Remember
I remember the brightest star
Seeking a symphony of
Cacophonous smile
A birdwatcher’s view
Melting into red blue
Nothingness
A sweet tooth for all seasons
I pine for the sweet magnolias
The cricket’s happening stance
Of welcoming smiles
Magnitude of oceans
Rising into my palms
The oak trees follow their path
A napping squeeze
Of Rosemary and thyme
I remember that oceanic haze
A bright blue morning
Of heaven seeking
Wrapped around my children’s
Little finger
The sky
The sky is the greatest and most precious
The sky is the most beautiful art which inspires
The sky can give happiness to someone
May the sky be calm and clear all the time
The sky is the creation of the creator
The sky is a bright spark of hope
The sky is the infinite pillar of humanity
The sky is actually a prisoner of life
The sky is a great philosophy
The sky, reveal your all secrets to everyone
Intizor Samandarova was born on May 3, 2007 in Gurlan District, Khorezm Region, Respublic of Uzbekistan.She is the author of the books “The best invitation” and “My grandfather’s memoir”.She is the member of international organizations “Iqra” of Pakistan,”Asih Sasami”of Indonesia,”Juntos por las letras”of Argentina,”All India council for technical skill development” of India.Her poems have been published in newspapers, magazines and international anthologies.
When a person comes into the world, he should take the wise word “seek knowledge from the cradle to the grave” as his motto. It is this knowledge that saves humanity from destruction, preserves the decadent, and determines its prestige and influence in life. I remembered his wisdom: “Be angry without enthusiasm, be a lover without sorrow, be a scholar without a student.” Indeed, the work of my parents and my first teacher is immeasurable in helping me to reach these days. My parents taught me humanity. “if they taught me, my teacher brought me up with the knowledge of education and morals. When a person comes into the world, he is a cave baby who does not know anything, if he thinks with a real life example Just like a small and delicate sprout, if we take good care of it, we can get fruit from it, we can enjoy its scenery, if we don’t take good care of a small sprout, we can’t get fruit from it.
If you don’t get education, it won’t help you to study a thousand times. The first person who encouraged me to love the country, to love books, and to study science is definitely my first teacher. I am studying in the field of science. About ten of my stories have been published in foreign magazines, I am working as an international ambassador in two countries on behalf of Uzbekistan, alhamdulillah. I am a member of the Volunteer Academy of Uzbekistan, I regularly participate in the “Legendary Youth” forum, in a word, I am slowly taking steps towards my goal, the “Zulfiyakhanim” award. All this is my tireless work and knowledge. I can say that it came from behind.
As I mentioned above, these achievements are due to the hard work of my mentors and coaches Hasanova Tursunoy, Boronova Aziza, Teshayeva Dilrabo, Talibova Muhabbat, who taught me. Not only me, but my classmates who studied with me, fought and fought at the same desk for eleven years, are also achieving the achievements they were looking for. First of all, it is not an exaggeration to say that our first achievement was that we earned the happiness of being a student by justifying the trust of our teachers. Each of us was honored and dear to our teachers. When I remember my school days, the times when we did not listen to the teachers, when we ran away from the class, when there were competitions, when we argued with parallel classes, all this has become a thing of the past. It’s been more than two years since we heard the school bell, and those who said “I don’t miss school” are now walking past the school gate in a whirlwind of memories.
We have found our way, we are slowly flowing from our own tributary like a spring water from a mountain, but I must say that without our teachers we are absolutely nothing. We would be an example of a creature that does not understand anything. That’s probably why they say that the teacher is as great as your father. As much as our father thinks about us and gives us advice, our teachers see only good things for us in the same way. Thank God that after me, my brothers and sisters will pass through the threshold of the school where I studied, and the teacher who taught me will teach them. My teacher Hasanova Tursunoy, if you are reading this article, I would be very happy. May your students always be healthy and happy, your student Sevinch who loves you. This poem I wrote is dedicated only to you.
My teacher
The first day I went to school,
I remember every moment.
My first note in the notebook,
Tursunoy is my teacher
No matter how much I thank you,
It is true how much knowledge you have given.
