Dr. Sarita Sharma is an academician, author, poet, translator and life coach. She is a TedX speaker who moves around conducting workshops on creative writing, communicative skills, translation, personality development and body image.

Sarita: In your writing, Dr. Anand, how do you navigate the space between what is deeply personal and what becomes universally relatable?

Anand: A poet knows the art of turning his personal joy and pain into a universal hieroglyph. In fact, all joy and pain that we experience, even if we call it personal, yet, it belongs to the universe.  I mean, every joy has behind it a universal script.  For example, when we define joy, the dictionary tells us how we experience this feeling. And these moments are not personal but universally relevant.  In this way, all the personal joy that we experience, has a universal reckoning.

Common people focus entirely on their personal happiness. But, poetic sensibility enjoys a simultaneous connection between the individual and the universal. A poet’s world includes the joy and pain of the world, and it is rarely that he talks of his own loss. Moreover, he has the power to universalize his experiences. In fact, we have a dual existence. We are what we are, a physical entity, but we have been taken off from a larger cake, to which we do not stop belonging after being cut off. Our individuality has no meaning unless we relate ourselves to the cake/block from which we come.

Is there something you find yourself returning to in your writing-an image, a feeling, or a question that refuses to leave you?

Every day, we move out of ourselves, into different directions, perform various tasks, which relate to human existence, to keep ourselves going, and then, by evening, we return to our home, we close in, and have sleep, so that the same actions could be repeated the next day. In this busy life, we are not living only on the physical plane. Our minds are always on the run, memories, feelings, moments, wishes, passions, desires fears – keep up their road march up and down the lanes of our consciousness. There is one question which keeps bothering me. I am a human being, and temptation is a very common issue with humanity. I always wish to keep my mind clear of thoughts which harm others. It is more because I want to keep myself in a state of peace. I know, what disturbs our peace is when we start playing foul with others. Harm starts, the moment we start thinking such thoughts. Again and again, I wish to remain free from these issues, and be helpful to the creation. I believe in cosmic responsibility and a sense of natural fairness. Last night, when I was having a post-dinner walk, my son was telling my grandson, who is eight years old, but wishes to be a cricketer that he will ask his coach to get him into the team which plays at the academy level.  The little one interrupted instantly and said, “No, it would be cheating. I want to get whatever I can without any help”.   This is what I have always looked for, and tried to practice in my life.  I am happy my grand-son, at this little age, knows what is fair and what constituted ‘cheating’, and this is the feeling, of the fair and unfair, to which I return again and again.

What, in your view, is the responsibility of a writer in today’s world, especially when silence and noise coexist so strongly?

The writer has to negotiate between silences and the noise. The noise is a signifier of life, which then, stands for the civilization, and silence, which represents the absence of noise, is feared to mimic death.  The poet has to define the silence as well as the noise, critically for the benefit of common man, for whom this world is rather too complex.  Those who remain silent, are not necessarily the wiser people, because I recently introduced the concept of ‘Artificial Wisdom’ which means, people choose silence over speech, when they feel they are courting danger. Even animals can sense danger, man is far superior in artificial intelligence, which tells him, silence is golden, while speech is silver. A poet hazards into speech, even when he knows silence is golden.

Do your poems begin as emotions seeking words, or as words that discover their own meaning along the way?

Of course, it is emotions which are in quest of words, in order to load themselves into meaning. Once, emotions are wrapped in words, words then move forward, and find their own lanes. There is a central emotion, which is the fountain head of the flood of a poetic commotion. I start giving it a shape, and then, just as small rivulets start flowing as there is rain in mountain ranges, rivulets of emotions start from unknown sources, and flow into the main body of the poem. No poet knows how a poem will begin, and how it will end, because along the way, who knows who will join this arduous journey of creation. This is what accounts for the mystery. I would like to use the expression, ‘the poetic mystery’ because the creation of poetry is a mystery to human intelligence, it cannot be decoded, nor preordained, and when the poem has been created, it again presents a tempting mystery. Even now, it poses a challenge to human perception. A poem is a radioactive matter, which radiates eternal messages, which are universal, but not identical, because the receptive mechanism of the readers is vastly different and divergent.

Do modern retellings of epics expand their relevance, or risk diluting their original essence?

Epics are examples of creative genius which deal with eternal questions, transcending time and space. Man has physically changed a lot, but emotionally and spiritually, his evolution is doubtful, because, as civilization has grown, and science and technology have brought in comfort and luxury, the human stuff, his emotional being and his spiritual content have gone down. In this way, the epics hold great relevance even for the man of today, whose intent and content as a human being has suffered decline.

So far as my epic writings are concerned, I believe that man needs to redefine the meaning of those creations, so that it finds relevance in the realm of altered reality. So many things which have become irrelevant, can be discarded, but the message of each epic on which I have worked, has been given sacred space. In the present era, where man’s humanity is under siege, and he is under grave threat of consumerist culture, and loss of values, those epics hold greater value, and they need to be retold in the modern context.  In the backdrop of the great ‘Mahabharata’, and Lord Krishna’s ‘Bhagwad Gita’ when we talk of ‘karma’, our discourse gains greater intensity.

Trekking beyond the original theory of ‘Karma’, I have made certain interesting observations. In one of my articles, I challenged Newton’s third law of motion, referring to the theory of ‘Karma’ where I said that the third law of motion is flawed, because, action and reaction are neither equal nor opposite.  According to Bhagwad Gita, nobody knows the fall out of his actions. In this way, the article subverts Newton’s theory. Recently, in my epic ‘Revelations’, again there is a reference to the theory of ‘Karma’ where resting my views on this theory, I have observed that individual responsibility for an actioin is not enough.  According to the concept of Associated Responsibility, instead of indicting one person for his crime, we should arraign all those formative forces which helped a man in his crime. Thus, the epics which have stood the test of time, when reinterpreted, do not find their message, diluted in any way, rather, it is reinforced.

Dr. Jernail S. Anand, with 200 books to his credit [20 epics] is a Chandigarh-based polymath, whose seminal work ‘Lustus: The Prince of Darkness’ challenges the moral complacency of our era. Founding President of the International Academy of Ethics, and Laureate of Charter of Morava [Serbia], Seneca [Italy], Franz Kafka [Germany, Ukraine, Czech Rep] and Maxim Gorky [Russia], his name is inscribed on the Poets’ Rock in Serbia. He is an Honorary Member of the Serbian Writers Association, Belgrade. Anand has built a poetics that unites ethics, Vedic spirituality, social critique, and the philosophy of meaning. Anand presents an articulated perspective on poetry as an instrument of planetary consciousness. A moral philosopher, professor, and international speaker, Anand has devoted much of his research to the ethical dimension of language, to the responsibility of the individual within a globalized society, and to the relationship between matter, consciousness, and transcendence. Email: anandjs55@yahoo.com.

Bibliography: https://sites.google.com/view/bibliography-dr-jernal-singh/home

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Read: Poetry is not a Romantic Luxury

The post The Mystical & Radioactive Grid first appeared on Sindh Courier.

Interviewed by Maja Milojković

1.

“If you had to describe yourself in one word—not as a poet or a professor, but as a human being—what would that word be, and why?”

Cosmozen. Because I believe that man is never an individual entity. He is not even a social entity. He belongs to the cosmos. And his essential education should be to connect him back to the cosmic reality. We are citizens of our cities, but, as members of this cosmos, we are Cosmozens. This word is rooted in cosmic awareness and cosmic responsibility. We must rise above our petty personal interests, and think of our duties as cosmic beings. It goes far beyond nations and nationalities. Because nations are artificial entities. The moment we start feeling we are a part of this cosmos, our hatreds, jealousies, anger and distrust will evaporate. It has to be understood and realized by every person that he is here to perform a duty as a human beings and the foremost of all, is to strike a harmony between his person and the impersonal forces, and remain helpful to the designs of the Almighty.

2.

“As a co-author of the Bio-Text Theory, do you believe that literature today shapes human beings more, or that human beings shape literature?”

Literature, by and large, is an active force which does not actively lead the world, but forms an ethical synthesia directs its movement towards a better value system. Literature is shaped by human beings down the ages, and how much literature shapes human conduct is open to debate. In my opinion, literature is only a very small fraction of the influences which shape the thinking patterns of human beings. The forces which actively work on their mental and psychological formations are contemporary politics, and social necessities in which survival is a major question. What shapes a modern man, the answer is very clear. It is social forces which articulate his mental architecture, and literature, if he is interest in it, does exert a moral pressure on his choices. As at presence, literature has been lying isolated in libraries, and only scholars visit these cold stores. For the general run of humanity, literature does not matter much. It is painful to see that we have a vast reservoir of great literature coming to us from our previous centuries, yet it has impacted the scholarly circles only, and is used in literary discussions, which have hardly any impact on how the ordinary people live and think. This is a flaw which has never been addressed by scholars. The wisdom of centuries does not flow into the lives of the people for whom literature is being written. The neglect that literature has suffered during the present times is also responsible for creating a society which is blatantly commercial and down to earth. To use an expression from William Wordsworth, they have no “interest unborrowed from the eye”.

3.

“You have received numerous international awards. Which recognition has most changed your perspective on your own work—and why?”

The most important international award that came to my way was the Charter of Morava followed by Seneca Award ‘Laudis Charta’.  Charter of Morava was conferred by Association of Serbian Writers, Belgrade, which conferred on me Honorary Membership, and my name was inscribed on the Poets’ Rock. These recognitions brought my work into the notice of the literary elite after which the Academy of Arts and Philosophical Sciences, Bari, Italy, conferred on me the Seneca Award. The Serbian Award was followed by the publication of my work Epicasia in two volumes, which contained 12 epics written by me, and it was dedicated to Serbia and Dr. Maja Herman Sekulic. This connection changed my own perspectives as well. As my work has continuously grown in volume and spread, at present I have a tally of 200 books out of which 18 are epics, and I have a feeling of fulfilment when I see my work being acknowledged all over the world.

