbek statesman and humanist leader Zahriddin Muhammad Babur. Toshkentboyeva Xumora outlines the contributions of Amir Temur to modern Central Asian statecraft. Poet Lan Xin highlights the wisdom and compassion of Chinese Dongba cultural leader Wan Yilong. Abdusaidova Jasmina explicates themes of spirituality, heritage, and love in Alisher Navoiy’s writing. Abduxalilova Shoxsanamxon Azizbek qizi celebrates the benefits of reading culture for society.

Murodova Zarin Sherali qizi explicates the importance of language learning in world communication and international and intercultural relations. Khusanjonova Mukhtasarhkon Khamdamjon qizi discusses how podcasts can help those learning English as a foreign language. Turdimuradova Zulfera Sattor qizi analyzes the use of blended learning in teaching English as a foreign language. Suyunova Zuhra Oybekovna speaks to the importance of writing skills to language learning.

Olimova Marjona Ubaydullayevna celebrates the literary heritage of Zulfiya and her themes of patriotism, women’s dignity, and compassion. Munisa Yo’ldosheva highlights how Zulfiya’s life influenced her works and her contributions to supporting emerging authors. Nozigul Baxshilloyeva discusses emotional and spiritual themes within Zulfiya’s work and how they affect Uzbek readers. Sultonova Shahlo Baxtiyor qizi highlights the literary and cultural influence of Zulfiya’s poetry. Jurayeva Barchinoy does the same, while also highlighting her commitments to education and women’s rights. Nematullayeva Mukhlisa Sherali kizi relates the value of Zulfiya’s work through a narrative story. Gayratova Dilnavo highlights the enduring legacy of Zulfiya’s work, especially what it means for many Uzbek women.

Loki Nounou’s piece dramatizes a woman stripped of her individuality in a toxic marriage, becoming only a vessel to hold others’ dreams. Abigail George probes the maternal and domestic as both sacred and violent, an origin and a wound, along with critiques of colonialism and the power of self-kindness. Manik Chakraborty calls for a natural, spiritual feminine awakening. Asadullo Habibullayev warns of the dangers and social injustices young women can face in Uzbekistan, even when educated, and calls for the younger generation to respect the wisdom of their elders. Eva Petropoulou Lianou urges respect for women and for the roles women play in society, including motherhood. Maxmarajabova Durdona Ismat qizi celebrates the love and care of human mothers and the value of Mother Earth.

Zamira Moldiyeva Bahodirovna analyzes what the nature motifs in Alexander Feinberg’s work reveal about his thoughts on memory and identity. Noah Berlatsky draws on trees to illustrate our shared human heritage, how we connect to each other and hold each other up. Dilafruz Muhammadjonova presents a natural and cultural tour of Uzbekistan’s Andijan province. Suyunova Fotima Oybekovna reminds us of how crucial it is to preserve the environment. O’gabek Mardiyev outlines ways to improve the efficiency of solar power generation. Shavkatova Mohinabonu Oybek qizi urges improvements in Uzbek public transit to encourage tourism as well as benefit ecosystems. Sultonaliyeva Go’zaloy Ilhomjon qizi analyzes the social, cultural, ecological and economic aspects of tourism in Central Asia. Turgunov Jonpolat discusses the ways in which media framing of climate issues affects how people address the problem. Surayyo Nosirova highlights the need for more consistent communication from journalists to the public about climate change in Uzbekistan.

The works of primary school children in China, collected by Su Yun, reflect moments of happiness and ordinary summer fun in nature. Alan Patrick Traynor’s Irish-inspired piece becomes incantatory, mystical, inhabiting littoral and transitional zones at the ocean’s edge. Tea Russo’s spiderweb poem seeks both expansive transcendence and the peace of oblivion, melding into various aspects of nature. Turkan Ergor dreams of the permanence of the ocean’s waves. Eleanor Hill reflects on the calm strength and dignity of a whale, unbothered while creating waves and blowing bubbles. Ri Winters turns to the ocean and its kelp forests as metaphor for the deep, isolating, yet restful morass of depression.