The lesson we learned for life,
It is an unpayable debt for us.
Pupils of my teacher
As if they are lovers.
Like their children,
Children seeking knowledge.
Every day I go to school,
I spent the whole night studying.
My achievements
The reason is my teacher.
No matter how much I do, I bow down.
A word that cannot be described.
This poem is for you,
MY DEAR TEACHER.
First of all, an announcement on behalf of Synchronized Chaos Magazine. We’re going to help authors with research by setting up a section where readers and contributors can volunteer to provide information to authors who want to do research for their writing projects. So, if you have knowledge or lived experience in some area and are open to answering questions for someone’s project, please email us at synchchaos@gmail.com and we’ll add you to our upcoming list!
Now for this month’s issue: Self, Others, Source. As a teenager I attended a spiritual retreat where the leader encouraged us to think of our relationship to ourselves, the people and other beings in our lives, and our Source, the higher power, however we understood that. He commented that when we got in trouble, we could imagine sending out an S-O-S and looking within, to our social networks, and our faith.
Some of this issue’s contributors engage with the self.
Bari Robinson’s excerpt from An American Daughter of Brown describes the inner strength and struggles of a young civil rights-era Black girl claiming her sense of self.
Sandra Rochelle describes a healing journey where a woman chooses play and joy over self-conscious judgement.
Rus Khomutoff speaks to dreams, the surreal, and the subconscious as Texas Fontanella’s pieces express energy, tension, and action within the artist’s mind and Mark Young sends up swatches and swathes of color and texture. J.D. Nelson experiments with thought bubble bursts of words.
J.J. Campbell reflects on memories and disillusionment and the fragility of hope as Elan Barnehama offers an exploration of how an introvert and an extrovert cope with tragedy.
Jonibek Miraxmedov presents the poetry of youth: first love, optimism, dedication and determination, and joy in life. Z.I. Mahmud examines the psychological and emotional world of T.S. Eliot’s The Love Song of J. Alfred Prufrock.
Mykyta Ryzhykh speculates on the competing twin powers of passion and destruction, Eros and Thanatos, sensuality and fear and death. Prosper Isaac draws on the dual nature of the cultural symbol of flowers, joy and grief, weddings and funerals, the happiness and sorrow making up all of our lives.
Salihu Muhammad’s piece reminds us that like ripples in a pond, our attitudes and character shape how we view the world.
Other work addresses the human and natural world around us.
Kylian Cubilla Gomez’ photography captures moments of delicacy, small creatures or objects, and encourages us to pay attention to our world on a micro level.
Marisa LaPorte describes a quest for peace of mind and peace within a family. Taylor Dibbert continues to reflect on a divorce and all it portends for his poetic speaker. Abdel Zahra Amara’s short story, translated by poet Faleeha Hassan, comments on the difference between pretty sentimentality and actual love.
David Sapp reflects on adult friendship and what makes a good friend versus a good colleague as Quinn’s evocative story highlights the power of childhood friendship to change a life and remain in a person’s memory for years.
Talia Borochaner finds the poetry in childbirth, gardens, and kitchens as the heart of much existence. Abdullajonova Zurakhan’s poem laments a caring and faithful uncle who passed away. Nosirova Gavhar writes of a young ballerina shaped by the love and encouragement of her father. Ilhomova Mohichehra celebrates the sweet fruit and memories of her home village. Tursunova Sarvino brings a scientific analysis to an aspect of childcare, the development of children’s speech abilities.
Akmalova Zebokhan Akobirkhan contributes a whimsical love poem about the disorientation she feels due to her emotions. Maja Milojkovic reflects on different types of sentimental sweetness in life and cautions us to enjoy with discretion. Mesfakus Salahin evokes the various senses in his love poem.
