Poetry from Amirah Al-Wassif

Ode to Eve

I still recall the last time I spoke to an alien, or perhaps merely imagined it to be so. It happened immediately after the first drops of blood—later known as menstruation—appeared. I curled up in a corner, watching the wall where it walked in transparent attire, playing cards next to a widow spider. I don’t know if it was truly a widow, but perhaps my mood at the time made me assume it.


From that moment, I imagined Eve dreaming of the respectable apple. Imagined her exhausted, suffering the cycle. Imagined her startled by the fact of her femaleness. I saw her in my mind attempting to flee the obsessive-compulsive disorder, the doubt, and the petty anxieties. Imagining herself pregnant, her belly immense, and her legs swollen from fluid retention. I pictured her with one eye open and one eye closed, like a resting wolf.
Then the alien suddenly stung me; I opened my eyes and found it wearing Adam’s mask, recounting the familiar story from the perspective of the victim who fell into the trap of temptation.

No Bigger Than a Chickpea

Do you remember?

When I knelt before you, crying?

When you smiled at me and explained

Why did a piece of my body have to be cut off?

Do you remember?

You said,

“You won’t feel a thing.

It’s no bigger than a chickpea.”

My mother was boiling mint leaves.

I swear I felt the pot weeping.

Every leaf of mint seemed to ache,

As if preparing for a funeral.

You wore a loose, colorful galabiya.

You were laughing,

Genuinely happy, waiting for the line of girls—

So you could circumcise them.

It was the first time I heard the word.

I thought it was something

Like trimming your nails.

And I thought

You were like the school nurse.

We were laughing so hard,

Chasing one another,

Waiting for our turn.

The mother of each girl

Whispered to her:

“Once they cut that piece from you,

You’ll be a good girl.”

Do you remember?

Do you remember how all the girls begged you

When you pulled out the blade?

We thought it was a joke.

We thought it was a game.

But we never knew

We were part of it.

What the Palm Reader Told Me

A palm reader tells me I’ll end up working as a clown.

She says it with a wide smile shaped like a swordfish.

“You’ll live until sixty,” she says.

“And on the day you retire, you’ll take off your shoes in the street and run in the opposite direction of the traffic light.

That’s when you’ll start speaking Chinese—

The language you always dreamed of learning one day.

You’ll say xiè xiè—thank you so very much—

To everyone you meet.

It won’t bother you that the street vendor replies,

‘You’re welcome, Grandma.’

You know he has no manners.

And even though you used to get upset every time he said it,

This time you’ll run—run fast—all the way to the end of the road,

Like a child, like a nightingale eager to sing,

Happy with her voice and showing off a little.

The city’s chaos won’t annoy you then.

Nor the pollution,

Nor the skyscrapers,

Nor the smell of antidepressants.

You won’t think about how many times your father kissed you on his deathbed,

When he closed your eyes with a smile

And you thought he was playing.

You’ll just keep running and running

Until you bump into the throne of the Divine.

And you’ll reach out your hand,

Take a violet rose from it,

Plant it in the hollow of your chest,

And begin again.

A Thumb-Sized Sinbad under My Armpit

Beneath my armpit lives a Sinbad the size of a thumb.

His imagination feeds through an umbilical cord tied to my womb.

Now and then, people hear him speaking through a giant microphone—

Singing,

Cracking jokes,

Laughing like mad,

And impersonating a lonely banana suddenly abandoned by its peel.

The men of our town have no idea I carry a Sinbad inside me.

They say, “A woman—formed from a crooked rib.”

They say, “A woman—waiting for Prince Charming.”

But Sinbad stirs within me like a fetus,

Restless, chasing after adventure.

My aunt pinches my knee

For slipping into daydreams.

The good girls say yes.

But what about no?

What about what Sinbad tells me every night?

No one knows.

No one cares.

.

Thus Spoke the Orange Tree

Yesterday I met an orange tree and asked it, “Tell me, how we fold Time?”

To be born now, a thousand years old. To know how to understand man, beast, bird, insect, flower, and machine. How to walk naked on my tiptoes in a wintry open space, without fearing the cold. To sing at the top of my lungs because (am still breathing)

Without fearing the sirens or the police.