Brian Barbeito sends up a preview of his book Of Love and Mourning, highlighting the original content and the memorials to beloved pets who have passed. Filmmaker Federico Wardal celebrates a film award for a very humane documentary about veterinary care that saved the life of a racehorse. Jerrice J. Baptiste’s piece, accompanied by gentle, colorful artwork, expresses a graceful and natural surrender to death. Sayani Mukherjee’s piece sits between devotion and restlessness, calling the sky a neighbor yet screaming at stars. Mykyta Ryzhykh crafts a fevered love elegy at the edge of war, eros, and annihilation.

Patrick Sweeney sends up a set of index cards from a memory archive. Mark Young’s altered geographies trace the outlines of innocence, memory, and rupture. John Grey’s urban character and landscape pieces show dry, unsentimental grace.

Duane Vorhees’ poetry meditates on time’s circularity, embracing contradictions and the past, present, and future. Ibrahim Honjo reflects that one day his home and everything he knows will fade into memory. Christopher Bernard continues exploring hope, ruin, and creative resilience in the second installment of his prose poem “Senor Despair.”

Maja Milojkovic speaks to the implacable ticking of conscience. Mahbub Alam laments the selfishness and wickedness of humanity. James Tian dramatizes the pain of being underestimated, dismissed, and misunderstood. Mark Lipman calls for greater taxes on the wealthy and for economic egalitarianism. Jacques Fleury hoists his commentary on the fragility of modern democracy on the scaffolding of an extended construction metaphor.

Rahmatullayeva Elmira Rahimjon qizi discusses how we form the value systems that guide our lives. Abduraufova Nilufar Khurshidjon qizi outlines the national values and traditions of the Uzbek people. Islomova Maxsudaxon Axrojon qizi explores ways to inculcate values into Uzbekistan’s young people in school through exposing them to the great thinkers of their heritage. Botirova Mubina looks into ways Uzbekistan’s civil society can uplift teens and prevent delinquency through communicating their national values. Abdullayeva Ezozaxon Qobuljon qizi highlights the importance of social and financial investment in education. Ismoilova Jasmina Shavkatjon qizi highlights the importance of quality education for social progress.

Axtamova Orastaxon Salimjon qizi outlines strategies to assist autistic children’s psychological development. Rajabova Nozima highlights methods of improving young students’ reading comprehension. Dildoraxon Turg’unboyeva outlines the effectiveness of play-based learning methods in education. Sevara Tolanboy Mahmudova qizi discusses educational games for preschoolers. Turgunboyeva Dilafruzxon highlights the importance of preschool education to a child’s development. Muxlisa Olimjon qizi Tursunaliyeva and Adhamova Irodaxon Akmal qizi discuss ways to help educate children with learning disabilities. Dilnora Habibullo qizi discusses interactive methods for teaching children with and without special needs. Burhonova Lobar outlines suggestions for working with children on the autism spectrum. Hikmatova Nigorakhon Hasanboy qizi discusses how to upgrade physical education and make the activities more interactive. Turg’unova O’g’iloy Ravshanbek qizi discusses ways to incorporate physical activity into children’s academic education. Shahobiddinova Sevinch explores the use of educational games in primary education. Arziqulova Adiba details various interactive strategies for engaging young children in educational activities at school. Mashhura Kamolova analyzes the limitations of examinations in terms of measuring student capabilities.

Orinboyeva Zarina discusses how to help children psychologically and emotionally navigate their parents’ divorce. Botiriva Odinaxon elevates the teaching profession and calls for professional development and competence in those who educate young children. Nishonboyeva Shahnoza speaks to her wisdom and dedication towards her goal of becoming a preschool teacher.