Raquel and Brian Barbeito reminisce on the joy of living with seven dogs throughout their lives, each of whom had a unique personality. Sushant Kumar merges with both the Earth and a lover in his poem. Sayani Mukherjee highlights the power of the sun in an evocative summer pond scene while Wazed Abdullah reflects on the calm of a moonlit night. Naeem Aziz’ poem draws on natural imagery to highlight the inner and outer beauty of a woman he loves. Maftuna Rustamova’s work urges preservation of the natural environment as Lilian Dipasupil Kunimasa calls on people to step up amidst their trauma and exhaustion to heal Mother Earth.
Madinabonu Mavlonova outlines methods to improve seed germination in a plant biology laboratory. Ilnura Ibrohimova points out the importance of food safety and safe preservation of food as part of a strategy to feed the world.
Jonibek also suggests ways for Uzbek businesses to adapt to technological changes and increasing environmental awareness. Muquaddas Maxmarejabova outlines the many practical and social changes that came with industrialization.
Isabel Gomez de Diego’s work captures history still standing: a concrete cellar and castle from centuries ago and a dinosaur museum. Shodiyeva Mehribon asserts the pride she takes in her heritage and homeland of Uzbekistan as a young person shaping her country’s future as Alina Ibrohimova offers a tribute to the nation’s Olympic athletes.
Sitora Otajonova outlines the promise and problems of social media for contemporary users. Pat Doyne expresses her hopes for civil dialogue, equality, and progressive values.
Fatima Abdulwahab’s piece is a lament for a lost home and family in a war-torn country while Faleeha Hassan describes war as a hungry, predatory, grotesque animal. The poetry of Abdulrasheed Yakubu Ladan highlights the corruption often present in politics when there is a great power imbalance. Mahbub Alam draws on the metaphor of a large bird being chased away to depict the recent student revolution in Bangladesh. Daniel DeCulla’s poetry highlights how even candidates praised with lofty rhetoric and slogans will not be perfect or bring peace to our world. Naeem Aziz writes of students taking to the streets to make things right.
Anila Bukhari encourages writers to bring hope to those who struggle and bear witness to the world’s tragedies. Martha Ellen’s poetry muses about wide-ranging effects of trauma on a personal level, finding compassion for aggressors as well as victims. Komron Mirza laments the decline of dignity, ethics, and compassion in his society.
Bekzod Ergashev highlights the problem of youth unemployment within Uzbekistan and its effects on the economy as well as on youth confidence.
Nigora Tursunboyeva’s short story highlights the pain of impoverished orphans in Uzbekistan and the fragility of all our lives. Sonmin Yoongi urges people to live lives of compassion, dignity, and faith.
And still other contributors consider matters of faith, the divine, and sources of ultimate purpose and meaning in life.
Stephen Jarrell Williams’ poem evokes the light of truth coming through the darkness.
Jacques Fleury reviews Lori Shiller’s The Quiet Room through a philosophical lens, as a memoir of finding purpose and meaning through community and service while living with disabling mental illness.
Amirah Al-Wassif renders family tragedies and spiritual searchings into surrealist poetry while Kahlil Crawford reviews the eclectic, evocative, and ethereal stylings of musical artist Pinhdar.
Duane Vorhees probes and turns over thoughts about religion and art, history and youth, in his poetry.
Of course, facets of our existence cannot so easily be divided into three boxes. Many contributors’ sense of self is shaped by their communities and cultures, many times meaning and purpose in life comes from serving others, and it becomes possible to live in a healthy relationship with others when one is strong within oneself.
So, while these dimensions inevitably overlap and influence each other, they provide a general guide to understanding ourselves and are a source of artistic inspiration.
Critically examine the postmodern poem of the greatest inventive genius of twentieth century poetry, The Love Song of J Alfred Prufrock.
T.S. Eliot’s Love Song of J Alfred Prufrock is substantially pontificated by the readings of Grover Smith’s discovery of Henry James’s story Crapy Cornelia about a chivalrous heroic charismatic personae in nostalgic temperament for being fallen in love despite polarized worlds. To say: “I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all———Should say: “That is not what I meant, at all. That is not it, at all.”
Verbosity of Polonius oriented Prufrock is cast in the image of Hamlet like dilemma upon the portentous questions touched by the magical boudoir of Lazarus comments upon the appealing picture of plight; despite baroque verbal embroidery of the afterthought along with the women come and go telling of Michelangelo marred by the deterrent of wondered fogg in the moorings of “Do I dare?” and “Do I dare?”