Yesterday I met a pregnant orange tree and whispered in her acrobatic ear, “How do you become an orange tree, then give birth to a moon? How do the jokes melt in your mouth like water with honey? Did you fall for an angel? Or did you read a poem of light? Do you wear crystal balls like cosmic spectacles?”

Yesterday I shed my skin, bone, and flesh like a temporary coat I no longer needed. Yesterday I broke free of it. Broke free of me. And raced at full speed to catch a star that accidentally fell from a baby’s eye. I called out to myself with a thousand foreign tongues, and I prayed. And I sighed. And melted, once more, into the drink of Love.

First Class Donkey

Yesterday I sat next to a donkey
in first class.
His eyes were pearls,
his heart a green stone.
When I slipped my hand out
from under the seat belt
to hold him,
a piece of the full moon
fell into my lap.
I froze. The old stammer
from fifth grade came back.
My father’s voice in my ear:
You’re still shy? It’s a donkey.
But I wanted to hold him
even more.
His heart buzzed
like a bee—
maybe he could fly,
maybe speak,
like the ones in Orwell’s farm.
His eyes: a fountain of hope.
Could a gaze swallow me whole?
Could he pull me
toward him, inch by inch,
until my body vanishes—
no one finding me,
no one seeing me
except him?
And the flight attendant?
Would she report me missing?
Or swear I was never there?
The donkey holds a newspaper
with a hole in it.
I wonder:
old-fashioned donkey?
I lean closer, resisting the urge
to hug him.
His gentle eyes tempt me.
Closer—
I’m already there,
inside the hole,
second from the right
on the obituary page.
I’m there, dreaming.

Essay from Qudratova Nozima Bahrom qizi

Young Central Asian woman with long straight dark hair, brown eyes, and a long sleeved flannel black top.

LINGUISTIC FEATURES OF TOG‘AY MUROD’S WORKS

Qudratova Nozima Bahromovna

1st-year student, Department of Uzbek Language and Literature,

Denau Teacher Training Institute

Email: qudratovanozima@gmail.com

Annotation

This article explores the linguistic features present in the works of the renowned literary figure Tog‘ay Murod, distinguished for his profound narratives and unique style. Through a comprehensive analysis, the study highlights key linguistic elements that define Murod’s writing, offering insight into his literary techniques and contributions to the cultural and artistic landscape.

Keywords: Tog‘ay Murod, literary analysis, linguistic features, narrative style, literary technique.

Introduction

Tog‘ay Murod stands as a prominent figure in modern Uzbek literature, celebrated for his captivating storytelling and innovative narrative approach. His works have long fascinated both readers and critics, prompting scholarly interest in the linguistic elements that form the foundation of his distinctive literary voice. This article examines the recurrent linguistic features within Murod’s works, revealing the craftsmanship behind his style and illuminating the essence of his literary genius.

Murod’s literary corpus spans various genres—from prose to poetic narratives—each crafted with its own linguistic precision. His prose is characterized by rich imagery, metaphorical language, and nuanced character development, all of which create immersive storytelling experiences for the reader. Moreover, his use of symbolism, allegory, and intertextuality adds layers of depth, inviting readers to engage with multiple levels of interpretation.

Linguistic Characteristics in Murod’s Works

Beyond his narrative mastery, Murod’s poetic works demonstrate exceptional linguistic rhythm and lyrical expression. By artistically arranging words and sounds, he captures the essence of emotion and human experience, creating a deep resonance with readers. His exploration of linguistic ambiguity and semantic complexity contributes to an intellectual dimension that encourages readers to reflect on the subtleties of language and meaning.

A systematic approach—combining close reading, stylistic analysis, and comparative research—was employed to examine Murod’s linguistic techniques. Works representing different periods of his creative activity and covering diverse themes were analyzed. Textual fragments were studied for recurring linguistic patterns, rhetorical devices, and stylistic choices, providing a comprehensive understanding of his unique writing style.

One of Murod’s most notable contributions lies in his transformation of the natural speech of ordinary people from the Surkhan region into a literary stylistic device. He was among the first to elevate this regional vernacular to the level of a refined artistic tool. Following in the footsteps of earlier creators, he developed his own perspective on literary style. Researcher M. Khidirova describes language as the foundation of literary structure, noting:

> “A literary work is like a tower. It has its own foundation. The lifespan of the work depends on this foundation. The foundation of a literary work is language. Life begins with language and ends with language.”