Kadirova Feruzakhan Abdiyaminova discusses interactive games that could be useful in science education. Oroqova Nargiza outlines the rise of allergies in children and speculates on the causes. Umidjon Hasamov highlights the potential for artificial intelligence in medical diagnostics. Yunusova Sarvigul Siroj qizi highlights the importance of early screening for gastrointestinal cancer. Rajapova Muqaddas Umidbek qizi highlights the structure and function of the circulatory system.

Shohnazarov Shohjaxon highlights the impact of inflation on a nation’s economy and strategies for managing it. Mamadaliyev Kamronbek highlights the need for cybersecurity technology and cautions about cyberattacks as a weapon of war.

Dr. Jernail S. Anand calls out poets and academics whose lofty ideas don’t connect to present-day reality. While we are all capable of flights of fancy, we hope that this issue is grounded in our world and our humanity.

GASTROINTESTINAL CANCER: THE IMPORTANCE OF EARLY DIAGNOSIS AND SCREENING

Yunusova Sarvigul Siroj qizi

2nd year student at Bukhara Medical Institute

Annotation Gastrointestinal cancers are one of the urgent problems in modern medicine, and their detection at late stages is the cause of high mortality rates. This article extensively covers the epidemiology, risk factors, clinical symptoms, and the importance of early diagnosis and screening programs for gastrointestinal cancers. It also analyzes the possibilities of modern screening methods – endoscopic examinations, laboratory and molecular diagnostics. Based on the article, it is possible to significantly increase the survival rate of patients through early detection of the disease.

Keywords: stomach cancer, colon cancer, colorectal cancer, screening, early diagnosis, endoscopy, biopsy, oncology, risk factors, prevention.

Introduction

Gastrointestinal cancers include tumors of the stomach, colon and rectum, esophagus, small intestine and other digestive organs. Among them, gastric cancer and colorectal cancer are especially common oncological diseases worldwide. According to World Health Organization data, colorectal cancer occupies one of the leading positions in terms of morbidity and mortality.

The main problem of gastrointestinal cancers is that the disease is often asymptomatic or has vague symptoms in the early stages. As a result, patients seek medical attention at a late stage. Therefore, early diagnosis and screening programs are of great importance in preventing the disease and reducing mortality.

Main part

1. Etiology and risk factors of gastrointestinal cancers

The following factors play an important role in the development of gastrointestinal cancers:

•  Unhealthy diet (salted, smoked products, low-fiber foods)
•  Chronic inflammatory diseases
•  Hereditary predisposition
•  Smoking and alcohol consumption
•  Obesity and sedentary lifestyle
•  Chronic infections (e.g. Helicobacter pylori)
•  In particular, Helicobacter pylori infection can cause a long-term inflammatory process in the gastric mucosa, leading to dysplasia and subsequent malignant transformation.

2. Clinical signs and problems

In the early stages, patients experience the following common symptoms:

• Loss of appetite
• Weight loss
•  Abdominal pain
•  Bleeding (occult or overt)
•  Anemia

However, these symptoms are often confused with simple gastritis or colitis. As a result, an accurate diagnosis is delayed.

3. Early diagnostic methods

Early diagnosis is a set of measures aimed at detecting the disease before the clinical symptoms become obvious.

Main diagnostic methods:

Endoscopy (FGDS, colonoscopy) – allows for visual detection of tumors and biopsy.

Biopsy and histological examination – the “gold standard” for making an accurate diagnosis.

Immunochemical tests – detect occult blood.

CT and MRI – determine the extent of tumor spread.

Molecular genetic tests – are important for determining the risk group.

Regular screening examinations are recommended for people over 50 years of age for colorectal cancer. In developed countries, screening programs have increased the rate of early detection of the disease.

4. The importance of screening programs

Screening is a screening system aimed at detecting the disease in a population without clinical symptoms.

