BOSHLANG‘ICH SINFLARDA KITOBXONLIKNI RIVOJLANTIRUVCHI INTERAKTIV USULLAR

Jizzax davlat pedagogika universiteti 

Jizzakh State Pedagogical University

Faculty of Preschool and Primary     

Education     2nd-year student

Arziqulova Adiba

ABSTRACT

This article examines the use of interactive methods in developing reading culture in primary school students. The effectiveness of pedagogical technologies such as the “Jigsaw,” “Boomerang,” and “Odd One Out” methods in reading lessons is analyzed. It is substantiated that these methods contribute to the development of students’ independent thinking and increase their interest in reading.

KEY WORDS: reading culture, primary education, reading lessons, interactive methods, pedagogical technologies, Jigsaw method, literary text analysis

INTRODUCTION

“Raising the culture of reading is an important guarantee for achieving our great goals.” – Shavkat Mirziyoyev

We would like to emphasize that the primary school curriculum is not a special state document in which the content and volume of knowledge, skills, and competencies to be mastered by students are strictly defined according to academic years. We needed to develop such a curriculum, but it could only be the result of successfully addressing a general task — identifying and substantively presenting the scientific and methodological foundations of the teaching course. In other words, we needed to describe the essential components aimed at studying reading as a method through which a growing and developing person acquires knowledge and reshapes reality, ensuring the uniqueness of planned educational activities. The starting point for reflection and analysis should have been the book itself.

RESEARCH METHODOLOGY

Nowadays, developed countries have accumulated extensive experience in applying pedagogical technologies that enhance students’ learning and creative activity and ensure the effectiveness of the educational process. The basis of this experience is interactive methods, which are increasingly used by almost all teachers in their lessons.

The term “interactive” originates from the English word interact (Russian: “интерактивный”), which literally means “inter” – mutual, bilateral, and “act” – to act, to do.

An interactive method in education serves to activate students’ learning and develop personal qualities by increasing the activity between students and teachers. The use of interactive methods fosters independent thinking, analysis, drawing conclusions, healthy communication, expressing one’s opinion and defending it with reasoning, focusing attention on the main issues of the lesson topic, participating in discussions and debates, and creating conditions for students to realize their potential.

There are many types of interactive methods, which are chosen according to the lesson topic and intended objectives, and require prior preparation. Correctly selected methods make lessons interesting and effective. Participation in interactive lessons requires students to be prepared and meet certain requirements, including mastering the necessary knowledge for active participation, readiness for communication, collaborative work, independent thinking, and the ability to express and defend their opinions.

Below is an example of an interactive method for developing reading skills among primary school students. The “One Extra” strategy (fifth, sixth, seventh, etc., is extra) helps students not only develop logical thinking but also improve skills in understanding texts and analyzing literary works. The method is applied in reading lessons as follows:

1 Form a system of concepts that reveal the content of the text or story (characters, events, main idea, literary devices);

2 Select four (five, six…) elements that match the text and one element that does not fit;

3 Ask students to identify the extra element and explain why they chose it;

4 Study the remaining concepts, analyze their interrelations, and gain a deeper understanding of the text’s content.

This method helps students develop independent thinking, justify their viewpoints, exchange ideas with peers, and at the same time, increases interest in reading.

Every lesson is a new adventure, and every book is a key that opens doors to new worlds. Using this method, students not only comprehend the text but also develop a love for books and expand their knowledge and imagination.

REVIEW OF LITERATURE

It is known that in the second half of the 20th century, the methodology of primary education began to emphasize approaching literary works aesthetically, studying them as works of art. At the same time, psychological research indicated that the potential abilities of young students require a different approach to introducing them to the world of literature.

