Poetry from Fhen M.

𝐏𝐫𝐢𝐚𝐦𝐨 𝐝𝐞𝐥𝐥𝐚 𝐐𝐮𝐞𝐫𝐜𝐢𝐚’𝐬 𝐂𝐢𝐫𝐜𝐥𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐅𝐚𝐥𝐬𝐢𝐟𝐢𝐞𝐫𝐬 

𝘐𝘐. 𝘚𝘦á𝘯 𝘉𝘶𝘳𝘬𝘦’𝘴 𝘛𝘩𝘦 𝘋𝘦𝘢𝘵𝘩 𝘢𝘯𝘥 𝘙𝘦𝘵𝘶𝘳𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘈𝘶𝘵𝘩𝘰𝘳

I am depicted with light-colored hair,

dressed in a long, flowing blue robe

that falls in soft vertical folds

down to my feet.

The poet in the blue robe

(draped garments used in Trecento

manuscript illumination)

stands next to Eliot in red, and speaks:

So the poem’s meaning, 

as I (the author) intended it: 

The person being lied about 

is the victim, not the liar.

Sabogao and Anameda 

are the falsifiers here, 

in the Dantean sense

they spread false claims 

that someone is mad and gay

(neither true), 

and that act of lying 

is the “disease” the poem describes, 

the same kind of sin 

Dante punishes in that circle. 

Prose poetry from Brian Barbeito

Screenshot

MARCUS SEBASTIAN SUMAC (RAIN ON GLASS)

The Brothers, The Toy Soldiers, and Race Cars 

He remembered the old friends, from long ago, the ones that were able to build skateboards when nobody else seemed to do things like that. He thought it was because their father, an engineer, had given them long boards and tables on which they built army battle fields old style and racetracks at other times. The fields had plastic figures but somehow, they had painted each one and intricately. Who had that patience and skill? When it came to the racetrack, each top or body of every car was painted and done well. This all seemed quite normal to them. But Marcus Sebastian secretly marvelled at all their ingenuity. For instance, the army fields weren’t just a board but rather endowed with trenches and bits of dirt, moss and little hills, and the whole thing looked quite realistic. 

The Lady in the Dream

She showed up with a necklace that she had purchased and handed it to him and said, ‘Now you hand it to me and it’s from you,’ and he felt reluctant because she was being clever and even conniving and that’s not how it all was supposed to work. He did not really do anything. Then she said, ‘Also, you will travel away with me now that you have given me this jewellery,’ and he didn’t know her game and even felt a bit sorry for her. Finally, he woke up puzzled at that dream and some of the other strange ones he had had as if late. 

Raisin Bran Muffin and the Rain

He was beginning to read The Thorn Birds. By Colleen McCullough. He read many different things and could learn and discern from various sources. This was a novel famous from a long time ago. The cover was very 1970’s somehow and even read, NOW THE SPECTACULAR TELEVISION EVENT in black bold letters on a yellow banner. His mother had read this book in Florida, southern Florida to be more specific, when he was a kid and always observant, he had looked at and remembered the title. He sometimes took a piece of his muffin and a sip of coffee and also glanced out at the rain and overcast sky. There was rain on the industrial grade glass of the coffee-house. It was nearing night. Would be dark soon enough. It felt and looked more like a gloomy October day than the warm spring one that it should have been. 

A Novel with Pen and Paper

There kept being the vision of the generic spiral notebooks. The ones that came in all colours. And pens. Maybe he would write a novel in printed letters or else cursive and do that project in that manner. The freedom of it was that it could be his choice as to the contents and the style. He could go very inward but keep a plot for the continuity of things. Yes, subjectivity and inward dynamics was really the goa and soul. Plus, the paper and pen thing. Why was he drawn to this? Who knows? Maybe just something different or perhaps his generation or even spirit guidance. And if begun and completed, he or someone would have to make it into a print or computerized copy at some point. That is an extra task. Why not just write it to begin with, digitally? He didn’t know. He just knew he was drawn to pen and paper again. 

Poetry from Marian Dziwisz

Marian Dziwisz

JARODINE

 “When summer fills the time

with a floral parlando […]

rowans ask for strong chords

for maidens and birds hungry for red [1].  