Advantages of screening:

Detection of cancer at stages 0–I

Reduction in mortality

Increasing the effectiveness of treatment

Economic efficiency

For example, early detection and removal of colon polyps can prevent the development of cancer in the future. Therefore, screening is not only diagnostic but also has a preventive value.

Conclusion

Gastrointestinal cancers are a global health problem, and their late detection is the cause of high mortality. The widespread implementation of early diagnosis and screening programs allows for early detection of the disease, effective treatment, and increased survival rates. Promoting a healthy lifestyle among the population, reducing risk factors, and undergoing regular medical examinations are important areas of cancer prevention.

Used literature

1. Bray F., Ferlay J., Soerjomataram I., Siegel R.L., Torre L.A., Jemal A. Global cancer statistics 2020: GLOBOCAN estimates of incidence and mortality worldwide for 36 cancers in 185 countries // CA: A Cancer Journal for Clinicians. – 2020.

2. Sung H., Ferlay J., Siegel R.L., Laversanne M., Soerjomataram I., Jemal A., Bray F. Global cancer statistics 2020: Worldwide burden of cancer // CA: A Cancer Journal for Clinicians. – 2021.

3. World Health Organization (WHO). Cancer fact sheets: Colorectal and gastric cancer. – Geneva: WHO Press, 2023.

4. International Agency for Research on Cancer (IARC). World Cancer Report: Cancer Research for Cancer Prevention. – Lyon: IARC Publications, 2020.

5. DeVita VT, Lawrence TS, Rosenberg SA. Cancer: Principles & Practice of Oncology. – 11th ed. – Philadelphia: Wolters Kluwer, 2019.

6. Jameson J.L., Fauci A.S., Casper D.L., Hauser S.L., Longo D.L., Loscalzo J. Harrison’s Principles of Internal Medicine. – 21st ed. – New York: McGraw-Hill Education, 2022.

7. Feldman M., Friedman L.S., Brandt L.J. Sleisenger and Fordtran’s Gastrointestinal and Liver Disease. – 11th ed. – Philadelphia: Elsevier, 2020.

8. National Comprehensive Cancer Network (NCCN). Clinical Practice Guidelines in Oncology: Colon Cancer and Gastric Cancer. – Version 2023. – Plymouth Meeting, PA, USA.

9. Rustamov Sh.A. Fundamentals of Oncology. – Tashkent: Abu Ali ibn Sino Medical Publishing House, 2020.

10. Ministry of Health of the Republic of Uzbekistan. Clinical protocols for stomach and colon cancer. – Tashkent, 2022.

NIGHT OF THE CURACH

I want to live

Where the sea is the end of the world

And the curach sways 

Sweet as the nightingale

In the melody of the galan 

To her sweet high-pitched thorn

I surrender

To the curach’s guttural waves and chatter

Bleeding ink across the bay

Through the eyes of Inishturk

Cast your nets

To the Trinity’s lone hand

That waits

In the driftwood

In the smoke on the hills, moves a hush

Till evening comes in

In its enormity

Let the end of the world

Wash over me

In your golden lugent hair

Sweet Niamh

Where the black curach sways as

Sweet as the nightingale

In the stillness of 

A dodecahedron

Isn’t that how the world 

Took your mind

In Reading Gaol

In the night of the curach

I am perched upon 

Such worlds

“Kamilah the Miracle Filly,” by Angela Alioto, wins the Courage for Freedom Film Award

San Francisco. The “Courage for Freedom Film Award” has been awarded to Angela Alioto’s film “Kamilah the Miracle Filly” narrated excellently by Joe Mantegna, winner of a Tony Award, multiple Emmy nominations, and honored with a star on the Hollywood Walk of Fame. 

The coveted award was presented to Angela Alioto last week by Count Federico di Wardal.

The citation is: “for creating a work of high cinematic value based on saving a life through courage and faith, with unparalleled determination “

Angela Alioto, politician, president of the Knights of St. Francis, and one of the most esteemed lawyers in the United States, has taken actions considered of historic importance for human and civil rights and for peace, upholding the creed of St. Francis of Assisi of universal love, which is the goal of SF founded by the Franciscan missions.