For instance, N.N. Svetlovskaya developed a theory of independent reading for students, while Ye.A. Adamov, M.S. Vasileva, V.G. Goretskiy, M.I. Omorokov, T.G. Ramzaeva, and others focused on analyzing the form and content of literary works. L.A. Gorbushina, O.V. Kubasova, L.N. Mali, L.V. Nefedova, and others highlighted the importance of students’ creative activities in methodology. Some researchers emphasized the necessity of developing reading techniques. Thus, the methodology of primary education has gone through significant stages of formation as a scientific discipline.

In the work of J. Yoldoshev and S. Usmonov, “Pedagogical Technologies and Pedagogical Mastery”, the theoretical foundations of applying modern pedagogical technologies in the educational process are extensively explored. The authors analyze the content, types, and mechanisms of implementing pedagogical technologies in teaching, demonstrating that the teacher’s pedagogical mastery is a crucial factor in enhancing educational effectiveness. This source plays a particularly important role in defining the scientific and theoretical basis for the use of interactive methods in primary education.

ANALYSIS AND RESULTS

Currently, primary school teachers expect clear, evidence-based, and scientifically grounded guidance from methodology. Methodology ensures that future primary school teachers can approach the content of literary education independently and consciously. They should not only study the experiences of others but also analyze the results of these activities critically and draw correct conclusions.

M.A. Ribnikova identifies four didactic principles as the foundation of methodology:

1 Education should comprehensively influence students’ understanding.

2 Students should clearly understand the task set before them.

3 The teacher should have the skill to present new complex phenomena as if they were familiar.

4 Deduction should be linked with induction.

Ribnikova views the methodological system as a living process and emphasizes the need to focus attention on the methodological system itself.

These perspectives highlight the need for a new approach to the analysis and interpretation of literary and artistic works studied in primary school reading lessons. Conducting text analysis systematically and step by step allows students to direct their learning activities toward specific goals.

The “Boomerang” method is aimed at helping primary school students analyze reading material independently and explain it to their peers. Each student studies a part of the text and then presents it to other students in the group. As a result, knowledge is comprehensively and consciously acquired.

This method:

Organizes students’ activities step by step;

Ensures an individual approach;

Develops independent thinking and teamwork skills.

The use of pedagogical technologies such as “Boomerang” and the “Saw” method ensures that work with literary texts is goal-oriented, learning activities are systematically organized, individual approaches to students are provided, and students’ work can be monitored and assessed quickly.

In the “Saw” method, the literary text is divided into components. This technology can be applied to study all works included in the Grade 4 “Reading Book” curriculum. For example, in the lesson studying the story “The Prince’s Childhood”, the text is first presented as audio. The story is divided into four parts, and the class is split into four small groups. Each group is assigned one part to study.

Using the “Saw” method, students work independently in small groups. Each group understands the content of their assigned section and identifies the main idea. In the next stage, groups are restructured so that students explain the parts they studied to one another. As a result, the full content of the work is comprehensively and consciously acquired.

This method helps students develop skills in independent thinking, communication, teamwork, and justifying their opinions. Lessons that employ interactive methods significantly increase students’ engagement and interest in reading.

The results of the study indicate that pedagogical technologies such as “Saw” and “Boomerang” are effective in primary school reading lessons, contributing to the conscious comprehension of literary works and fostering a culture of reading.

CONCLUSION

In conclusion, the use of interactive methods in primary school reading lessons enhances the effectiveness of education. Pedagogical technologies such as “Saw” and “Boomerang” increase students’ engagement, develop their skills in conscious comprehension and analysis of literary works, and foster independent thinking. As a result, students’ interest in books grows, and the culture of reading is strengthened.

LIST OF REFERENCES

1.Azizxo‘jayeva, N. N. (2006). Pedagogik texnologiyalar va pedagogik mahorat: O‘quv qo‘llanma. Toshkent: O‘zbekiston Yozuvchilar uyushmasi, Adabiyot jamg‘armasi. https://www.ziyouz.com

2.Komiljonova, G. (2024). Ta’limda interfaol metodlardan foydalanishning afzalliklari. Worldly Knowledge International Journal of Scientific Researchers, 5(2), 766. ISSN: 3030-332X.