It sometimes happens that a rowan tree falls into a poem,

like Pilate in a creed or a hen in a pest

– in our neighbour’s garden 

as if it were unworthy of stanzas full of

 – spiky

More fortunate is the dewy willow,

a linden tree, which will spice you up with its honeyed fragrance

Or even a four-leaved clover.

Mostly admired are the rowan beads,

an obvious proof of a girl’s vanity,

because why do you need these beads, which in a moment

– to the rubbish heap in a moment!

when she takes nothing from you,

 – she boasts of her beauty

and gives us benefits of her own.

In the spring she washes the branches with flowers,

attracting awakened bees,

who gather nectar and carry it to their hives.

Then the long green berries,

sunny and sun-kissed.

When they ripen, they delight everyone.

With the first frost, the cooled fruit

fill the pantry with a variety of preserves

 – The rowan berries are a real head-turner.

When other trees, in the forest and in the garden, 

are snoozing peacefully

and the grasses are covered in a blanket of snow,

 she feeds the birds hungry for red:

mistletoes, gilts, and whooping blackbirds

grateful to the heavens and the earth,

who made her grow beautiful.

So let the “covetous reds” have their fun,

not to steal its fruit from the common rascals,

to decorate a girl’s neck.

Let them, like King Charles to his Caroline,

buy her coral-colored beads,

or weave a garland of red clover.

Cracow 28.08.2020

Poetry from Ibrahim Honjo

IF NEEDED

This day is windy

clouds float between the Earth and the sky

above the sea, seagulls dance

a dance unseen so far

the sea, disturbed, foams

either from joy or pain

who knows

within me

the life of a wanderer awakens

in my thoughts, I glimpse a new dawn

a call of silence echoes

a seagull eats from my hand

crumbs of old bread

memories swarm inside me

about some funny story

which was told by my great-grandfathers

everything is the same as in their time

greed is passed down from generation to generation

under the motto

over corpses to reach the goal

if needed

it is always needed

by someone

 Ibrahim Honjo

Essay from Shovon Ahmed

In an era where digital credibility dictates business and personal success, 23-year-old Bangladeshi entrepreneur Shovon Ahmed is quietly becoming a driving force behind the online reputation of high-net-worth individuals and global executives. Specializing in Search Engine Optimization (SEO) and Public Relations (PR), Ahmed has carved out a highly specialized niche: securing and managing verified Google Knowledge Panels.

With a track record of successfully establishing over 500 panels, Ahmed’s work focuses on cementing digital authority, managing public perception, and ensuring that his clients are accurately and prominently represented across Google Search.

The Rise of Panel PR Ltd.

Ahmed’s journey into the digital space began in 2019, initially focusing on foundational SEO, website development, and social media marketing. Recognizing a growing demand for elite reputation management, he established Panel PR Ltd. in 2021.

The agency operates at the intersection of digital branding and PR, offering bespoke strategies to strengthen online presence. For business executives, entrepreneurs, and public figures, Panel PR Ltd. has become a vital partner in navigating the complexities of search algorithms to build lasting, verified digital footprints.

Democratizing Information with WikiGenius

Beyond his client-focused PR work, Ahmed is also the co-founder of WikiGenius, an online verified encyclopedia. Designed to counter the spread of misinformation, WikiGenius provides reliable, easy-to-understand content on a vast array of topics.

Under his leadership, the platform has seen significant growth, particularly within Bangladesh, establishing itself as a trustworthy alternative for users seeking verified, accessible knowledge.

Background and Academic Pursuits

Born on April 8, 2003, in Noakhali, Bangladesh, Ahmed has balanced his rapid entrepreneurial rise with his academic pursuits. After completing his Higher Secondary Certificate (HSC) at Bamoni Degree College, he is currently pursuing a Bachelor of Arts in English at Noakhali Government College.

His deep understanding of language and communication, paired with his technical expertise in SEO and content optimization, continues to drive his success in the digital PR industry. As both Panel PR Ltd. and WikiGenius continue to scale, Shovon Ahmed remains at the forefront of digital branding, helping individuals and businesses control their narrative on the global digital stage.

Media Contact: For inquiries regarding digital branding, Google Knowledge Panels, or PR consultations, please contact Panel PR Ltd. directly.