Alioto gave also a strong contribution to San Francisco concerning cinema.

The SF Film Commission is attributed specifically to her legislative initiative as its creator.

But let’s get back to the film “Kamilah, the Miracle Filly”. 

It is the true story of the filly Kamilah that doctors had decided to put down, refusing to operate on her legs. 

The story captivated California, spread throughout the USA, landing in Europe, where Angela Alioto is known too, and in the rest of the world, via social media. 

Through UC Davis, Alioto operated on Kamilah, saving her life, during months of tribulation. 

At that point she committed to making the film “Kamilah the miracle filly” selected in 2025 at the LA Tribune IFF, chaired by Moe Rock and Emily Letran and winner at the SF New Concept IFF chaired by Joanna Zhang and at the Vesuvius FF, in Pompeii (Italy) chaired by Giovanna D’Amodio. 

Alioto, as well as the Count Federico Wardal, was friend of the film legend Federico Fellini and she always was involving in an international film entourage. 

At the same time, Francesco Garibaldi Hibbert, a descendant of the hero of two worlds Giuseppe Garibaldi, and his friend Count Federico di Wardal met in LA last summer and decided to found the “Courage for Freedom Film Award” and “Courage for Freedom” and to create the film “Anita,” with music by Andrea Ceccomori, centered on a touching poem of the highest artistic value by the hero Garibaldi on the agony and death of his young Brazilian wife Anita. 

For this, an unusual aspect emerges for a hero: being also a poet and poetry is close to the border with cinema. 

Here’s what the coveted award is: The “Courage for Freedom Film Award” is issued by the “National Giuseppe Garibaldi Association” to honor excellence in films that exalt the universal values ​​that inspired the revolutionary Hero of Two Worlds, Giuseppe Garibaldi, in his quest for freedom, equality, and justice for oppressed peoples.

The award immediately became one of the most coveted internationally, supported by institutions for peace, the protection of human rights, the environment, and film festivals with these missions. 

Congratulations again to Angela Alioto and a call to everyone to cultivate a profound awareness of inner peace.

Mini Essay on The Book of Love and Mourning (prose poems and photographs)

87 pages print 

105 pages electronic 

colour photography 

independent 

publication, (February 2026)

-Brian Barbeito

The book is out and a copy arrived. I think it’s well done in content (the writings and photos) and the physical book looks and feels nice. A large softcover work, perfect to go on coffee tables or carry around, not dissimilar to the first two collections, Still Some Crazy Summer Wind Coming Through, and When I Hear the Night. The covers and the yellow of this one are cheerful and upbeat, positive. 

Plus, it’s different, interesting, and unique. Inside and the actual book as I said. When I think of it; who needs another book that looks like all other books? There are millions that look so regular. Something different has been done! For instance, there are not nearly as many ‘prose’ poets as there are regular poets in the poetry worlds. Secondly, the poet is the photographer and it’s his work (my work), on the covers and throughout. 

Everything about it is original. 

If Tara hadn’t put this volume together, though I had written and photographed and compiled the manuscript, I don’t know if I could have. It takes patience and some technical skill and learning. Also, there is a picture of Bear and one of Paws (next to Raquel’s artwork, a painting of dogs on the wall beside Paw’s cat tree in the picture). So, Bear, nearer the start of his life, represents new beginnings, and Paws closer to the end of his life, the last chapter if one will, is seen dignified and independent and is remembered, honoured, immortalized through this photograph. Love and mourning. We love them of course when they are with us, and we mourn their loss. 

The book works on several levels. Poetry book. Photography book. Travel companion. Coffee table work. Conversation piece. Honoring the past. Acknowledging the present. And looking to the future…

-Brian Barbeito 

February 2026.