3. Omonov, H. T., Xoʻjayev, N. X., Madyarova, S. A., & Eshchonov, E. U. (2009). Pedagogik texnologiyalar va pedagogik mahorat: 5A340605 – Xalqaro moliya mutaxassisligining magistrantlari uchun darslik. Toshkent: IQTISOD-MOLIYA. https://www.ziyouz.com

4.Pardabayev, D. A., & O‘ktamova, S. U. (2023). Boshlang‘ich sinflarda kitobxonlikni shakllantirish dasturi. Research Focus, 2(3). https://doi.org/10.5281/zenodo.7779225

5. Qorayev, S. B., & Janbayeva, M. S. (2022). Boshlang‘ich ta’limda o‘qish darslarida interfaol metodlarni samarali qo‘llashning o‘ziga hos jihatlari. Academic Research in Educational Sciences, 3(1), 1079–1085. https://doi.org/10.24412/2181-1385-2022-1-1079-1085

6. G‘ulomova, X. (2020). Boshlang‘ich sinfda o‘qish darslarini tashkil etish metodikasi. Academic Research in Educational Sciences, 1(3), 354. https://www.ares.uz

DRAMATIC COLLISION IN SHUKRULLO’S “BURIED WITHOUT A SHROUD”                                                                                             

Iroda Ibragimova 

Jizzakh State Pedagogical University

Faculty of Philology, 1st-year student

​E-mail:  irodaibragimova896@gmail.com

This article examines the devastating impact of the totalitarian regime on human personality and destiny through the example of Shukrullo’s work “Buried Without a Shroud”. The main issue of the work is interpreted from a literary and psychological perspective, focusing on the spiritual resilience of the lyrical protagonist (the author himself) and his struggle to preserve inner freedom amid the horrors of the 1937 repression period. The conducted research proves that the work is not merely a historical document, but a true tragedy demonstrating that personal courage and universal human values are capable of surviving even under totalitarianism.

Keywords:

Buried Without a Shroud, Repression Period, Autobiographical Prose, Victims of Stalinism, Totalitarianism, Forced Labor Camp System, Psychological Analysis, Personal Tragedy.

INTRODUCTION

In the history of Uzbek literature, Shukrullo’s work “Buried Without a Shroud” is recognized as one of the most significant and courageous examples of prose from the independence period. This work is a literary and historical document that reflects the cruel reality of the political repressions that affected the intellectuals of Uzbekistan during the 1930s–1950s, conveyed through personal experiences. The autobiographical nature of the work and the author’s depiction of the severe trials within the system of forced labor camps further intensify its emotional impact on the reader.

The purpose of this study is to analyze the pressure of the totalitarian regime on the individual as portrayed in “Buried Without a Shroud”, as well as the protagonist’s inner spiritual struggle against this oppression and the motives behind his moral choices. The work also depicts how many innocent Uzbek young men were falsely accused, brutally executed, and thrown into the soil without shrouds. The main thesis of the article is that Shukrullo presents the forced labor settlements not merely as physical prisons, but as a system aimed at destroying the human spirit; however, through the lyrical protagonist’s inner monologues and moral resistance, the narrative demonstrates a spiritual victory over the regime.

MAIN PART

1. The Psychology of the Repression Period and Inner Loneliness

The psychological state of the protagonist becomes an object of analysis from the very beginning of the work. The scenes of interrogation and arrest reveal the complete helplessness of the individual in the face of totalitarianism. By depicting the protagonist’s extremely delicate inner experiences, the author demonstrates that spiritual suffering is deeper and more devastating than physical torture.