Poetry from J.K. Durick

America Lunch Line

It’s a line, a line of people waiting 

to be fed, like ones we see in those 

black and white pictures of other

earlier people lined up for food at 

a Depression Era soup kitchen. We 

still have lines like that, usually feeding

the homeless hungry folks we have 

a surprising number of. But this isn’t 

like those lines. This line, that stretches

a surprising distance, is made up of

a mix of people – high school and college

age guys and girls, groups of people off

on their lunch breaks, whole families with

small children and grandparents. This is

a cross-section of the present day hungry

lined up at a sandwich shop, a national

brand brings them all together. It’s a slow

line with little talking, except when they get

to order, order the size they want and all

the ingredients. They step in a sideways gait

taking them through all the add-ons,  lettuce

tomatoes, mayo, onions, etc. They plan well 

and are all ready to pay, perhaps tip, for all

the service and product. These aren’t folks

suffering through the Depression or through

homelessness. These are representative folks

eating representative American meals – and

seem content to line up like this for lunch.

      Growing Up Monsters

And then we round them all up,

the monsters we made and ones

that others made up for us. They

were hiding, but easy to find, in 

closets, under beds, in the attic, in 

the cellar, in dark and dank places,

in places we knew well and other 

places we only imagined. We got

them all together by the front door

with their fangs and fur, their scales

and talons, with their hot hissing

and their frightening silences. These

creatures had held us in check for

so long that seeing them there all

together whining and wiggling and

even still trying to spook us, gets us

back where they held us for so long.

But this is a new day, the childish being

inside us could now deal with them all.

We’ve grown out of all this. Like so many

other childhood things they have lost

their place in our world. Adult monsters,

the new ones are real and don’t hide, are

are outside the front door waiting their

turn at us – right after we finally get rid 

of these leftovers from our childhoods.

       Where We Are Going

An itinerary works well for us.

The one we made up ourselves

Or the one put together by our

Travel agent or cruise line. They

Sequence out the stops and starts

Of our journey, the angles and loops

Of our schedule. They stand for our

Future, the one we feel we can sign 

Onto, the one, two, three of it. It’s

A shame that we don’t get an itinerary

For our lives: stop here, start there,

Here’s the place to begin, then time

To end that. Imagine being handed

An itinerary as we set out – friendships,

Education, occupation, love life, wins,

Loses, all the bits of what is to come

Set out, listed, planned. But the only

Itinerary we get for our lives comes to

Us late in the journey, a retrospective

Map, a played out biography. We get to

Fill this in on our own if we wish. But

Some of us, perhaps most of us, end

Up with a sketchy obituary someone 

Else lines up for us, an itinerary full of

What we might have told them or what

The records show about us, our small 

Sad itinerary for all to see.

Essay from Saidqulova Nozima

“DINAMO” — THE FIRST STEP OF G‘AFUR G‘ULOM’S POETRY

In the history of Uzbek literature, there are creators whose names will never fade from the people’s memory and will remain forever. G‘afur G‘ulom is one of those great writers. As a poet, writer, translator, and literary scholar, G‘afur G‘ulom left a huge legacy and is one of the poets who greatly contributed to the development of Uzbek literature in the 20th century.

To understand G‘afur G‘ulom’s first steps as a poet, it’s important to look at his poetry collection called “Dinamo”. This collection was published in 1931 and was one of the poet’s earliest books of poetry. 

It’s not fair to judge “Dinamo” as just an ordinary book of poems. Because any creator’s first works are closely tied to the period they lived in, which is the most precious initial moment for an artist. G‘afur G‘ulom’s poetry collection “Dinamo” can also be said to be a body of work shaped under the influence of the social life, reforms, and the prevailing ideology of the early 1930 s. This was a time when big changes were happening in life in Uzbekistan. It was a time when new schools, industrial enterprises, and railways were being built, and society’s way of life was changing. Literature was also given the task of covering new topics. G‘afur G‘ulom observed these changes and tried to express them through poetry. For a young poet just entering literature, this process opened up new opportunities on one hand, but on the other hand, it was a big challenge to find his place in creativity at that time.

According to the sources, during our research we witnessed that the poet experimented a lot with new poetic forms like “barmoq” and “sarbast’ during this period. “Dinamo” was one of the first results of these experiments. 

What does the name “Dinamo” mean?