4.

“As President of the Academy of Ethics, how do you see the role of ethics in a modern world where technology often advances faster than moral norms?”

International Academy of Ethics has been established in an effort to make the idea of ethics a household name. Our Ethical Alphabet has caught the imagination of several teachers and students are quite comfortable with it, when they make small posters showing E for Ethics and K for Kindness. In addition to it, we have proposed that on every graduate or postgraduate degree certificate, there should be an oath signed by the student, that he will not use his knowledge for harming the interests of the human community. In this way, we are trying to foster consciousness among the youth regarding a life of righteousness. We also focus on a new idea, to tell the youngsters, what not to do. For example, not to hurt anyone, not to tell lies, not to steal things. When a young child is made to think of right and wrong, he will develop into a man who has a higher sense of the ethical values.

So far as the advance of technology is concerned, I would like to say that when we try to drive a car, the first thing that we check is: its brakes. Technology is also a fast pacing rocket, and would you like that it has no brakes? Ethics apply brakes on our passion for unbridled growth and success. The Universities are churning out technocrats and IT specialists, who have nothing to do with ethics. The IAE wants to create human beings with a highly developed sense of cosmic responsibility, not just self-centered automatons.

5.

“Your work brings together spirituality, literature, and ecology. After 200 books, what is something you still feel you haven’t managed to express—something that continues to stay with you as a persistent thought?”

In my books, one after the other, I have pursued with a dream: to bring higher thought to the ordinary people, and make them think of things higher than just survival. I think the scholars are discussing things among themselves, and knowledge is lying frozen in refrigerators. That is why, in spite of great Universities like Oxford, Harvard and Indian universities which have a high ranking, we have not been able to impart to the our scholars, a higher sense of being human.  Even literature has been side-lined, and what matters finally with our students is subjects which bring higher packages, or departments which bring power and wealth [civil services, etc.].  The idea of education as a service to society has died long ago. We have to reorient our education to teach what the present and the future needs, instead of focusing on the past.

If men are not human, it is because our teaching has been flawed. We find no problem if a person ignores his duties, and keeps garnering wealth. There is a huge sickness in society, because the value system has destabilized and criminalized the idea of goodness, and integrity. We need to reverse this prevailing sickness, and recraft the educational focus on humanity, literature, and, as I said earlier, every student, before he leaves the portals of the University, must give an affidavit that he will not use his knowledge for destroying the values of this society. We need a new ETHICAL CONSCIOUSNESS to fight the onslaught of technology. Technology is like fire. Fire can be used for a thousand good things, but it can also be used for destroying habitations. Similarly, it is man’s wisdom which needs to be honed so that he uses technology only for the benefit of mankind. WE have knowledge, but we lack ESSENTIAL, ORIGINAL AND ELEMENTAL WISDOM.

Read: Third Dimension Thinking: Beyond Dualities

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An India poet and philosopher hailing from Chandigarh, Dr. Jernail S. Anand, with  200 books [18 epics] to his credit,  is a formidable presence in the contemporary world literature, a polymath, and a vital architect of the 21st century ethical literature whose seminal work ‘Lustus: The Prince of Darkness’ challenges the moral complacency of our era.  Founding President of the International Academy of Ethics, and Laureate of Charter of Morava [Serbia], Seneca [Italy], Franz Kafka [Germany, Ukraine, Czech Rep], Maxim Gorky [Russia] Soka Ikeda [Japan] and Mahankavi Bharathi [India] awards,   his name is inscribed on the Poets’ Rock in Serbia. He is an Honorary Member of the Serbian Writers Association, Belgrade, a Member of the Honorary International Boule and Honorary Academic Senator of International Academy of Rome, and an Academic Member of the Academy of Arts and Philosophical Sciences, Bari [Italy].  Anand has built a poetics that unites ethics, Vedic spirituality, social critique, and the philosophy of meaning. Anand presents an articulated perspective on poetry as an instrument of planetary consciousness. A moral philosopher, professor, and international speaker, Anand has devoted much of his research to the ethical dimension of language, to the responsibility of the individual within a globalized society, and to the relationship between matter, consciousness, and transcendence.  Email: anandjs55@yahoo.com.

Maja Milojković was born in Zaječar, Serbia. She is the deputy editor at “Sfairos” publishing house in Belgrade, Serbia.  She is the vice-president of the association “Rtanj and Mesečev poetski krug”.  She is the author of 2 books: “The Circle of the Moon” and “Trees of Desire”. She is the editor of the International Anthology “Rtanjski stihopevi”. One of the founders of the poetry club “Area Felix” from Zaječar, Serbia and the editor of an international e-magazine for creative literature and culture “Area Felix”.

The post Man is never an individual entity first appeared on Sindh Courier.

In an exclusive interview that unveils the early worlds of formation and the pathways of consciousness, the writer and playwright Mohamed Bourahla—born in Qasr Al-Boukhari on August 27, 1950—opens the vault of his memory to the key of creativity. He speaks of his inspiring grandmother, of Akbat Al-Souq, of the shock of Balzac, and of theatre, the novel, and the future of culture in Algeria.

Interviewed by: Turkia loucif | Algeria

We begin our dialogue by evoking the inspiring figure who held the key that unlocked the door of creativity. How was the cultural environment during your childhood?

My grandmother—may God Almighty have mercy on her—was my muse and my first teacher of literature. To this day, I still remember how, during the long winter nights, in front of the nafekh [traditional clay brazier], under the dim light of a kanki_ lamp—since we had no electricity back then—she would take my hand to help me explore the marvelous worlds of wonder through riddles and folk tales. At times she would narrate, at others she would sing, and at times she would recite poems and Sufi invocations. I would fall silent, but I listened without missing a single word, letting myself drown in the dreams of boyhood. Back then, I was building my own private worlds in a primitive way, of course; perhaps that was an instinctive form of writing.

I was also infected with a passion for literature and thought through reading. My family consisted of only two people—my mother and my grandmother—and books were the companionship that allowed me to bear my solitude, and also to build the pillars of my subjectivity and individual being. At first, it was comic books. I devoured them insatiably. Later, I turned to poetry, but after reading Honoré de Balzac’s _Louis Lambert_ and _Le Père Goriot_ in 1965, I developed a passion for the novel and for writing. It was then that I discovered my talent for writing, and became certain that I would write my own book one day; for me, it was only a matter of time.

I will not hide that, later on, I was shocked when I learned that Balzac—the eloquent, perspicacious writer, the genius of detail and precision, renowned for his prolific output, who considered himself a historian of customs and traditions—had seen nothing, or had not wanted to see anything, of the horrific tragedy that French colonialism was perpetrating in Algeria. Perhaps this biting observation is what gave rise to my conviction that an author can be, at once, incidentally brilliant and fundamentally shortsighted… or that appealing to authority can be a form of sophistry.

I must say that my passion for literature, thought, and writing also stems from the nature of my birthplace at that time—up until the 1970s. Culture then captured the interest of the inhabitants of Qasr Al-Boukhari, the town where I was born on August 27, 1950 and which I left in March 1977, to the extent that I can almost assert that, from middle school through higher education, the exception among young people there was the one who did not read, did not frequent the two cinemas, or did not visit its two libraries.

I once wrote in an article titled “My Story with Writing and Theatre” dated January 31, 2025: “In my town, culture was present without pretension and in a natural way in the conversations of ordinary people—in cafés and in the market—and it was dominant in the dialogues of the men of the National Movement, who represented our school and the touchstone for anyone who wanted to test his cultural and political mettle. To them I owe a great deal. Qasr Al-Boukhari was, above all, the hometown of towering theatrical figures such as Abdelkader Farah, Mohamed Farah, and Hassan El-Hassani.” And it was in Qasr Al-Boukhari that I formed this firm conviction: that a human being without critical thought and without taste is less than human.

A creator is born burdened with a weight that makes him fragile, his soul like crystal glass. To what extent were these circumstances inspiring for you?

Everything affects the writer; everything provokes and moves him, arouses his wonder or challenges his ideas: good and evil, noise and silence, major events and ordinary matters… nothing can leave him indifferent. There are, for example, places I can never forget. I recall, for instance, _Akbat Al-Souq_ [The Market Slope] in Qasr Al-Boukhari. There, standing in a circle watching the _maddah_ [traditional storyteller/chanter] perform, my passion for theatre was born. And there are also unforgettable things like disappointments, the sting of love and sorrows, or the magic of joys such as those that followed independence in July 1962, or chants like “Seven years is enough!”

But it must be said that a writer is not merely an empty vessel without particularities, a container that reacts to every influence. A writer is also a critical eye. He has, or must have, a cultural background that allows him to situate himself in a world that is increasingly ambiguous and obscure, then to interpret it and construct his fictional worlds from the raw materials of reality.

“The King Plays” is a play considered a hallmark in Algerian dramatic writing. Did you begin with theatre or with the novel, and why?

I wrote the play _The King Plays_ in a context in which I was questioning the individual’s place within the system, and whether he could think freely. This questioning intensified later due to Michel Foucault’s statement, in which he confronts with a “philosophical laugh” those who refuse to think without directly acknowledging that man is the thinker. This does not mean that I had read Foucault’s _The Order of Things_—I was incapable of that. Nevertheless, it was from this question that _The King Plays_ was born.