The protagonist’s first experiences in prison are particularly significant for psychological analysis. He describes himself as “a soul crying between invisible walls” [Shukrullo, 2015, p. 32]. This image signifies the individual’s isolation from society and confinement within a spiritual cage. A direct example reflecting the protagonist’s sense of loneliness and despair is expressed in the following lines: “It was not an iron cage that surrounded me, but walls of facelessness and conscience-lessness. I felt completely cut off from the world” [Shukrullo, 2015, p. 45].

2. The Struggle for Human Dignity in the Life of Totalitarian Labor Camps

The central part of the work — the detailed depiction of life in repression camps — is presented as a field of moral choices. Despite hunger, cold, and constant threats in the лагер conditions, the author shows through his protagonist that supreme human values such as compassion, friendship, and conscience can still be preserved. This struggle forms the core idea of the work. The cruelty inflicted upon prisoners and the harsh treatment they endured are clearly portrayed.

Scenes depicting the author’s spiritual closeness with other prisoners strengthen the motif of preserving inner freedom. He writes: “To share a piece of bread, to look at one another in silence — this had become the highest expression of human life” [Shukrullo, 2015, p. 115]. Their monologues about “seeking light within the darkness” demonstrate spiritual resilience and unbreakable will [Shukrullo, 2015, p. 128].

3. “Buried Without a Shroud” – Interpretation of Its Symbolic Meaning

The title of the work — “Buried Without a Shroud” — carries a powerful symbolic meaning that reveals the inhuman essence of the totalitarian regime. A shroud is not only a material object, but also a spiritual ritual and a sign of respect. To be buried without a shroud signifies not only physical death, but also the erasure of a person from social memory and the loss of human dignity.

The term is used by the author to represent the spiritual death of repression victims and the attempt to erase their names from history. In the work, the forced labor settlements themselves are depicted as vast graves: “Here they do not shroud us; they simply kill our memory and bury it” [Shukrullo, 2015, p. 210]. One of the most powerful expressions of the author’s lyrical voice appears in the following line: “It was not the road to death itself, but the loss of dignity that was the most terrible tragedy” [Shukrullo, 2015, p. 230].

4. The Literary Value of Memory and Resistance

The value of this work also lies in the fact that it was created years after the tragic events it describes. It is not merely a journalistic account, but a spiritual victory of memory over tragedy. The author’s later reflections further enhance the literary significance of the work.

As an example of autobiographical prose, its scientific and historical value is strengthened, presenting it as an important source for preserving historical memory for future generations. Memory itself becomes a weapon of resistance, as the author writes: “I was compelled to write this work so that the horror of those past days might continue to flow in the blood of the next generation” [Shukrullo, 2015, p. 255].

CONCLUSION

Through “Buried Without a Shroud,” Shukrullo introduced a new dimension to the tradition of psychological realism in Uzbek literature within the context of the repression period. The findings of this study confirm that despite the overwhelming pressure of the totalitarian regime on the individual, the lyrical protagonist preserves his inner moral independence and spiritual freedom.

This article strengthens the theoretical approach to “Buried Without a Shroud” and presents it as a valuable source for studying the prose of forced labor camps in post-Soviet literature.

                         List of References

1. Shukrullo. Kafansiz koʻmilganlar (Qayta nashr). Toshkent: Yangi asr avlodi. 2015.
2. Joʻrayev M. Jadid adabiyotining psixologik qatlamlari. Toshkent: Akademnashr. 2023
3. Normatov U. Adabiyot moʻjizasi: Tanlangan maqolalar. Toshkent: Sharq. 2018

RISK 

The most sacred to mankind 

Is man’s

Creative Imagination.

Give anything away 

Not your right 

And your power 

To think, dream and create.

If you are bewitched by 

A machine’s great work, 

And you wish to 

Become as exact,

Don’t forget, 

They are subject to 

The wishes of a master.

As a man, if you love 

Your independence

Don’t ever think of reducing yourself 

To a machine, which has no will 

And which has a switch.

Beware of the being 

Reduced to a switch.