Prufrock’s deluded and diseased existentialist psychosexual spirituality reanimates after all the captivity of brooding alienation in the salvation from the redemptive quest towards security and non vulnerability. Mermaids are thought to be elusive and mystic fantastic beasts as byproducts of Eliotic phantasmic escapism. This solitude of the phantasmagoria world, shuffling memories and repressed desires ultimately pioneers ship wreckage of humanity. Harsh voices and harsh laughter of the women summoned upon the Prufrockian spirit from the shadowed archways and diabolical gothic apartments; along with drunkards reeling by chattering and cursing like monstrous beasts and grotesque children in awaital by the doorsteps and heard shrieks and oaths from the gloomy courts.
Whatmore is interesting of these mermaids fantasy is the imaginary wanderlust of Prufrock’s metaphysical asylum from being “pair of ragged claws/scuttling across the floors of silent seas” Furthermore textual genesis of Prufrockian spirit in metaphorical and rhetorical language exists as the new art emotion as well as the patient corpse—-the body post operative and post catalysis of sulfurous acid since emotional experience undergoes transmutation and transformation following depersonality of split consciousness and dissolving towards climactic dissolution of poetic personality/selfhood.
Nonetheless textual frustration and gender performativity of this dramatic monologue investigates heterosexual desire and heterosexual intercourse through colloquial euphemism as implied by “Let us make our visit”. Moreover, biblically the Hebrew double entendre of know implicates masculinized libidinal object of male gaze through the sexual encounter. “I know the voices dying with a dying fall” implicates the lovesickness of Twelfth Night Orsino and in this case, Prufrock masculine desire for the eroticization of the feminine corporeality. Orgasm of dying little death echoes masculine heterosexual desire; yet the insidious intent of orgasm happens spatially in the “farther room”.
Further Reading
“Till Human Voices Wake Us and We Drown”: Community in the Love Song of J Alfred Prufrock, James C. Haba [Glassboro State College] , Modern Language Association, Spring 1997, Vol. 7, No. 1, pp. 53-61, Modern Language Association
Eliot’s “The Love Song of J. Alfred Prufrock, November 1957, Vol. 19, No. 2, pp. 71-72, National Council of Teachers of English
The Textual Genesis of The Love Song of J. Alfred Prufrock, Catalyzing Prufrock, Nicholas B. Mayer [University of Oxford], Journal of Modern Literature, Vol. 34, No. 3, Spring 2011, pp. 182-198, Indiana University Press.
Textual Frustration: The Sonnet and Gender Performance in “The Love Song of J. Alfred Prufrock”, Brian Clifton [University of North Texas], Journal of Modern Literature, Vol. 42, No. 1. Fall 2008, pp. 65-76, Indiana University Press.
Prufrock and Other Observations: The Love Song of J. Alfred Prufrock, A Guide to the Selected Poems of T.S. Eliot, B.C. Southam, A Harvest Original Publication.
Love, Love And Love
I see love in the sea of your eyes
I feel love in your large heart
l get pain in your absence
I pick up memories in your footprints
I get colour in your dream
As my dream is same
I read the poems in your pen
I breathe the air surrounding you
I walk in the forest of love and dream
l live in the island of mystery
Come and make a history.
If anyone loves you
My heart burns
I can’t control myself
When I see you.
Six Untitled Monostichs
terrific silence earwig wax tachyon
—
we’re in agreeance the fructose of edinburgh
—
rabid grounds for clipped clap clothing
—
what else mayoral I’d widen it
—
mineralist foam glum somersault
—
noted aroma I needn’t
—
bio/graf
J. D. Nelson is the author of eleven print chapbooks and e-books of poetry, including *purgatorio* (wlovolw, 2024). His first full-length collection is *in ghostly onehead* (Post-Asemic Press, 2022). Visit his website, MadVerse.com, for more information and links to his published work. Nelson lives in Boulder, Colorado, USA.