The play was published and then produced by the Regional Theatre of Skikda, directed by my dear friend Abderrahmane Zaaboubi. It won the award for Best Original Text at the National Festival of Professional Theatre in Algeria in 2012. Since then, the play has been the subject of numerous academic studies, and to this day it continues to attract the interest of theatre practitioners.

Prof. Dr. Hamid Allawi of the Central University of Algiers wrote of the play: “The dramatic text _The King Plays_ by the novelist Mohamed Bourahla seeks to employ heritage and its figures such as the king, the barber, the clan chief, and the chief merchant. These characters take us back to the atmosphere of _One Thousand and One Nights_, the alleys of Baghdad, and the corridors of its palaces, but with a new employment that projects onto current reality and penetrates its cultural and social structures, which makes this text rooted in the fragrance of Arab cultural history while opening windows onto modern life in its various aspects.”

Prof. Dr. Issa Rass El Ma from the University of Oran added: “It is a play replete with dramatic intensity, rich in situations, its style engaging and subject to the structure of dramatic composition. The action is clear, the characters are well-studied and their relationships logical, and the conflict contains all the indicators of rising and falling action.”

As for your question about beginnings, I say they were with poetry, and perhaps my view that literature must be practiced by all stems from the influence of the poet Lautréamont, author of _Les Chants de Maldoror_. Here I must acknowledge that Eastern Arab _tarab_ music was my gateway to Arabic literature and poetry, and for that I owe credit to the city of Qasr Al-Boukhari, which was passionate about it. Except for Ahmed Shawqi, I did not know most of those who wrote the lyrics or composed the poems. Their identities did not matter to me. I thought they had written the poetry and I, by savoring it and repeating its songs, was the one using it, and thus had the right to possess it.

Later, after a long time, I learned that the true owner was Al-Akhtal Al-Saghir, or Ibrahim Naji, or Abdullah Al-Faisal. Through Umm Kulthum’s “_Araka ‘Asiya al-Dam‘_”, Mohamed Abdel Wahab’s “_Cleopatra_” and “_Indama Ya’ti al-Masa’_”, which he sang to a rumba rhythm, Abdel Halim Hafez’s “_Lastu Adri_”, and Farid Al-Atrash’s “_Adnaytanī bil-Hajr_”, I came to know Abu Firas al-Hamdani, Ahmed Shawqi, Mahmoud Abu al-Wafa, Bishara al-Khouri, and many other poets.

Then, before theatre seized me because of the proximity to life it afforded, the novel imposed itself. I read world literature insatiably. Among the novels that influenced my literary path, many stand out. I mention Jean-Paul Sartre’s trilogy _The Roads to Freedom_, and the two novels _1984_ and _Brave New World_ by the English writers George Orwell and Aldous Huxley—both of whom instilled in me a love of dystopia. I cannot forget Franz Kafka’s two novels: _The Trial_ and _The Metamorphosis_. After reading them, I would wake from sleep thinking I had been arrested for a crime I did not know, and go to sleep fearing I would turn into a cockroach.

I also read Algerian literature with great interest and pleasure. Among its writers, Malek Haddad managed to capture my attention and admiration thanks to the themes of his novels and the beauty and elegance of his style, in which poetry blended with prose. It should be said that there are remarkable talents in the younger generation, among them Abdelwahab Aissaoui, El Kheir Chouar, Abdellatif Ould Abdallah, Samia Ben Driss…

Given your experience in judging theatrical performances, how do you assess the future of the dramatic text in Algeria?

The world of culture, and hence the world of theatre, is an ecosystem—that is, a living entity in which every element depends on the others. The artists within it—writers, as well as directors, actors, etc.—are linked to the other components of that system: theatres, audiences, institutions, critics, publishing houses… Consequently, the future of the dramatic text, and the literary text, does not depend solely on individual effort. Of course, the exception does not make the rule.

This future is contingent on these interconnections within the ecosystem and is tied to a cultural strategy and policy that are clear in their features, standards, means, and objectives—one that does not regard culture as a mere luxury but makes it a driver of growth, a tributary of Algerian identity, and the cement of national cohesion.

Therefore, the crisis of the text, whether literary or dramatic, is not a crisis of inspiration as much as it is a crisis of the ecosystem, and the solution will not come from authors alone, but from restoring value to culture. Otherwise, our hopes for change will remain mere wishes, for it is difficult to speak of the future of the dramatic or literary text when good authors are drained or exhausted, or forced into exile; when there are no publishing houses worthy of the name; when theatre is distant from schools; when audiences abandon the theatres; when great works are not translated; when libraries close their doors one after another; when there is a lack of training; when the city finds no place in festivals… But let us be optimistic, or “optimistic-pessimistic” [_mutasha’ilin_].

Ksar El.Boukhari is your birthplace, and you have memories and obsessions tied to the city. Do you see the cultural climate as conducive to reviving the spirit of theatre in Qasr Al-Boukhari?

Yes. When I recall my youth in Qasr Al-Boukhari, memories return… some beautiful, some painful, I admit. And how could I forget the scent of my parents, the companions of the path, the alleys of the _Qasr_ laden with childhood dreams, and the wondrous _Akbat Al-Souq_ where I found the _maddah_ who, weekly, fed my imagination and refined my taste. Those performers offered the audience an authentic form of aesthetic expression that enchanted the young man I was.

Therefore, I can say that it was in the _Qasr_ that my talent blossomed, that I came to know the contours of civilized dialogue, and that I attended, in the circle of _Akbat Al-Souq_, my first practical lessons in the art of theatre. This legendary place later prepared me to understand professionals when they spoke of the _halqa_ [performance circle], the _qawwal_, and performance spaces, and of the critique of Aristotelian theatre or the characteristics of epic theatre. [Narrator]

I must clarify that I would be ungrateful if I did not mention the merit of the city of Médéa and its influence on me. It was there that I had my decisive and passionate encounter with the Arabic language… and it was there that I wrote what became the novel _Bread and Condiment_ [_Al-Khubz wa al-Idam_].

As for the second part of your question, I know, through meeting some of them and through my continued connection with the city despite work and distance that Qasr Al-Boukhari abounds with young talents. It is up to them to believe in themselves, to work hard, and to create the moment that will lead to a cultural flourishing and a revival of theatre in the city.

In light of developments in Algerian and Arab society, we recall the title of the novel _Bread and Condiment_. How did the literary community explain the thought of the writer Mohamed Bourahla?

I believe my first novel was well received. Qasr Al-Boukhari—or the vision I had formed of it—was strongly present in it, from its alleys, characters, names, and events, to my theatrical experience there, though it was not an autobiographical novel. In the novel I experimented with a spiral narrative structure, with chapters that evoke Professor Malek Bennabi’s equation of civilization—may God have mercy on him: Man, Soil, Time.

The text was the subject of several university studies. In 2012, the novelist Mohamed Miflah wrote: “I read it over two nights, enjoying its dramatic atmosphere, and I found in it poetic language, profound wisdom, sincere emotion, and human knowledge. In it, the author addresses thorny issues with a very beautiful suggestive style. […] What I admired in its poetic language was Bourahla’s intelligent use of colloquial words, which gave his work a local flavor with a human dimension; the reader will not find in it any colloquial word except one that has deep meaning in the community’s conscience […] As for the novel’s dialogue, it proceeds in eloquent language pregnant with maxims and philosophical ideas, and colloquial language was used only in a few dialogues.”

 Is there a cultural project on the horizon? And what is your view on the international cultural bridge?

Frankly, sometimes, when I am exhausted, I vow to myself that I will not write again, but I keep breaking that vow. Is the reason that I do not find myself in the current cultural scene that the birth of the cultural world as I imagine it is difficult, or that what exists before me is merely a dull substitute for culture? I do not know.

Nevertheless, despite everything, to stop writing—that is, to stop feeling, dreaming, and building worlds—would be death for me, a suicide. So, in spite of myself, despite my disappointments and exhaustion, I still write and I still have projects. In fact, I never stop having them. I have projects for novels, plays, and autobiographical works. My projects also include adapting the short stories in my collection _Oleander Flower_ [_Zahrat al-Difla_] into film scripts.

Read: The Power of Children’s Literature

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Turkia Loucif is an Algerian writer who grew up in a family of many members and lived in a house left over from the houses of French centenarians in the neighborhood of arches. Her passion began with telling oral stories to her two sisters before bed, her mother realized her talent and she loved nature, flowers and squirrels, she frequented the school library and read novels in French. She dreamed of becoming a journalist and used to take this profession as a child, she used to make her notebook a microphone and talk to some of her family members. Her writing style caught the attention of her teacher, who registered her in a literary competition and won first place at the age of 12. 

The post To Stop Writing is to Stop Feeling first appeared on Sindh Courier.

Interview with the Kosovar Director, Publisher and Writer Dibran Fylli  

By Angela Kosta 

What drives you to move from stage to directing, and also from directing to poetry, and how are these two worlds connected for you?

Direction is a profession; the stage, for me and for every artist, is the sacred space where the characters of the artistic “game” come to life, while poetry is a passion that, as poetic creativity, is closely tied to my profession. Writing poetry, for me, means creating or developing an event even more than a drama or a screenplay does; therefore, above all, and primarily, it is literature.

In what way has your experience as an actor influenced the way you build characters in your writing?

As I mentioned above, a character is built well and successfully only when their character is clearly described and detailed; then it can be said that half the work is done and the actor is left with the performance. Only in this way is a character fully realized, whether in prose, novels, poetry, drama, or even film.

What is the role of historical memory, and how much does it influence your inspiration in your poetic production?

