Poetry from Maja Milojkovic

Younger middle aged white woman with long blonde hair, glasses, and a green top and floral scarf and necklace.
Maja Milojkovic

THE MOTHER OF GOD

I want to gaze upon your gentle, smiling face,

as you quietly wrap your child in linen and cotton cloth.

His smile tells you

that a heavenly gift rests in your arms.

And then — a scream.

Your scream, for they are taking your Son to be killed.

I return in thought to the cradle.

You hold Him close to your chest,

singing softly as He drifts into sleep.

The next moment —

your inconsolable heart beneath the cross,

among wicked men

casting lots for the clothes He wore.

Two scenes intertwine:

life and death,

an image bearing the Son of God,

a body made into a temple.

And now… all carries the scent of death.

You loved Him with your whole being,

wished Him only good,

yet evil spun its snares

through the servants of darkness.

Only a tear of joy remains

as you lay Him in a wooden cradle:

 “Good night, my son.”

And a tear of sorrow

as you embrace His lifeless body:

“Please, call me to meet You soon.

Without You, this life has no meaning.”

It plays out endlessly,

like a film that never ends:

death, tears, salvation —

telling us: the death of the body is a beginning.

Mother of God,

Suffering One,

there is no greater pain than yours,

but no deeper comfort

than your eternal embrace.

For no suffering

is greater

than yours.

Maja Milojković was born in Zaječar and divides her life between Serbia and Denmark. In Serbia, she serves as the deputy editor-in-chief at the publishing house Sfairos in Belgrade. She is also the founder and vice president of the Rtanj and Mesečev Poets’ Circle, which counts 800 members, and the editor-in-chief of the international e-magazine Area Felix, a bilingual Serbian-English publication. She writes literary reviews, and as a poet, she is represented in numerous domestic and international literary magazines, anthologies, and electronic media. Some of her poems are also available on the YouTube platform. Maja Milojković has won many international awards. She is an active member of various associations and organizations advocating for peace in the world, animal protection, and the fight against racism. She is the author of two books: Mesečev krug (Moon Circle) and Drveće Želje (Trees of Desire). She is one of the founders of the first mixed-gender club Area Felix from Zaječar, Serbia, and is currently a member of the same club. She is a member of the literary club Zlatno Pero from Knjaževac, and the association of writers and artists Gorski Vidici from Podgorica, Montenegro.

Poetry from Mirta Liliana Ramirez

Older middle aged Latina woman with short reddish brown hair, light brown eyes, and a grey blouse.
Mirta Liliana Ramirez

One moment 

a moment of hope saved

in the pocket of my heart.

another wait

broken word

makes room for me

locks to the beats.

the illusion spills over

clotted blood smell

means that the wound

will close eventually.

In a moment

give me the galaxies

and the next

you snatch them from me

like hurricane

decide

What do you want?

What are you going to do?

Life is a moment

mine

have an expiration date

like your words.

Mirta Liliana Ramírez has been a poet and writer since she was 12 years old. She has been a Cultural Manager for more than 35 years. Creator and Director of the Groups of Writers and Artists: Together for the Letters, Artescritores, MultiArt, JPL world youth, Together for the letters Uzbekistan 1 and 2. She firmly defends that culture is the key to unite all the countries of the world. She works only with his own, free and integrating projects at a world cultural level. She has created the Cultural Movement with Rastrillaje Cultural and Forming the New Cultural Belts at the local level and also from Argentina to the world.

Poetry from Wazed Abdullah

Young South Asian boy with short black hair and a light blue collared shirt.
Wazed Abdullah

Bicycle

A bicycle rolls on two thin wheels,

Gliding smooth, it gently feels.

Pedals spin and winds do blow,

Taking me where I want to go.

Bell goes ‘ring ring’, and I ride fast,

Through the streets, the trees rush past.

With every turn, I feel so free,

My bike’s the best friend there could be.

 

Wazed Abdullah is a student of grade ten in Harimohan Government High School, Chapainawabganj, Bangladesh.

Poetry from Don Bormon

South Asian teen boy with short black hair, brown eyes, and a white collared school uniform with a decal.

July Student Protest

In July’s heat, the streets awoke,

With chants that split the silence, broke.

Books in bags, but fists held high,

Students marched beneath the sky.