Death is not what is worst 

For mankind 

But if someone tells you

What to think, 

Not to dream, 

And not to sleep at night 

Your survival is at risk.

金鱼

李心怡（10岁，小荷诗社）

金鱼，金鱼

金色的身体

快活的尾巴

美丽的眼睛

每天开开心心在一起

Goldfish

Li Xinyi (10, Xiaohe Poetry Society)

Goldfish, goldfish,

Golden body,

Cheerful tail,

Beautiful eyes.

Every day, happily together.

愉悦瞬间

赵雨桐（12岁，小荷诗社）

阳光跳进窗台，

笑声传透校园。

风抚过花朵摇摆，

快乐的愉悦感轻舞而来。

A Moment of Joy

Zhao Yutong (12, Xiaohe Poetry Society)

Sunlight leaps onto the windowsill,

Laughter echoes through the campus.

The wind strokes the swaying flowers,

And a happy sense of joy dances in.

夏日趣事

黄震宇（10岁，小荷诗社）

夏日趣事

就是一卷凉席

一根冰棒

一部电视剧

一个美好的心情

Summer Fun

Huang Zhenyu (10, Xiaohe Poetry Society)

Summer fun

Is a roll of cool mat,

A popsicle,

A TV drama,

And a beautiful mood.

黄昏

张海童（11岁，小荷诗社）

太阳顺着地平线下落

路上车来人往

我背着书包回家

买一根冰棍

很甜 很满足

鸟飞回巢穴

世界缓缓入眠

Dusk

Zhang Haitong (11, Xiaohe Poetry Society)

The sun sinks along the horizon,

Cars and people pass by on the road.

I walk home with my schoolbag,

Buy a popsicle,

Sweet and satisfying.

Birds fly back to their nests,

The world slowly drifts to sleep.

常足

刘良语（12岁，小荷诗社）

绿茵足踏尘沙，

一路攻向榜眼。

纵使未得金杯，

锋芒不减依然。

汗透征衣未歇脚，

拼来银榜不放松。

今朝暂作君下臣，

他日再登顶顶峰。

Ever Sufficient

Liu Liangyu (12, Xiaohe Poetry Society)

On the green field, feet tread the dust and sand,

Charging all the way toward the second place.

Even if the golden cup is not won,

The edge remains undiminished.

Sweat soaks the battle robe, yet no rest is taken,

Fighting for the silver list, never letting go.

Today, I temporarily stand as your subordinate,

Tomorrow, I will climb to the peak again.

家

宁静涵（9岁，毓秀小学）

树叶是露珠的摇篮

花朵是蜜蜂的眠床

小溪是鱼虾的乐园

家是孩子的避风港

Home

Ning Jinghan (9, Yuxiu Primary School)

Leaves are cradles for dewdrops,

Flowers are beds for bees,

Streams are paradise for fish and shrimp,

Home is a safe haven for children.

夏天是什么

王雨彤（9岁，毓秀小学）

夏天

是嘴里西瓜滴答的甜

是樱桃园里珍珠的红

是树上的蝉鸣一声声

是金色的麦浪一层层

夏天是什么

王雨彤（9岁，毓秀小学）

夏天

是嘴里西瓜滴答的甜

是樱桃园里珍珠的红

是树上的蝉鸣一声声

是金色的麦浪一层层

..

What Is Summer?

Wang Yutong (9, Yuxiu Primary School)

Summer

Is the sweet drip of watermelon on my tongue,

Is the pearl-red of cherries in the orchard,

Is the cicada’s song from the trees, one by one,

Is the golden waves of wheat, layer upon layer.

春天

王雨彤（9岁，毓秀小学）

春姑娘叫醒了

熟睡的柳树

柳树伸了个懒腰

照着镜子

梳着它的长辫子

Spring

Wang Yutong (9, Yuxiu Primary School)

Spring Maiden wakes up

The sleeping willow tree.