To be honest, our history as a people who have suffered greatly has left traces in the memory not only of mine but of every other writer; that is why we write, remembering the suffering, the hardships, the sacrifices, and the renunciations of many generations for freedom and independence. However, what plays an important role in my historical memory is the war of the Kosovo Liberation Army (KLA), in which I was also a member, and the titanic resistance of the martyr commander Adem Jashari, whom during the war I called “He is Alive.” Even today and forever, who can say otherwise—that he is not alive? This is and will remain my most important work, both literary and artistic, a work that will endure over time, as long as the Albanian language and word exist.

As promoter and publisher of the magazine ORFEU, what criteria do you use to select new voices, and how difficult is it to maintain quality in modern times?

This is a kind of sacrifice, because maintaining strict criteria and selecting new voices—publishing texts with literary, cultural, and artistic value, while at the same time preserving quality in modern times—is very difficult. Today’s poetry, even contemporary poetry—not to criticize or reject it—but in most cases is written without leaving a message, as if it were meant to be implied; however, in reality it remains suspended, incomprehensible, without metaphor, without a clear message. It is true that poetry is also read between the lines, but this only happens when the verses are composed according to literary poetics and aesthetics.

What motivated you to address such a delicate and powerful theme as the legendary figure of Adem Jashari in your book?

The book “He is Alive” is a chronology that reflects the war, sacrifice, and successful leadership of the immortal Commander Adem Jashari, up until his death at the beginning of March 1998, considering that even after his death the war continued in his spirit until the liberation of Kosovo. During the war, precisely on its first anniversary, on March 6, 1999, I created a screenplay and another theatrical performance entitled “He is Alive,” staging it in difficult circumstances, under wartime conditions, amid Serbian offensives, in front of thousands of citizens who remained in the combat zones and in front of many Kosovo soldiers, leaving a strong impression, also artistically, that the commander was still alive. After the end of the war, I also produced the chronological book with the same title, inspired by the performance. With the help of the multidimensional promoter Angela Kosta, this book has been translated into 16 languages: Albanian, English, German, French, Italian, Turkish, Croatian, Slovenian, Spanish, Hebrew, Arabic, Chinese, Polish, Punjabi, Assamese, and Korean; furthermore, in most of these countries it has also been published and distributed through social networks, platforms, magazines, and well-known newspapers.

How did you experience the process of translating your work into 16 languages? Do you think the message retains the same weight across different cultures?

For me and for our culture, this is an extraordinary experience, because it demonstrates not only the culture of writing, but also preserves an irreplaceable historical memory of our liberation war, identifying it with a unique case in the world: the fall of 59 members of Commander Jashari’s family for freedom and independence.

As for the message and its weight in different cultures, I would like to quote some lines from the review by Yang Geum-Hee, lecturer, publisher, translator, and vice president of the Association of Korean Writers:

“With great pleasure I present to Korean readers ‘Prekazi, Generations of the Brave – He is Alive (chronology)’, a biography of the heroes of Kosovo’s independence who fought and fell for freedom. Kosovo, located on the Balkan Peninsula in Europe, is a country largely unknown to Korean readers. This lack of awareness is reinforced by the fact that Korea and Kosovo have not yet established official diplomatic relations. However, if we look for similarities between the two nations, Korea also achieved independence through the sacrifices and efforts of independence fighters during the Japanese colonial period. Furthermore, Korea experienced the tragedy of civil war during the Korean War, which left indelible wounds on the nation. Considering Korea’s own history of struggles for independence, I believe Korean readers will deeply understand the story of Kosovo’s independence heroes and their fight for freedom.”

In the films you create, are there direct elements that come from your poetry or literary writings?

Yes, and there are quite a few. If we take some concrete examples, I can mention the poem “The Persistence of a Child,” in which a boy asks by all possible means for an emblem of the KLA from Kosovo soldiers. I developed it into a story, turning it into a screenplay for a short film titled “The Child and the War.” Then, from the poem “Fires and Destructions,” I created the screenplay for an artistic film titled “Arbëri’s Alphabet” (Arbëri is a child who leaves his homework unfinished because he and his family are forced to leave their home to flee from Serbian forces; when they return, they find the house destroyed and the notebook with the alphabet partially burned). There are many other stories that I have transformed into film screenplays, which I try to bring to life, despite insufficient financial conditions.

How do you see the role of art and literature in reflecting and documenting the suffering of an entire people?

Art has an important role in reflecting and documenting the pain of a people, especially when this is represented correctly, without deception, but exactly as it was, as the events unfolded, also through the production of documentary films and their broadcast on television. So, I say this without hesitation: I am the only director who, since the post-war period, has made more than 40 documentary films on the above-mentioned theme, all archived at Radio Television of Kosovo and beyond.

I believe I have fulfilled my duty to my profession, using in each documentary the phrase: “Not to pass the time, but not to forget our recent past, difficult and full of sacrifices.”

What challenges does a writer face when dealing with historical and political themes in a contemporary context?

I think this question does not require many comments! If we are talking about historical themes, the first challenge is that there is very little institutional support, if any at all, because it almost seems as if there is a desire to forget what happened in Kosovo. As for political themes, for true artists they are practically inaccessible, because if you do not write according to the will of political parties, not only do you receive no support, but you are also ignored, labeled undesirable by the government, or even worse: against it! What I have said may not please some, but it is the reality of our time—an endless time.

In this wide range of roles that you hold, where do you feel most free to express your truth?

I always feel more free when my heart is inhabited by the role or character connected to the history of my deeply tormented people, and also in roles or characters with themes of love, but always within the limits of human dignity.

How does moral responsibility toward history and national figures influence your creative process?

I pay particular attention when, in my literary or artistic production, I represent the history of national figures, because there I feel not only a moral responsibility, but also a national one; therefore, I try to be very cautious.

What message would you like to convey to the new generation through your artistic and literary works?

First of all, I wish and appeal for today’s young people to read as many books as possible, and not limit themselves only to social networks, because most of them exist for views and for the interests of their owners, whereas literary and artistic works by any author contain at least one message and an invitation to good rather than evil—even if in some cases they also represent evil, but by criticizing it in different forms. As for my artistic and literary works, I say: read them, because there you will find understandable messages, and only then will you truly know me.

How do you balance artistic sensitivity with the need to be direct when addressing painful historical themes?

Artistic sensitivity is a necessity for every artist. Understanding a work or dealing with painful historical themes is, I would say, history itself; therefore every film scene or theatrical scene must have artistic sensitivity, just like every literary creation.

What was the most difficult moment of your creative journey and how did it influence your development as an artist?

First of all, I attended the Academy of Arts not in my mother tongue, and this was my greatest challenge… later I faced almost continuous challenges, fear and challenge together, when during the war I staged performances, even founding a military theatre as well as many other initiatives. But all this had a positive impact and strengthened my conviction in forming my character as an artist and a rebellious creator, who has never worked to please others by violating my principles and my oath to authentic art.

If you had to describe your artistic mission in a single sentence, what would it be?

My artistic identity is what it is!

___________________

Angela Kosta is the Executive Director of the Magazines: MIRIADE, NUANCES ON THE PANORAMIC CANVAS, BRIDGES OF LITERATURE, journalist, poet, essayist, publisher, literary critic, editor, translator, promoter

The post Preserving Kosovo History through Art first appeared on Sindh Courier.

Živko Grozdanoski is the Chairman of the Writers’ Association of Macedonia, a renowned poet, writer, and literary scholar, and a laureate of numerous national and international literary awards.

Interviewed by Jakhongir NOMOZOV

– Parents play an irreplaceable role in shaping their children’s future, and support begins first and foremost within the family. What role did your parents and family play in your formation as a poet and writer?

– When I first started writing poems – not long after I was taught to write – I have a vague memory of my mother observing me with curiosity. Next memory (one, two, three years later?): I remember my mother showing me a notebook with my poems written there. I was so surprised! I would write poems and carelessly leave them to linger around, and she had been collecting them all and meticulously copying them in one notebook. Correcting the mistakes and everything, by the way. So, I guess my mother was my first editor. I guess I was shaped by this story. By the surprise.

 – Literature is often described as a sacred realm that should be entered with a pure heart. Yet some poets and writers create primarily in pursuit of personal gain or awards. What is your attitude toward this phenomenon?

– We are all guided by two opposite drives: the need of “authenticity” and the need of “attachment”. Some people mostly write because it brings them closer to their authentic self, others mainly because they see in this a way to make connections and prosper in the world. It is pure heart (yearning for Oneness) next to a pure (collaborative and competitive) thought. I was simply not made for No. 2, and all I have is “ink”, as a metaphor for writing, honesty, authenticity. The title of my last book is “Like a cuttlefish, I use ink to make space for myself in the world”.

 – Being human, above all, requires having a conscience. In your view, what are the main criteria and responsibilities of a poet or writer?

– The main responsibilities of a poet, or a writer, according to my criteria, is to stab his knife into the rotten part of the fruit, and turn it into a feast, a celebration of life. Imagining, in doing so, that every living person is a fruit.

– With your work Fingerprints on Ice Cubes, you brought a fresh breath into the genre of short prose. What is the most challenging and the most enjoyable aspect of writing short stories or flash prose for you?

– The most challenging aspect of it is to avoid spare letters. The most enjoyable aspect of it is the surprise, the excitement you feel as you “hunt” for the final shape of it.

– It is often said that every writer becomes a different person at the writing desk. How does your own creative process unfold?

– It depends on the genre. Long prose comes like stockpiling thoughts and concepts from time to time, capturing them and putting them down on paper. Then the long winter comes, and you see what you have. Poetry is an idea, a fleeing thought. One has to be vigilant. In all cases.

 – When writing for children, what do you draw inspiration from most? Where does your creative impulse come from?