Not for war, nor blood nor fame—

They cried for justice, fair and plain.

Roads were blocked, but minds were clear,

Truth, not fear, drew them near.

From Dhaka’s heart to village square,

One question echoed everywhere:

“Where is worth if lives are cheap?”

They rose for those who could not weep.

Shoes on asphalt, banners bold,

Their anger young, their courage old.

Tear gas clouds could not erase

The fire born on every face.

History turned with every stride—

A nation’s conscience amplified.

In July’s storm, they dared to be

The voice of truth, the call for free.

Don Bormon is a student of grade ten in Harimohan Government High School, Chapainawabganj, Bangladesh.

Poetry from Mahbub Alam

Middle aged South Asian man with reading glasses, short dark hair, and an orange and green and white collared shirt. He's standing in front of a lake with bushes and grass in the background.
Mahbub Alam

The Temperature

In one place of the world it rains

It rains much enough to grow the green

Living in peace

The opposite is firing in heat wave

Fire is burning furiously

As the human body the body of the earth is burning

It shrinks the atmosphere to lead

What does it mean the outer beauty of rain?

When the people of Gaza are falling in hunger

Fire snatches away the lives

As the little animals are crushed to the ground

In one part we sleep with sweet dreams

The other section is trapped in flame.

Chapainawabganj, Bangladesh

25 July, 2025.

Md. Mahbubul Alam is from Bangladesh. His writer name is Mahbub John in Bangladesh. He is a Senior Teacher (English) of Harimohan Government High School, Chapainawabganj, Bangladesh. Chapainawabganj is a district town of Bangladesh. He is an MA in English Literature from Rajshahi College under National University. He has published three books of poems in Bangla. He writes mainly poems but other branches of literature such as prose, article, essay etc. also have been published in national and local newspapers, magazines, little magazines. He has achieved three times the Best Teacher Certificate and Crest in National Education Week in the District Wise Competition in Chapainawabganj District. He has gained many literary awards from home and abroad. His English writings have been published in Synchronized Chaos for seven years.

Poetry from Alan Catlin

In the valley of scorched death

the mummified

remains of those

who came before us

are losing their

peeling skin

exposing bones

as hard as

metal rods

no human life

was ever held up by

We watch them

decompose in larval

stages once they

are exposed to light

expecting new life forms

to emerge;

where the old ends

the new begins

in this no man’s

land where nothing

flourishes in the light

By the light of the polished skulls

The way forward

through the rows

of desiccated trees

is lit by

the polished skulls

of pets gleaming

in the night

leading us to

the breeding grounds

where the prehistoric

birds are creating

new versions

of their kind

The shrieks birthing

mothers make are

enough to bring

the dead back

to life

Exploring the edges

of the unknown world

where negative space

meets the black holes

of our dreams

we discover fields

of battle where

the beasts of night

meet birds of prey

heralding the beginning

of what happens

when night refuses

to end

Cave light

is swallowed once

we venture inside

where we can hear

the sound of bats

molting in the dark

hear the high pitched

whine that pierces

the soft bleeding

membranes of our

tormented ears

Even what waits

outside is preferable

to this

Essay from Abdijabborova Sabrina

The Role of Conceptual Metaphors in Cross-Cultural Communication: A Cognitive Linguistic Perspective

Abdijabborova Sabrina

Uzbekistan State World Languages University

English First Faculty

Abstract: This paper examines the crucial role of conceptual metaphors in facilitating or hindering cross-cultural communication, through the lens of cognitive linguistics. Conceptual metaphors are not merely stylistic devices, but fundamental cognitive tools that shape how individuals understand abstract phenomena such as time, emotion, and life. Each culture develops unique metaphorical frameworks influenced by historical experience, environmental interaction, and socio-cultural norms. By comparing English and Uzbek metaphorical expressions, this study reveals how divergent cultural backgrounds give rise to distinct conceptualizations of the world. For instance, where English may conceptualize time as a resource (“Time is money”), Uzbek might present it as a natural force (“Time is a river”). Misunderstanding these metaphorical constructs can result in miscommunication, especially in intercultural dialogue, translation, and international relations. The findings stress the necessity of incorporating metaphor awareness into language education and translation studies. Understanding metaphorical mappings enables more accurate translation, deeper cultural understanding, and more effective global communication. This interdisciplinary approach contributes to both theoretical linguistics and practical language teaching strategies.