The willow stretches lazily,

Looks in the mirror,

And combs its long braids.

打翻了

任奕泓（9岁，毓秀小学）

天空打翻了颜料盘

把夕阳染成了五彩色

我把金黄色悄悄装进书包

撒在麦田里

农民伯伯露出了

幸福的笑容

Spilled Over

Ren Yihong (9, Yuxiu Primary School)

The sky spilled its paint palette,

Dyeing the sunset in five bright colors.

I quietly tuck the golden hue into my schoolbag,

And scatter it over the wheat fields.

Uncle Farmer shows

A happy smile.

长大

张羽瑄（9岁，毓秀小学）

蒲公英长大后

跟妈妈告别

坐着免费的大巴

去世界各地旅行

小水滴长大后

跟妈妈告别

和自己的小伙伴

一起去看那汹涌的大海

苍耳长大后

跟妈妈告别

跟着小动物

一起去探索新的世界

Growing Up

Zhang Yuxuan (9, Yuxiu Primary School)

When dandelions grow up,

They say goodbye to their mother,

Riding on free buses,

Traveling all over the world.

When little water drops grow up,

They say goodbye to their mother,

And with their little friends,

Go to see the surging sea.

When cockleburs grow up,

They say goodbye to their mother,

Following small animals,

To explore a new world together.

Project 

Youth and Poetry 

Founder 

EVA Petropoulou Lianou 

Su Yun 

Co partner 

China 

1.雪原

——放丢了绿野，便难逃白雪

无路可走

没收我带

着温热的

愁

寒栗不休

开始

缘身修衣

沿路拾柴

补一群

绿野逃走的

墙口

Snowfield

—Losing the green wild, one can never flee the white snow

No path to tread

It seizes the grief

I carry, still warm

Chills surge unceasing

I start

To mend my robe round the frame

Gather firewood along the way

To patch the gaps

Where the green wild fled

From the wall

2.年碑

——为你做碑

只攒了些许

清楚

流尽落款

的灰

敞开东行

的雪

站成南向

的碑

来年

椿的，杨的，榆的

陷了一堆

涨了一辈

Epitaph of the Year

—Carving a stele for you

I only gather a little

Clarity

Till the ash of the signature

Runs dry

Unfurl the snow

Wending east

Stand as a stele

Facing south

In the coming year

Of the Chinese toon, the poplar, the elm

A pile sinks

A generation rise

3.阴天

我习惯

冬的母亲

持续凌冽

里断里

有一天扭捏

难肯

凭惯性

结果她

含了许久

才送出

带着温润

的种

跑去埋下

发不了

芽

Overcast Day

I’m used to it

Winter’s mother

Keeps the bitter chill

Lingering, fraying

Once in a while, coy

Reluctant

By force of habit

Turns out she

Holds it long

Before she sends forth

The seed

Warmed and mild

I run to bury it

It won’t

Sprout

4.送叶

春天的

许应

旋我在

雪上

等到脱落

的叶

飞上高枝

却是灰黑

的雀

Sending the Leaf

The promise

of spring

Whirls me upon

the snow

Till the fallen

leaf

Rises to the high branch

Yet it’s a dull black

sparrow

5.望波

我追不上

认定的

波

母亲静立

看阔阔的

河

至夜半

外公的眼角

搁浅了

泥螺

我一并

掂起

但我行动

太缓

完成不了

对一个

人的

提纯

Gazing at the Waves

I cannot catch up

with the wave

I set my heart on

Mother stands still

watching the broad

river

Till midnight

in Grandpa’s eyes

mud snails run aground

I pick them up

all together

Yet my steps are

too slow

to finish

the purification

of a

person

Su Yun, 17 years old, is a member of the Chinese Poetry Society and a young poet. His works have been published in more than ten countries. He has published two poetry collections in China, namely Inspiration from All Things and Wisdom and Philosophy, and one in India titled WITH ECSTASY OF MUSINGS IN TRANQUILITY. He has won the Guido Gozzano Orchard Award in Italy, the Special Award for Foreign Writers in the City of Pomezia, and was praised by the organizing committee as the “Craftsman of Chinese Lyric Poetry”. He has also received the “Cuttlefish Bone” Best International Writer Award for those under 25.