– My personal well of curiosity, my need to defeat boredom. To surprise myself.

 – In your opinion, what is the greatest difference between children’s literature and literature for adults, and how do these two directions enrich one another?

– There are many differences, as well as similarities. It’s a complex question.

 – How would you describe the current level of attention given to literature and culture in Macedonian society today?

– There are different types of literature, but its presence in the media is rare. Media in general, are pathetic, showing 0 creativity. Some would say that there are plenty of bookstores in the center of Skopje. But there are almost none in other cities.

 – How are the literary gaps between writers and readers manifested today, and what new creative movements are emerging among the younger generation?

– The gaps are manifested by the lack of good (if any) literary critique that could set some reference points when it comes to writing. As far as the creative movements are concerned, lately, I have an impression that more reading clubs emerge. Most of young people, nonetheless, seen to be not concerned with literature, primarily, I would say, due to the total lack of official policies that could point in that direction.

 – Which literary genres are developing most dynamically in contemporary Macedonian literature, and which ones seem to be developing more slowly?

– Novels are dominating, poetry is low profile (and that’s an international standard, I would dare say), and short stories seem to be developing more dynamically.

 – Against the backdrop of the rapid growth of the internet and social media, a decline in reading habits is often observed. Do you think it is fair to blame the internet alone for the decrease in readership?

– No, it’s not the internet alone. It’s the internet, combined with poor to none (none at all, to be precise) interest in/capability of creating official policies by the state apparatus. Imagine if, on the one hand, youngsters under 16 are disallowed to use smartphones, like it is in Spain. And if, on the other hand, libraries are supplied with high quality literature, and young “influencers” are incited to “operate” there.

– How do average-quality works published under the label of “bestsellers” by various publishing houses affect the development of genuine literature?

– Not much, I would say. Because authors have access to all sorts of texts today, and everyone can be influenced by from many sides. I would argue that good authors are mostly influenced by good authors. (Not to be confused with those authors that, lacking authentic inspiration, copy other authors’ ideas and words.) Mediocre authors, on the other hand can be influenced by bestsellers, or “trendy” literature.

– In today’s world, can literature still change society, or is it primarily limited to enriching human thought and emotions?

– The society is on fire, globally: capitalism and imperialism, assisted by technology, are putting us at the threshold of… what? WWIII? What literature can do is enrich and encourage some individuals, and this should be more than enough.

– Which genre do you plan to focus on more in the future—poetry, short stories, novels, or children’s literature?

– I want to give more visible contours to the novel I have started sketching. Despite this, I write shorter compositions. On Forgiveness Day, a week a go, I happened to write a children’s poem about forgiveness.

 – What does “creative success” mean to you personally?

– To write something and to be feeling joy and gratitude about it; to see a glimpse of timeless value in it. For example, the poem that I wrote a week a go, “Forgiveness for the king”.

 – What important projects and initiatives is the Macedonian Writers’ Association currently implementing?

– There are several ongoing projects, but I would single out the promotion of the book “What is remembered lives on” – a collection of 21 autobiographical short stories cherishing the memory of Macedonian writers, colleagues, former members of the Association that are no longer with us. This is a project keen on preserving the cultural memory and fortifying the cultural identity of our country, which consists of authors from different national, religious, etc. backgrounds.

 – Which poets and writers from Azerbaijani literature are you familiar with?

– Last year, the Struga Poetry Evenings hosted Farid Hussein, and we met. We had a short conversation, and he handed me his book of poems in Azerbaijani and in English. The verses were simple and striking. I still remember some from one of his poems, because I was reciting them to friends and to close ones. May the author forgive me, if he reads this, for I will probably demolish partially those verses, as I paraphrase them: “Time passes, and you are slowly losing the right to demand what you didn’t have the courage to desire”. So simple and striking. Beautiful.

Read: Wounds of History, Hope of words

____________________________

Jakhongir NOMOZOV, is a young poet and journalist from Uzbekistan.  He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

The post Society is in flames on a global scale first appeared on Sindh Courier.

Agim Barjami is a well-known Albanian poet, writer, and journalist, the President of the Durrës Writers and Artists Association, the recipient of numerous national and international literary awards, and the author of nearly twenty books of poetry, prose.

Interviewed by: Jakhongir NOMOZOV

You were born into a family of Cham Albanian refugees who were forcibly expelled. A person does not choose their fate, but they can give it meaning. How do you think you have given meaning to your personal fate?

Agim Bajrami : The story of my family’s fate is the same as that of thousands of innocent families from the region of Chameria, a fertile and wealthy land that had the misfortune of being violently separated from the mother state and subjected to a terrible genocide by the Greek state for decades. The year 1945 was a dark year for the inhabitants of this region beyond Albania’s southern border. As in Gaza, where Zionists killed and massacred thousands of innocent people.

The same tactic was followed in Chameria. Within a few weeks, thousands of innocent inhabitants—women, men, and children—were killed and massacred. The brutality of the occupier was so great that even unborn babies in their mothers’ wombs were not spared. A person never wishes to leave their home and land, but there are circumstances in which they are no longer masters of their own destiny. Small nations have always been part of the dirty games of great powers. Under these conditions, in order to save the remaining lives, our families were forced to leave their centuries-old homeland and seek shelter in the other part of their homeland, in Albania. It was a forced and rapid departure, with only a sack of bread and a blanket over the shoulder, into a country that had just emerged from war itself and possessed no means to help us.

After wandering for months from village to village, sometimes fed and sometimes hungry, my mother lost her only brother and her father due to harsh living conditions and hunger, while my father lost many relatives.

Nevertheless, my family did not surrender to fate. Through hard work and great effort, we managed to settle in the small town of Cërrik, to find employment, and to adapt to the conditions and the people we found there.

In that town, I completed elementary and secondary school, while I pursued my university studies at the Faculty of History and Philology, Department of Albanian Language and Literature, without leaving my job, in Elbasan.

It was during these years that I began to understand that in order to face life and fate, a person must be prepared and not fragile.

I began to read every book that came into my hands and to take notes from time to time.

It is said that reading softens a person’s soul and pushes them toward the process of knowing and understanding life, toward inner reflection and the search for their place within the family and society.

It was during this period that I began to write and publish my first works in the few available press outlets, and to feel within myself the magic of creation.

What kind of spiritual wound does the violent loss of one’s homeland leave in a person’s soul, and how can this wound find healing through creativity?

AB:  Even though decades have passed, I still remember my grandmother’s tearful eyes, how she would let out a deep sigh whenever someone mentioned the old house, the large courtyard, and the deceased relatives she had left behind, whom she had no possibility of visiting at their graves. She and many of her contemporaries died with their eyes turned toward Chameria, the homeland from which they had been forcibly expelled and which they were never allowed to see again. They passed away heartbroken, carrying regrets known only to them.

My father, may he rest in peace, used to tell me that a person without a homeland is like a rolling stone. I have tried to use this tragic metaphor in many of my poems, and it seems to me that this creative act has somewhat calmed me.

What inner emotional or spiritual states of the human being do you most often seek to explore in your literary works?

AB: Living in a country with a fragile and underdeveloped democracy, I often encounter violent scenes and desperate people abandoned in the streets, or girls and women severely abused by men or by their husbands. This causes a strong shock not only to my mood, but also to the engines of my creativity, and a powerful sense of pain and rebellion immediately overwhelms me. This is because a writer cannot remain indifferent in the face of such situations. In reflecting them, he brings into play his entire creative arsenal, including his soul.

On the other hand, in my works love lyricism occupies a visible place, the feeling of a kiss, of waiting, of longing, and of small quarrels. To make these emotions more tangible, I have tried to incorporate the silent world of objects and the voiceless language of nature. Their harmonization gives greater expressive and emotional power to my creations.

Is the inner solitude of the poet a form of human loneliness, or a dialogue with the divine?

AB: Most writers are individual and solitary beings. They continually withdraw from noisy environments, not only to organize their thoughts, but also to escape the terror of the worthless ordinary. Franz Kafka considered solitude a painful but very necessary condition in order to penetrate deeply into oneself and extract what is essential from within.

I appreciate solitude in the moments when I need to meditate on specific issues and problems related to the creative process. I consider this part of the normal routine of a writer’s work.

How should a poet respond to the global challenges and crises of today’s world?

AB: All poets are, in themselves, barometers of flesh and blood upon which the events and crises of today’s world inevitably leave their marks. Their ways of reacting may differ, but the object upon which this reaction is poured remains freedom and endangered democracy.

Eliot, Lorca, Kadare, and others have not only always raised their voices in protest regarding such issues, but have also given their works a strong polemical character and spirit. They have consistently placed themselves at the forefront of their emancipated societies, standing in open opposition to the respective powers.

“Teach time not to devour its own. What is born of ugliness, poets mend,” wrote one of our most distinguished voices, Din Mehmeti, and he was right.

In what phase do you think Albanian literature finds itself today?

AB: Albanian literature emerged from a long and frightening period of the so-called Socialist Realism, whose aim was to place it in the service of the Bolshevik dictatorship. As such, it was a literature without conscience and without true artistic form. In conditions of lack of freedom of expression and confinement within rigid frameworks, that literature could not claim to become the voice and mirror of the time and society to which it belonged. In our country, those who dared to bring a somewhat different form and voice from the others were punished with imprisonment and other severe penalties.

The wind of democracy seems to have greatly changed its physiognomy and character. Today, our writers have cast off with contempt the servile and demagogical character of literature in service to power and feel freer and more open to grasp and address, in their own way, whatever they think. The themes of revolution and class struggle have now been replaced by contemporary themes and historical ones, rich with subjects drawn from life and the past.