Thus, the linguistic worldview of Tog‘ay Murod embodies a philosophical understanding of language as both an artistic and spiritual necessity. His unique stylistic mastery continues to serve as a school of artistic skill for young writers, especially at a time when the Uzbek language is flourishing as a state language and its preservation and development are of great importance.

Theoretical Perspectives on Style

Classical and contemporary scholars alike have offered insights into the formation of literary style. The eminent

scholar Abdurauf Fitrat emphasized that as a writer matures artistically, a distinctive style emerges:

> “As a poet or writer rises in artistic mastery, he begins to create a style peculiar to himself. When his imagination, thought, and understanding reach maturity, a unique style naturally appears.”

Literary critic O. Sharafiddinov likewise described style as an all-encompassing phenomenon permeating every aspect of a writer’s work:

> “A writer’s style is like air—we breathe it without noticing its components. Style is the spirit of creativity, the subtle fragrance present in every work.”

Accordingly, Tog‘ay Murod’s reflections on artistic language and style deserve special attention. Language, artistic vision, and literary technique interact harmoniously in his works, shaping an individual and unrepeatable style formed through philosophical perception, cultural identity, and narrative skill.

Tog‘ay Murod’s Creative Language

Tog‘ay Murod is widely recognized for his original and vivid prose, which resembles poetic narrative in both rhythm and imagery. Even casual readers familiar with modern Uzbek literature can easily identify his works by their expressive, colorful, and deeply lyrical language. This distinctive quality sets him apart from other writers.

In works such as Otamdan qolgan dalalar (“Fields Left by My Father”) and Bu dunyoda o‘lib bo‘lmaydi (“One Cannot Die in This World”), Murod won the admiration of readers by portraying the sincere and humble people of the Surkhan region—their hardships, aspirations, and inner worlds. His language is deliberately simple, flowing, and deeply rooted in folk expression.

He skillfully incorporates proverbs, idioms, synonyms, archaic words, and dialectal expressions, enriching the artistic imagery of his narrative. Folk speech enhances the authenticity and emotional connection of his works. For example, dialectal words such as baycha, jigit, bova, iyarmoq, angnib yotmoq, and yonashtirmoq vividly illustrate the regional character of his narratives:

> “I told the boys to lie down by the river and keep watch.”

Discussion

The linguistic features identified throughout Murod’s works emphasize his innovative approach to storytelling and his profound connection to language as a tool of artistic expression. By blending imagery, metaphor, symbolism, and intertextual references, he creates multilayered narratives that resonate deeply with readers.

Moreover, his linguistic versatility allows him to traverse different genres and thematic landscapes, demonstrating the breadth and depth of his creative vision.

Conclusion and Recommendations

In conclusion, the study of Tog‘ay Murod’s linguistic features reveals a writer of exceptional talent and intellectual depth whose works continue to captivate and inspire audiences worldwide. Future research may further explore specific aspects of his linguistic style—such as dialect usage, narrative voice, or linguistic innovation. Comparative analyses with other literary traditions may also offer valuable insights into the evolution of literary language and expression.

Ultimately, the linguistic richness of Tog‘ay Murod’s works serves as a testament to the enduring power of language to illuminate human experience and provoke thought. As readers engage with his texts, they embark on a journey of linguistic discovery, uncovering layers of meaning and developing a deeper appreciation for the art of storytelling.

References

1. Oydinda yurgan odamlar. G‘. G‘ulom Literature and Art Publishing House, Tashkent, 1985.

2. U. Jo‘raqulov. Nazariy poetika masalalari: Muallif, Janr, Xronotop. G‘. G‘ulom Publishing, Tashkent, 2015, pp. 148–150.

3. U. Faulkner. Qora musiqa. Yangi Asr Avlodi Publishing, Tashkent, 2018.

4. A. Fitrat. Adabiyot qoidalari. Tashkent: O‘qituvchi, 1995.

5. O. Sharafiddinov. Iste’dod jilolari. Tashkent.

Qudratova Nozima Bahrom qizi. 2006.11.12.

Surxondaryo viloyati Shurchi tumani Oynako’l mahallasi Amir Temur ko’chasi 160 uy.

+998 90 071 06 11.

Denov Tadbirkorlik va pedagogika instituti 1 kurs talabasi. Filologiya fakulteti o’zbek tili va adabiyoti guruhi.