Keywords: conceptual metaphor, cognitive linguistics, cross-cultural communication, metaphorical mapping, linguistic relativity.

In an increasingly globalized world, effective communication across languages and cultures is more important than ever. However, language is not merely a neutral tool for communication—it is deeply rooted in culture and cognition. One of the most revealing aspects of this relationship is the use of conceptual metaphors, which allow speakers to understand abstract concepts through more familiar, concrete experiences. As posited by Lakoff and Johnson (1980), metaphors are not decorative linguistic elements but central to human thought processes.

Despite the universality of some metaphorical themes, the way metaphors are structured and understood varies significantly across cultures. This can lead to misunderstanding in cross-cultural interactions, especially when metaphorical expressions are interpreted literally or translated without cultural sensitivity. Understanding how conceptual metaphors function in different languages—such as English and Uzbek—can help reveal the cognitive and cultural models underlying each language community.

This paper aims to explore the cognitive and cultural dimensions of conceptual metaphors, focusing on their role in shaping intercultural communication, translation accuracy, and language education practices.

Cognitive linguistics views language as an integral part of human cognition rather than an autonomous system. Within this framework, conceptual metaphor theory (CMT) has emerged as one of the most influential models explaining how abstract concepts are understood via concrete, embodied experiences. The seminal work of George Lakoff and Mark Johnson (1980) revealed that human thought is fundamentally metaphorical. According to their theory, individuals use source domains (often physical and concrete) to conceptualize target domains (usually abstract and intangible).

Take, for example, the metaphor “LIFE IS A JOURNEY.” This mapping allows us to talk about life in terms of paths, obstacles, goals, and companions—concepts derived from physical travel. Expressions such as “He’s at a crossroads in life” or “She’s going down the wrong path” illustrate how deeply ingrained this metaphor is in English-speaking cultures. Such metaphors are not arbitrary; they are grounded in bodily experiences and shared cultural knowledge.

Importantly, while the cognitive structures that give rise to metaphors may have universal roots—such as physical orientation or spatial awareness—their linguistic realizations often vary significantly across languages due to cultural differences. For instance, in Uzbek, the metaphor “Yuragi tor edi” (literally “His heart was narrow”) conveys the idea of someone being emotionally closed or selfish. While English may use the metaphor “cold-hearted” or “stone-hearted” for similar meanings, the imagery differs, reflecting distinct cultural conceptions of emotion.

Moreover, conceptual metaphors serve not only communicative functions but also cognitive and affective ones. They help us structure time, morality, emotion, and social relationships. They influence reasoning, memory, and perception. Therefore, understanding how different languages utilize metaphorical mappings is essential for grasping how their speakers conceptualize the world. CMT thus offers a powerful explanatory tool for exploring the interface between language, thought, and culture. One of the central insights of cognitive linguistics is that while human beings may share similar cognitive processes, the cultural environments in which they grow up significantly shape how these processes manifest linguistically. Conceptual metaphors are deeply embedded in cultural narratives and worldviews, making them highly susceptible to linguistic relativity—the idea that language influences thought (Whorf, 1956). For instance, in Western cultures, metaphors related to competition, war, and business dominate public discourse. Expressions like “He’s crushing the competition” or “Let’s target the market” reflect a metaphorical worldview influenced by capitalism and individualism. In contrast, metaphorical expressions in Uzbek culture often emphasize harmony, collectivism, and nature. Phrases such as “Ko‘ngli qushdek uchdi” (His heart flew like a bird) or “Sabr daraxti meva beradi” (The tree of patience bears fruit) reflect values rooted in patience, humility, and interconnectedness with nature.

These differences are not merely aesthetic—they represent distinct ontological metaphors and value systems that influence how individuals interpret events, emotions, and relationships. For example, time metaphors differ significantly across cultures: English often treats time as a commodity (“save time,” “waste time”), whereas many non-Western cultures—including Uzbek—may view time as cyclical or natural (“vaqt daryo” – time is a river). Such metaphors shape punctuality norms, scheduling preferences, and even perceptions of life stages.