Today, we no longer have just a handful of writers and poets who wrote according to the orders and wishes of the leadership. On the contrary, we have an interesting group of dedicated writers and poets with broad horizons, such as Besnik Mustafaj, Bashkim Hoxha, Viktor Canosinaj, Rifat Ismaili, Vahid Hyzoti, Mujo and Skënder Buçpapaj, Rudolf Marku, and others, who have brought a different kind of style and conceptual approach, thus being welcomed not only by our readers but also by foreign ones. Such creators no longer hesitate to expand their writing ranges, experimenting even with themes and ideas that until yesterday were considered forbidden and taboo by the regime and its loyalists.

Through your works for children, which values and life lessons do you aim to convey to young readers?

AB: I grew up in a fruitful period for children’s literature, when being classified as a children’s writer, unlike today, meant carrying the respect of people and society. Symposia were organized, meetings with readers were held, anthologies were published, and competitions took place, and so on. Today, indifference dominates this type of literature, and the state’s interest is almost zero.

The literature I write is diverse: poetry, fables, poems, riddles, fairy tales. The ideas I strive to convey, together with a handful of my colleagues, are the transmission of the best educational values to young readers: the praise of work, sound morality, the cultivation of initiative and collective spirit, love of country, respect for parents, and so on.

Naturally, although it may seem simple to write for children, one must place oneself at their age and level of aspiration, touch their world, and explore it. Some writers have succeeded in doing so; others have not and have failed.

What do you consider most essential to protect and preserve in children’s literature?

AB: The absence of well-known names in children’s literature is being exploited today by people who have no connection to true literature. In fact, more than writers, most of them are literary impostors, people hungry for money, who place profit above the needs of young readers, their education, and the cultivation of their finest values.

These individuals do not know the beautiful world of children at all; they have not read the well-known postulate of Astrid Lindgren that our children need books that give them courage, not books that destroy their dreams. Instead, they fill their works with empty stories and absurdities that make one nauseous.

For a book to be considered good, it must be appreciated not only by children but also by adult readers. A good book should open before its reader a world of its own, stimulate their imagination and creative spirit. The young reader is eager to discover the world; therefore, on every page they should find something of their own spirit of exploration and adventure, but also something of the great spirit of the world.

What do you think is the greatest tragedy of unknown or unappreciated talent?

AB: The greatest tragedy of a talent is euphoria and laziness. The greatest masters of literature, such as Leo Tolstoy and Stefan Zweig, have addressed several times the theme of the growth and development of talent. Tolstoy said that to open the doors of success, a young creator needs fifty percent talent and fifty percent work.

Love for literature is a difficult love. Blessed are those who have known how to recognize its demanding nature and have persisted in loving it unconditionally.

Misfortune does not come only from outside; it often arises within us. How do you think humanity should confront the inner voices that are eroding it from within?

AB: The human being is one of the most complex creatures, and this constantly exposes them to dangers. Egoism, greed, jealousy, and servility are among the most well-known and active vices that have historically attacked humanity.

A good part of them are rooted in a lack of culture; others are inherited.

Literature and art possess the most effective means to fight these destructive phenomena. It is no coincidence that many authorities in literature and philosophy have emphasized the conviction that books and reading are capable of softening human hearts.

Some believe that all people have equal potential and that differences arise mainly from circumstances and conditions. What is your opinion on this idea?

AB: World practice shows that people are not born and do not grow up in the same conditions and circumstances and, consequently, their potentials cannot be equal. Someone will inevitably stand out from others, will receive more recognition and attention, and this inevitably leads to differences.

The gradual accentuation of these differences, together with favorable circumstances and conditions, can badly degrade them, creating sharp contrasts and strong clashes with those around them. The examples of history are very meaningful in this regard.

How do you assess the relationship between Albanian literary heritage and contemporary Albanian literature?

AB: Regarding the relationship between literary heritage and contemporary literature, opinions vary widely. Some prefer horizontal lines of continuity, while others favor separation from heritage. I have always belonged to the first group.

As a supporter of this line, I have always believed that good literature cannot develop in a vacuum, but only in close connection with its roots.

Albanian poetry, for example, could not have reached its current stage if it had severed its ties with our wonderful southern and northern folklore, or without the magnificent poetic heritage of Jeronim de Rada, Ndre Mjeda, Gavril Dara, and others.

In your opinion, how do intercultural literary connections contribute positively to humanity? What role does contemporary literature play at the international level in promoting peace and friendship among nations?

AB: In my opinion, intercultural literary connections among different countries and peoples are very important and necessary.

First, because nations need to become acquainted with one another’s achievements, but also to benefit from their diverse experiences and schools of thought.

The circulation of these values strengthens mutual relations and respect among them.

All the more so for us, as a small nation, we have such a strong need to have in our libraries the books of the great patriarchs of these countries, learning at the same time much from their experiences and greatness. To achieve this, cultural institutions between respective countries play a major role.

How has reading and studying the literature of different peoples   transformed your way of thinking and your imaginative world?

AB: For a writer, reading and studying the literature of different peoples has many benefits and advantages; therefore, it is a necessity.

Becoming familiar with new writing concepts and models from renowned authors and assimilating their experience and mastery constitutes an extraordinary wealth that should never be neglected.

Personally, I believe that through such reading I have grown professionally, while my imagination has gained new dimensions.

Does talent naturally find its own path, or does it necessarily need support and encouragement in order to flourish?

AB: Literature is a passion and a fire that warms you throughout life, but for a talent, no matter how gifted, this alone is not enough. I do not remember where I read that a talent, in its earliest beginnings, needs a guiding hand and supportive backing, just as a small child needs its mother.

Creating a warm environment and atmosphere around them, engaging in long and continuous conversations, offering friendly advice, remarks, and suggestions, all these generate positive energy that tomorrow may translate into success and achievement.

We must learn from the good examples of cooperation among the great literary giants of the past and make these examples a reality in our present-day relationships with young people.

It is very important to move forward with the motto: “A promising talent today may become a great writer tomorrow.”

Kindness toward others produces only good.

Read: Silence is the greatest form of healing

_________________

Jakhongir NOMOZOV is a young poet and journalist from Uzbekistan.  He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

The post Wounds of History, Hope of words first appeared on Sindh Courier.

• By uncovering abuses of power, corruption, and violations of fundamental freedoms, investigative reporting contributes to democratic accountability
• For me, journalism is fundamentally a public service. The role of a journalist is not only to inform but also to protect democratic values, give voice to society, and contribute to transparency and accountability – Greek Journalist Dimitrios Kannavos

Hailing from Greece, Dimitrios Kannavos is an accomplished journalist and an active figure in the fields of media, culture, and public service. He serves as a Member of the Audit Committee of the European Association of Journalists – Hellenic Section, and is also a Founding Member of the International Union of Cretan Journalists and Mass Media, contributing significantly to the advancement of journalistic standards and international cooperation. Throughout his career, he has been recognized with numerous national and international awards for his work, community service, and dedication to cultural promotion.

By ANGELA KOSTA

Dr. Kannavos, could you outline your professional career path, highlighting the stages that have most significantly contributed to your training in the field of international journalism?

My professional journey in journalism has been shaped by a deep commitment to public interest reporting, international dialogue, and investigative work. Over the years, I have worked across different areas of media, including investigative journalism, international reporting, cultural diplomacy, and digital media strategy. A significant milestone in my career has been the establishment and leadership of the Hellenic Media Group, a platform dedicated to responsible journalism, international cooperation, and the promotion of democratic values. Through this work, I have had the opportunity to collaborate with journalists, academics, and cultural figures across Europe and the United States. Another important step has been the development of the Hellenic Los Angeles Network, which aims to build bridges between Greece, the Greek diaspora, and the international creative community. These initiatives have strengthened my understanding of journalism not only as a profession but also as a global civic responsibility.

You conceive journalism as a mission of responsibility and service to society. In what way does this vision guide your professional work?

For me, journalism is fundamentally a public service. The role of a journalist is not only to inform but also to protect democratic values, give voice to society, and contribute to transparency and accountability. This philosophy guides every aspect of my work. Responsible journalism requires independence, ethical integrity, and respect for truth. In an era where misinformation spreads rapidly, journalists must act as guardians of reliable information. My work aims to promote journalism that serves society rather than power. This means focusing on accuracy, fairness, and the broader social impact of reporting.

With reference to international relations and investigative journalism, what do you consider to be the main challenges today in terms of independence, accuracy, and source protection?

One of the greatest challenges today is maintaining editorial independence in an environment where economic pressures, political influence, and digital disinformation increasingly affect the media landscape. Investigative journalism also faces growing risks related to the protection of sources and the security of information. Journalists must operate within complex geopolitical contexts where information can be manipulated or weaponized. To confront these challenges, strong ethical standards, legal protections for journalists, and international cooperation between media organizations are essential.

In addressing issues related to humanitarian action and civil protection, which principles do you consider essential to ensure accurate and responsible reporting?

When reporting on humanitarian crises, journalists must prioritize accuracy, human dignity, and contextual understanding. It is crucial to avoid sensationalism and to ensure that reporting reflects the realities faced by affected populations. Responsible journalism should highlight the human dimension of crises while also providing verified and balanced information. At the same time, journalists must be aware of the ethical responsibility involved when reporting in sensitive environments, especially where vulnerable communities are concerned.

As a Member of the Supervisory Committee of the European Association of Journalists – Hellenic Section, which initiatives do you consider a priority for strengthening ethics and the quality of information in Europe?