Poetry from Anna Keiko

Young East Asian woman with brown eyes and reddish hair.

Meeting Myself

A door unknown

You are led inside

To where night has yet to fall

In There, you meet yourself

You tread along a steep, winding mountain path

No flowers in sight, nor does it lead to the other shore

With threads of thorns

Weave an indescribable language

November 30, 2025

Poetry from Mykyta Ryzhykh

The boy

the boy dies as if the AIDS of past happiness lives in his heart

the boy is silent until the screams on his nails turn into screams

the sky above the boy’s head bursts like a balloon

the sky falls on the heads as if the heads are still not cut down

the anus is like a water pipe: it will just flood everything around

life is like a plumbing pipe torn without an anal ring

the sky overhead repeats the weakness

the god above his head cannot explain the meaning of his presence

a sweater draped over the skin instead of a mole and a tattoo is torn

a man stands near the sign and does not know where to go next

where to? in basements where it’s easier to hide and fuck?

or move forward? or into the future that floats in its own absence

it starts to rain and the dogs get wet

I wash in the rain

I wash exclusively in the rain

I’m dying inside someone else with my name and body

I wash only in the death

I’m dying but I live

I’m rain with a soft torso

boy / me / or someone else

while around the zz skr sc cars ars

iron butterflies tear the stomach

the city tramples me with leaves

crunch outside or inside fills the air

all around say: quietly quietly

Poetry from Brian Michael Barbeito

Closeup of a wilted brown plant in the fall with grass and trees in the background.

Sometimes the Clouds and Sometimes the Angels (prose poem and picture)

at moments though it was generally overcast, the light of the sun so determinately arrived that it felt like an angel or group of angels giving a sign and blessing. I had a spinning ring silver w/several saints and divine figures and I touched it. I remembered other moments similar such as when a praying mantis out of nowhere flew across and landed beside me, watching me. it was the wings of the creature that made it appear like a fairy or angel or whatever the case, something more metaphysical than of this world. and then as life goes in cities and in rural and pastoral settings w/many blessings, the clouds resumed and even some rain and anxious strange wind had their turn and show of ruefulness and moving melancholy. but one had to take all moods of the capricious earth and learn from them by observing and remembering. like a soul that would scry the sky or an old-time sagacious psychic who had gifts of the spirit. so, step and step and step again, by the field and under late autumnal tree canopy beige and yellow and brown then…yes step again, to become a nature poet. 

Poetry from Milana Momčilović

Young Eastern European woman with long dark hair, earrings, and a black top with white dots.

IN THE SHACKLES OF YOUR SILENCE 

Under your name, the night trembles within me.

In my chest, a bound flame moans.

Like a cold darkness, love stretches me upon its rack.

Your shadow drinks my breath.

My bones remember your touch.

Within me, centuries collapse without you.

Like spilled gold, my sorrow flows.

Your eyes — two abysses above my soil.

My heart bears the shackles of your silence.

My skin is a book of your wounds.

I have written you in my own blood.

I have carried you through my own ashes.

Into your voice, I placed my final peace.

And when I sink, your shadow will remain in me.

And when I fall silent, I will still long for you.

Milana Momčilović was born on April 4, 1999 in Vrbas. She currently lives in Srbobran, a place near Novi Sad in the Republic of Serbia.

She published the collection of poetry TALISMAN.

She doesn’t like to talk about herself, so in the end she can describe herself through the verses of Sergei Yesenin: “What am I?” Who am I? I’m just a dreamer, whose sight fades in the fog and mist, I lived along the way, who can dream, like many other people on that earth.”

Poetry from Dr. Jernail S. Anand

Older South Asian man with a beard, a deep burgundy turban, coat and suit and reading glasses and red bowtie seated in a chair.
Dr. Jernail S. Anand

My Friends 

There are times 

When we slowdown 

But the water in the river 

Flows on unconcerned 

I am perhaps feeling 

My weight too much 

For my legs 

To carry 

The memories are hard 

To lay bye 

And harder still

The fears of descending uncertainties

When was I sitting alone 

Not bothered by 

Real or unreal joys

And sorrows?

My invisible friends are they

Leave me alone

Only when I am asleep

May desert me only when it is eternal.

Jernail S. Anand 

President of IAE