THE MAN WHO DIDN’T MAKE IT HOME FROM THE BAR

On the riverbank,

lies your half-life,

a drunken curve,

a dead-breathing breast.

Waltzing home 

on tiptoes of booze,

you land like a corpse

by the gurgling stream.

Come morning,

the search party sets out,

your wife, your kids,

find you with your vomit

in a gray pool 

around your mouth.

The question is

who loves you?

Some still do.

Some stop that very moment.

FIGHT OVER A GIRL

Both without fathers, both poor,

like brothers except we were punching each other.

But isn’t that what some brothers do?

I scratched him up a little.

He bloodied my nose, bruised a cheek.

Then I shoved him against a wall.

And he thumped me back.

All that touching, all that rage,

it could have felt intimate

but didn’t.

Both of us keen on a cheerleader.

What do you make of that kind of love?

Laughter mostly.

I hit him in the eye accidentally.

He begged me to stop. And so I stopped.

RAINING IN THE INNER CITY

Another drive-by,

another homeless guy 

fished out of the river,

three in the morning,

the inner city’s black eye,

my stream of consciousness

has been dammed up,

it’s raining waterfalls,

the gutters are ocean deep,

the clubs are closed,

the last bass solo

is played in a backstage

dressing room,

nothing’s new

but everything is curious

in its way,

late February,

so many rabbit holes

under an awning

drum my fingers 

on a store window,

can’t find the melody,

long for a beer,

the night has me on call

if a line of poetry is needed,

like a lit candle

in a blowing wind,

or a eulogy 

to the stranger

whose body has not been

discovered yet.

LEAVING TOWN

She’s wearing this green skirt

and blue and white sweater,

standing outside a convenience store

that also doubles now and then

as a bus stop.

A battered suitcase stands to attention

on either side of her.

She keeps looking east,

the direction her transport 

should be coming from.

It’s early November 

and the wind is blowing in from 

the cornfields, cold and bitter.

But there comes a time

where staying makes no sense

and leaving, even without 

any kind of plan, is the only option.

Maybe she knows someone 

where she’s going.

Maybe she has prospects.

Or could be a destination 

caught her eye 

for no other reason than

she likes the name.

At last, she sees the bus 

half a mile in the distance

and headed her way.

She grabs the handles of her cases.

Her grip is tighter

than it has ever been.

THIRD FUNERAL THIS YEAR

I’m at a funeral of someone I barely know.
He’s a third cousin of my wife or something.
She hardly knows him either.
The death of strangers…it’s a family thing.

We sit in the rear of the church,
far away from the teary ones
who actually knew the guy.
We’re sad for them. It’s the best we can do.

Then it’s to the cemetery.
We’re so far back of the hearse,
it’s like we’re at the head
of someone else’s procession.

We pray at the gravesite,
pray that no one asks who we are.
Then it’s back to the house for
catered devils eggs and chicken salad sandwiches.

Even my wife isn’t sure if it’s
the right house or not.
But there’s one of her aunts.
“He was only fifty-five,” she says.

Or at least, that’s what her third cousin
told her nephew-in-law.
An hour later, we leave,
thinking to ourselves, someone died

and we’re just moderately upset.
Ah death, if only you would keep your distance thus.
Like a third cousin or something.
And on my wife’s side.

John Grey is an Australian poet, US resident, recently published in Midnight Mind, Trampoline and Flights. Latest books, “Bittersweet”, “Subject Matters” and “Between Two Fires” are available through Amazon. Work upcoming in Levitate, White Wall Review and Willow Review.