As a member of the Supervisory Committee of the European Association of Journalists – Hellenic Section, my role focuses primarily on oversight, transparency, and institutional accountability. The Supervisory Committee is responsible for reviewing and supervising the financial activities and administrative procedures of the Board of Directors, ensuring that the organization operates with integrity, transparency, and compliance with its statutes. Beyond this institutional responsibility, I believe that strengthening ethical journalism in Europe requires continuous professional training, support for independent journalism, and strong mechanisms for transparency and accountability within media organizations. At a time when public trust in information is being challenged by disinformation and political polarization, journalistic institutions must reinforce their internal governance structures and ethical frameworks. Ensuring credibility, transparency, and responsible management within professional associations is an essential step in strengthening the broader credibility of journalism in Europe.

As a Founding Member of the International Union of Cretan Journalists and Mass Media, what role do you attribute to international cooperation among media professionals?

International cooperation among journalists is essential in today’s interconnected world. Media professionals must work together to share knowledge, protect press freedom, and strengthen professional standards.

Organizations that promote international collaboration create valuable networks that allow journalists to exchange perspectives and address global challenges collectively.  Such cooperation also reinforces the cultural and democratic role of journalism beyond national borders.

In a global context characterized by increasing disinformation, what contribution can journalistic institutions offer to safeguard the credibility of information?

Journalistic institutions play a crucial role in protecting the credibility of information. They must promote professional ethics, support investigative journalism, and strengthen verification mechanisms. In addition, media organizations must invest in digital literacy and public education so that citizens are better equipped to distinguish reliable information from misinformation. The credibility of journalism ultimately depends on transparency, accountability, and consistent adherence to ethical principles.

In your view, what is the relationship between investigative journalism and the protection of human rights in contemporary societies?

Investigative journalism is closely linked to the protection of human rights. By uncovering abuses of power, corruption, and violations of fundamental freedoms, investigative reporting contributes to democratic accountability. Journalists often serve as watchdogs of society, bringing attention to issues that might otherwise remain hidden. This role is essential for the protection of civil liberties and the promotion of justice. In many cases, investigative journalism has played a decisive role in exposing human rights violations and prompting institutional reforms.

Looking at the evolution of the media landscape, which structural transformations do you consider most significant for the future of the profession?

The most significant transformations include the rapid digitalization of media, the emergence of new communication platforms, and the global circulation of information in real time.

While these developments offer new opportunities for journalism, they also create challenges related to misinformation, economic sustainability, and audience trust. The future of journalism will depend on the ability of media institutions to adapt technologically while maintaining strong ethical foundations.

What message would you like to address to the new generations of journalists who are entering an increasingly complex and constantly evolving international context?

To the new generation of journalists, I would say that integrity is your most valuable asset. In a world filled with noise and competing narratives, the commitment to truth and ethical reporting must remain the guiding principle. Journalism requires courage, curiosity, and responsibility. Young journalists should continue to pursue knowledge, remain independent in their thinking, and always remember that journalism serves society.

Despite the challenges, journalism remains one of the most important pillars of democracy.

Read: Journalism’s role in combating authoritarianism

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Angela Kosta Executive Director of MIRIADE Magazine, Academic, journalist, writer, poet, essayist, literary critic, editor, translator

The post Investigative Journalism Shields Human Rights first appeared on Sindh Courier.

‎DELA AHIAWOR, Ghanaian journalist, Editor, (delreport.com) is a journalist whose journalism work has taken him outside Ghana’s territory and other continents apart from Africa. He is the West Africa Bureau Editor of CAJ International Magazine. Ahiawor is also CAJ Vice President West Africa Region.

Interviewed by: Michael Adeboboye

In this Q&A, he shares insights on his journalism career, role at CAJ and relevant issues. Excerpts:

‎‎What inspired you to pursue a career in journalism, and how has your experience been?

‎‎Actually, the desire to explore new horizons (places) inspired my journalism career in the early 2000s. Now, the world no longer feels like a mystery to me, because I have realized my travel goals, thanks to journalism.

‎As Editor of (delreport.com), what’s your approach to storytelling and engaging your audience?

‎‎As sustainability editor at (delreport.com)

‎I’m keen on crafting a narrative that is well researched and connects with my  readers, the reason being that sustainability still remains an abstract topic for most people, especially in our part of the world.

‎How do you see the media landscape evolving in West Africa, and how is (delreport.com) adapting?

‎‎In West Africa internet access, particularly via smartphones, is driving news consumption. For this reason I regularly share my work (articles) on Social media platforms like: Facebook, X (formerly Twitter), LinkedIn and TikTok to mprove engagement, especially among youth.

‎What led you to take on leadership role at the Congress of African Journalists (CAJ), and what’s your vision for the organization?

‎‎I was drawn to the opportunity to work with diverse journalists/ media professionals across the continent. And my vision for Congress of African Journalists (CAJ) is to establish a unified voice for journalists across the continent, aiming to champion press freedom.

‎As Vice President of CAJ West Africa, what are your priorities for the region?

‎‎My top priority  is to create more opportunities for interaction, such as improved networking events and professional development among Journalists in the West African region.

‎Can you share your experience working with the CAJ Eminent African Leaders and Achievers Award?

‎‎Working on the (CAJ Eminent African Leaders and Achievers Award) required tight deadlines and cross-functional team coordination. My role as (Awards Committee Chairman) involves the evaluation of nominations, ensuring that the selection process was fair, transparent and adheres to the criteria established by CAJ.

‎What makes the CAJ Eminent African Leaders and Achievers Award unique, and what impact does it have?

‎‎The CAJ Awards emphasizes a blend of professional achievements and personal attributes. Nominations for CAJ Awards are viewed as a confirmation of the work of nominees in their various countries.

‎What are some challenges facing journalists in West Africa, and how can they be addressed?

‎‎West African journalists have bad working conditions, low pay and lack of resources or insurance for risky assignments. This means implementing policies that ensure that journalists are well paid and protected in West Africa.

‎How can African journalists better contribute to the continent’s development narrative?

‎‎African journalists must endeavour to highlight Africa’s achievements, innovation and potential in the bid to build confidence and attract investment to Africa.

‎What opportunities do you see for young journalists in Africa, and how can they capitalize on them?

‎‎With the decline of traditional media, young African journalists have the opportunity to build niches and leverage the digital platforms to reach people everywhere across the globe.

‎What drives your passion for journalism and promoting African stories?

‎‎I’m thrilled by the fact that, the articles I write/ curate as sustainability editor brings some attention to the worsening climate catastrophe. Besides, I’m also driven by the need to promote alternative stories to help break the negatives news cycle in Africa.

‎Can you share a memorable experience from your career as a journalist?

‎‎Definitely, receiving my Paris 2024 Olympics accreditation was a major milestone in my career. Indeed, it was a long -held dream and that day represents the culmination of immense hard work and dedication. Besides, I consider networking with journalists/ media professionals across Africa and beyond through CAJ, crucial for career advancement.

‎What’s your message to aspiring journalists in Africa?

‎‎In an era of rampant misinformation, Africa needs a new generation of journalists who can navigate the digital landscape with integrity. In fact, accuracy is non-negotiable in journalism.

‎On a final note, what  strategies are you putting in place to make CAJ the largest umbrella for Ghanaian Journalists and West Africa as a whole?

‎‎I’m aiming to boost CAJ membership numbers in Ghana and West Africa, drive engagement and foster collaboration among West Africa journalists. Besides, I would be actively championing the rights of CAJ members.

‎‎Source: CAJ International Magazine

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The post The West Africa Goes Digital first appeared on Sindh Courier.

In this interview, the well-known Albanian journalist, researcher, and activist Ph.D. Dashnim Hebibi speaks about the challenges of freedom of expression, preserving the Albanian language and tradition in the diaspora, academic projects, and his mission to build Albanian cultural institutions in Switzerland.

Interviewed by Angela Kosta

You have had a long career in professional journalism. In your view, how has freedom of expression changed recently, especially within Albanian communities abroad?

Freedom of expression for professional journalists remains an unchanging principle that is never negotiable. However, technological developments and social media have changed the way public speech circulates. Today, information spreads much faster, and for this reason, professional responsibility is even greater. In Albanian communities abroad, free speech is more present than ever, but the challenge remains in maintaining ethics and accuracy in reporting.

How did the idea to establish the Swiss Scientific Institute for Southeastern Europe originate, and what are its main goals?

The idea originated from a shared vision with the late pioneer of Albanian journalism, Ph.D. Llukman Halili. The initial goal was to create a scientific journal and later to establish an Albanian university in Switzerland. This project aims to create a sustainable academic center for the diaspora that will contribute to preserving the language, tradition, and connection to the homeland, passing this heritage from generation to generation.

You are the author of over 30 books. Which work do you consider most representative of your cultural mission?

It is difficult to single out just one book because all of my works are part of the same cultural and spiritual mission. Each book represents a stage of my engagement and an effort to document the experience of the diaspora and national values.

You have repeatedly emphasized the importance of the Albanian language as an element of identity for the diaspora. What are the main challenges today in preserving it?

The main challenge remains institutional organization and stronger cooperation between the home countries and the diaspora. Albania and Kosovo need more structured strategies to support Albanian-language education abroad. Preserving the language and tradition requires the joint effort of families, cultural associations, and state institutions. The diaspora is the artery connecting Albanians to the homeland, and we must invest in keeping this connection alive. History has proven this through various stages.

The “Lugina e Preshevës” Humanitarian Association is very active. Which project has been the most significant?

Among the association’s most meaningful projects are the publication of its comprehensive monograph and commemorative events for martyrs, which have preserved historical memory and national identity. Lugina e Preshevës deserves greater support economically, culturally, and diplomatically.

What role did Professor Sadete Presheva play in your personal and intellectual development?