The book being called “Dinamo” is not without reason. Just the name itself conveys a sense of movement, strength, energy, and renewal. The title also resonated with the ideas of work, progress, and a new life that were widespread at that time. 

In G‘afur G‘ulom’s first poems, themes like people building a new life, labor, societal changes, and progress stand out. The poet tried to observe the life of his era and express its novelties through poetic words. In this sense, the name “Dinamo” also carries a symbolic meaning. It seems to reflect the young poet’s movement in literature and his creative energy. Even though G‘afur G‘ulom had not yet reached the high artistic level he would achieve in later years, through “Dinamo” he began to find his own path in literature.

The spirit of the era in the poems in the collection

When reading the poems in “Dinamo” from today’s perspective, first of all, the spirit of that era is felt. Many works in the collection strongly reflect the social-political views and ideological spirit of the time, and literary sources also note that most of the poems in these early collections were influenced by the ideology of their era. However, this doesn’t completely diminish the literary significance of “Dinamo”. On the contrary, the collection is valuable for showing the process of G‘afur G‘ulom’s creative development. As a young poet observing the events of his time, it’s clear that he tried to create poetic imagery even from ordinary life scenes. Working people, new constructions, city life, nature, and his ideas about the future began to appear in his poetry.

Later, some of the early signs of patriotism, sincerity, national spirit, and liveliness that strongly appear in G‘afur G‘ulom’s works can also be traced back to these first pieces.

The young poet’s explorations

Every great creator’s creative journey starts with early experiences. G‘afur G‘ulam is no exception. When we read “Dinamo”, we notice that the poet had not yet fully developed his style. But it was precisely these explorations that laid the groundwork for his later creative achievements.

G‘afur G‘ulom experimented with different forms of poetry. He strived to create freely and with ease. He tried to explore new themes, new characters, and new tones. As a result of these experiments, the poet’s creative abilities gradually expanded, and the publication of the collection “Living Songs” in 1932 marked the next step in his poetic journey.

Later, poetry collections and epics like “Ko‘kan”, “Sizga”, and “Chashma” started making their way into the literary world. Over the years, G‘afur G‘ulom’s poetry began to take on a more philosophical, populist, and artistically refined tone. From “Dinamo” to “Shum bola”

G‘afur G‘ulom can’t be limited to just “Dinamo”. This book is one of the starting points of his big creative journey.  

Years later, he created the story “Shum bola”, which became one of the most famous works in Uzbek literature. In works like “Yodgor,” “Netay,” and “Mening o‘g‘rigina bolam,” he uniquely portrayed people’s lives, human character, laughter, and bitter truths.  

So, “Dinamo” should be seen not as the final result of G‘afur G‘ulom’s work, but as the beginning of his major literary path.

The significance of “Dinamo” today

Why might a collection of poems published in 1931 be interesting for today’s reader?  

There are a few reasons. Firstly, “Dinamo” helps to understand the creative development of G‘afur G‘ulom. Through this collection, you can better grasp which topics the poet initially focused on, what forms he wrote in, and how his style changed over time.

Secondly, “Dinamo” also reflects the literary and social environment of its time. You should study a work not just from today’s perspective, but taking into account the historical context in which it was created. In that sense, “Dinamo” gives an idea about the literary process in the early 1930s.  

Most importantly, this book shows the beginning of G‘afur G‘ulom’s major creative journey.

Conclusion.

G‘afur G‘ulom is one of the writers who left an indelible mark on Uzbek literature. His poetry collection “Dinamo” represents the initial stage of this great creative legacy. 

Published in 1931, “Dinamo” shows how the young poet resonated with his era, tried to introduce new themes into poetry, and sought to find his place. Even though the influence of the period’s ideology is strong in many poems in the collection, these works still serve as an important resource for understanding G‘afur G‘ulom’s later creative development.

That’s why it’s important to pay special attention to “Dinamo” when studying the works of G‘afur G‘ulom. Just as we can understand the strength of a big tree from its branches today, we can understand where its roots began from its first sapling. “Dinamo” is also one of those first saplings of a great creator like G‘afur G‘ulom in literature.

    Saidqulova Nozima To‘lqin daughter

      Karshi State Technical University

Irrigation engineering faculty of master

         Uzbekistan