Linguistic relativity becomes especially relevant when metaphors are used in political, religious, or emotional contexts. A metaphor that may sound neutral in one culture could be offensive or meaningless in another. For instance, metaphors involving pigs, dogs, or certain colors carry radically different symbolic meanings across cultures, underscoring the importance of cultural sensitivity in metaphor interpretation.

Thus, studying conceptual metaphors from a cross-cultural perspective offers a valuable lens into how different societies encode and transmit collective experiences. It supports the view that language and culture are mutually constitutive, and that metaphors are cultural artifacts as much as cognitive tools.

The translation of metaphorical language is one of the most challenging aspects of intercultural communication. Unlike literal language, metaphors often carry implicit cultural assumptions, symbolic meanings, and cognitive associations that are not easily transferable from one language to another. As a result, literal translations of metaphors frequently lead to confusion, misinterpretation, or even offense. Professional translators must decide whether to preserve the metaphor by finding an equivalent metaphor in the target language, paraphrasing the meaning, or in some cases, omitting it entirely if no suitable counterpart exists. For instance, the English metaphor “breaking the ice” (to initiate conversation or reduce social tension) may be translated in Uzbek as “suhbatga ko‘prik qurish” (to build a bridge into conversation)—a different metaphor that carries a similar communicative function but reflects a different cultural image.

Failure to appropriately translate metaphors can have serious implications in fields such as diplomacy, literature, media, and marketing. Political speeches filled with war-related metaphors (“fight for justice,” “combat poverty”) may be misinterpreted or sound aggressive in cultures that value indirectness or pacifism. Likewise, product slogans based on metaphorical language may lose their persuasive power or become laughable when poorly translated.

In language education, metaphor is often neglected in favor of grammatical or lexical instruction. However, learners who are unaware of common metaphorical structures in the target language may struggle to grasp idiomatic expressions, understand humor, or read between the lines. Integrating metaphor awareness into curriculum design can greatly enhance learners’ pragmatic competence and intercultural sensitivity.

Ultimately, recognizing and respecting metaphorical differences is key to developing intercultural communicative competence. Translators, teachers, and learners must all navigate the space between linguistic fidelity and cultural adaptation—a task that requires both linguistic expertise and cultural empathy. The study of conceptual metaphors within a cognitive linguistic framework provides valuable insight into the deep interconnections between language, thought, and culture. As demonstrated throughout this paper, metaphors are not merely stylistic elements of language, but core cognitive mechanisms that shape how individuals across different cultures perceive and engage with the world. They structure abstract concepts such as time, emotion, morality, and social relationships by grounding them in embodied experiences.

By comparing English and Uzbek conceptual metaphors, it becomes evident that metaphorical thinking is both universal and culture-specific. While human beings may share basic cognitive tendencies—such as spatial orientation, bodily experience, or causality—the ways in which these experiences are metaphorically mapped onto abstract domains vary according to cultural norms, historical background, and social values. For instance, the English metaphor “Time is money” reflects an economic worldview, while the Uzbek metaphor “Vaqt daryo” (Time is a river) suggests a natural and cyclical conceptualization. These differences are not only linguistic but deeply conceptual, influencing behavior, priorities, and communication styles.

In the realm of cross-cultural communication, awareness of conceptual metaphor variation is essential. Metaphors often carry implicit meanings that, when misunderstood, can lead to confusion, misinterpretation, or even conflict. This is particularly significant in areas such as translation, diplomacy, education, media, and international collaboration, where communicative precision and cultural sensitivity are critical.

From a theoretical perspective, this research supports the growing body of work in cognitive linguistics that emphasizes the embodied and experiential basis of meaning. It affirms that studying metaphor is not only a matter of linguistic analysis but also a window into cultural cognition and human conceptual systems. Looking ahead, further interdisciplinary research is needed to explore metaphorical systems across a broader range of languages and cultural groups, particularly underrepresented or endangered languages. Additionally, future studies could investigate how digital communication, globalization, and media discourse influence the evolution and convergence of conceptual metaphors across societies.

In conclusion, conceptual metaphors are powerful tools that reflect and shape the way we think, speak, and relate to one another. Understanding them is not only beneficial for linguists and translators, but also essential for educators, policymakers, and anyone engaged in meaningful intercultural communication in today’s interconnected world.

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