Professor Sadete Presheva has been fundamental in my intellectual and creative development, alongside my mother Xhevahire, whom I feel close to even though she is not physically present. Her inspiration and dedication to knowledge continue to guide me in every cultural and creative endeavor.

How can the connection between young Albanians abroad and their cultural roots be strengthened?

This connection is strengthened through education, cultural institutions, and youth projects. My parents, Xhelali and Xhevahire, educated me never to forget my homeland and to pass it on from generation to generation. More cultural centers, libraries, and educational programs should be created to connect young people with Albanian history and tradition. The role of parents and the community is as crucial as the support from home countries to ensure a strong national identity. In Prishtina, we need a diaspora museum, which I have proposed, but unfortunately, there is no positive news yet—but I will not stop. I am not about noise, but about work and perseverance.

On February 5, you received the title of Ambassador of Peace and Free Speech in Italy. What does this mission mean to you today?

This title represents a great honor and a moral responsibility to continue promoting peace, dialogue, and free speech internationally. It motivates me to work even more in the service of culture, the community, and connecting Albanians with their homeland.

The Diaspora Library project is very ambitious. What stage is it at, and what impact is it expected to have?

The project is in development and aims to create a cultural and academic center for Albanians in the diaspora, where Albanian publications will be preserved and academic activities conducted. We need an Albanian university in Switzerland, and we are continuously working on this within the framework of the Swiss Scientific Institute for Southeastern Europe. The library is expected to have a significant impact in preserving cultural identity and strengthening the connection of younger generations with the language, tradition, and homeland.

How can your personal experience inspire young people to engage in culture and peace?

The best example is concrete work and dedication. Young people need to understand that engagement in culture, peace, and society begins with personal and family initiative, preserving language and traditions, and respecting one’s country and homeland. This engagement forms the foundation of community strength and our national identity.

Biography of Ph.D. Dashnim Hebibi

Ph.D. Dashnim Hebibi is a political science doctor, journalist, poet, publicist, moderator, and Albanian activist from Presheva, born on June 12, 1976, in Vranje, a historic Albanian town near Presheva. He grew up in an environment where national culture and tradition were a daily part of life, shaping his passion for the Albanian language, history, and identity from an early age.

From childhood, Hebibi stood out for his cultural and social engagement. As a high school student, he organized cultural and social activities for his community, promoting national values and the connection with the traditions of Albanians from the Presheva, Medvegjë, and Bujanoc regions. After completing primary and secondary education, he pursued higher studies at the Faculty of Journalism in Tirana (1995–1999). During this period, he wrote for various Albanian and international media, gaining extensive journalistic experience and building professional connections with prominent political and cultural figures.

He later completed postgraduate studies at the Diplomatic Academy and in Crisis Management in Tirana, finishing a Master’s in Diplomacy in 2011 at UEJL, Tetova. He also attended the International Academy of Criminology under Avi Bleier in Tel Aviv, Israel, specializing in security studies, crisis management, and international risk analysis.

In journalism, Hebibi has worked as diaspora editor at “Bota Sot,” correspondent for the Macedonian Television in Albanian, director of the Albanian Media Center, and editor-in-chief of media projects such as SAM24.info, AMC Press daily newspaper, Kosova e Re weekly, Plisi magazine, Dialogplus magazine, and currently leads the media center helveticALforum.ch. He is an Ambassador of Peace, has several scientific publications, and has organized numerous diaspora events. He serves as president of the “Lugina e Preshevës” Humanitarian Association and is recognized as the diaspora ambassador for Presheva, Bujanoc, and Medvegjë. He has authored over 30 literary and scholarly works and has conducted interviews with prominent Albanian and international political and cultural figures.

Hebibi is the founder and director of the Swiss Scientific Institute for Southeastern Europe, headquartered in Switzerland, promoting research, education, and the preservation of Albanian language and traditions abroad. He initiated the first Albanian library project in Switzerland (Zurich, 2002), creating a center for Albanian literature and culture, and has supported media, cultural, and educational projects for the Albanian diaspora in Switzerland.

In April 2011, Hebibi was nominated Ambassador for Peace by the Universal Peace Federation (UPF) in Italy, with special status in the UN Economic and Social Council.

He has been active in humanitarian and cultural fields, contributing to the preservation of national heritage and strengthening the diaspora’s connection with the homeland. He is married to Naime and has three children: Dea, Eda, and Adi. Hebibi lives in Switzerland, dedicating his life to preserving the Albanian language, national traditions, and identity in the diaspora while maintaining his friendship with Switzerland, which he considers his second homeland.

Several reprints and manuscripts including poetry, studies, and monographs on Albanian culture and diaspora.

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Angela Kosta is the Executive Director of the Magazines: MIRIADE, NUANCES ON THE PANORAMIC CANVAS, BRIDGES OF LITERATURE, journalist, poet, essayist, publisher, literary critic, editor, translator, promoter

The post Preserving Heritage: Albanians in the Diaspora first appeared on Sindh Courier.

By Jakhongir NOMOZOV

– When speaking about childhood, a person dives into an ocean of both joy and sorrowful memories. When you recall your childhood years, what feelings awaken in your heart first?

— My childhood memories always tune me to fragile notes. Whenever I recall them, I return to the carefree, beautiful days when my father was still alive. Back then, little Aysel would show her very first poem to her father, and his kind words would light a small spark of creativity in her heart… I become a child again, and my father gently strokes my hair with eyes full of love… In this flow of emotions, I find myself gazing both into my past and into my own soul.

– There is a delicate silence and a deep emotional wave in your poetry. Where does this silence come from — childhood memories or the turbulence of life?

— Some of these feelings come from the fragility of childhood memories, while others were born while rowing against life in the stormy sea of existence, fighting to survive.

– Every poet carries an invisible flame within. Who ignited that fire in you for the first time — what event or which feeling?

— The first torch of poetry within me was lit by my late father. From my earliest years, he took pride in my poems, encouraged me, became my first reader, and always stood behind me… I believe it is a unique happiness for a girl to love her father also as her very first reader.

– “Paper planes” — does this symbol represent the purity of childhood or the human need to let dreams fly?

— In fact, the origin of “paper planes” is different. Because I lived far away for many years and waited for someone from afar, my life passed through airports filled with longing… In one of my poems, I wrote about how my son, waiting for his father, made paper planes and flew them across the room, turning our home into an airport… That is where the expression “paper planes” was born.

– Truth and beauty — how do these two concepts merge in your poetic worldview?

— Although truth may sometimes appear ugly to people, in my world it is a form of beauty itself…

Beauty always changes depending on one’s perspective. What matters is the ability to see beautifully. Sometimes a person can feel happiness even in sorrow, can live through pain beautifully, and carry it with dignity.

– In the modern world, a woman is simultaneously a creator, a mother, and a leader. How do you maintain the delicate balance between these roles?

— I try to maintain it as best as I can. A woman is created so strong and perfect that she can carry the highest emotions of the world with immense love and patience. I am happy that I am both a mother and someone who can express her feelings through writing.

– You also lead the Women’s Wing of the Civil Solidarity Party. When literature and social activity intersect, what tones collide within your soul?

— The founder of the Civil Solidarity Party is himself a People’s Poet — Sabir Rustamkhanli, a master who gifted priceless works to literature. I believe literature itself is already a form of social activity…

Even the strongest conflicts have often been resolved with a single word. My soul stands in harmony with both my words and my actions; it befriends them, loves both its work and its word.

– There are wars, hunger, and injustices in the world. What should a poet do in the face of such pain — remain silent or turn the pen into a sword?

— Even if a poet wants to remain silent, they cannot. Poets feel those pains and emotions as if they have lived them themselves. That is why the countless states of the world have always been transformed into poetry, words, and verses — and will continue to be.

– In your opinion, is modern literature a remedy for society’s spiritual wounds, or merely consolation?

— I believe literature is neither consolation nor a remedy. Literature is the verbal expression of feelings that thousands of people cannot articulate. Literature is the image of emotions, the artistic tones of life. When we are alone with ourselves, it makes us think, sometimes awakens us from heedless sleep, and sometimes gives the human soul the strength to fight. Literature is the nourishment of our spiritual world.

– Time changes, technology dominates the human soul. Do you think the value of words still remains in this century?

— As long as humans exist, words will exist, and their value will remain. Sometimes a word becomes healing and hope in a sick heart; sometimes it becomes life itself.

There is nothing a word cannot do… Just as with a single word — “dear” — a person is ready to sacrifice their life for the one they love.

– They say a person must find the meaning of their life. Where do you see the meaning of life?

— Giving meaning to life depends on the individual. When a person sees what they value in the place they desire, life becomes beautiful in their eyes. For a creative person, the meaning of life is to live, to create, and not to grow tired of struggle.

– What inspires you most or causes you concern in today’s literary environment?

— The emergence of many talented young writers today inspires me greatly. What concerns me are those who devalue words, who seek so-called fame for the sake of publicity and ratings, or who force themselves into being poets or writers. But then I think to myself: time and the scales of literature will weigh every line and every verse; meaningless things that exhaust the agenda will be sifted out and filtered away.

Leaving everything to time is the wisest choice.

– Is there a distance between today’s reader and the poet, or do souls still hear one another?

— Where there is spiritual kinship, there is no distance. A true reader and one who understands words will feel, sense, and comprehend them anywhere.

Read: Silence, Wind, Shadows Aligned

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Jakhongir NOMOZOV, is a young poet and journalist from Uzbekistan. He is also a Member of the Union of Journalists of Azerbaijan and the World Young Turkic Writers Union.

The post Childhood memories tune me to fragile notes first appeared on Sindh Courier.