Poetic Research in Modern Story-Writing
Umida Rasulova
Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan
Keywords: Genre, Story, Poetics, Composition, Text, Image, Expression, Symbol.
Abstract: In the process of writing fiction, significant changes in the poetics of prose works have been observed.
Authentic material, accurate and intriguing facts broaden the potential for an objective interpretation of an
individual's destiny. Despite the genre's brevity, the writer's skills can effectively portray events and construct
a succinct yet powerful image. Abdullah Kahhor, Gafur Gulom, Said Akhmed, Adil Yakubov, and Shukur
Kholmirzaev have all contributed significantly to the development of the genre. The composition and structure
of the stories created are unique. In the stories of writers such as Khurshid Dustmukhammad, Khairiddin
Sultanov, Murad Muhammad Doust, Erkin Augam, Nazar Eshonkul, Isajon Sultan, Abdukayum Yuldoshev,
Sobir Unar, and Nurillah Raufon, everyday ethics, a fusion of divine religions, and aesthetic views can be
observed. The stories depict a representation of the social environment of life, rooted in oriental education,
occasionally employing symbolism, and presenting a certain sternness in the portrayal of events. Attention to
the essence of the works will provide a foundation for understanding the genre. A story with a rich history
has undergone a significant journey of formation and growth during this period. The genre has seen the
creation of its own school of depiction, craftsmanship, and, most importantly, the Uzbek narrative has
ascended to a level that constitutes a significant and integral page of world history. Although the narrative, as
a genre, is considered relatively small and compact, observations on the author's artistic thought process
enable us to draw generalised conclusions about all national literature, even on the scale and breadth of a
specific national artistic thought process.
1 INTRODUCTION
In prosaic works, attention is heightened towards the
depiction of social phenomena, a comprehensive
portrayal of human character, the popularisation of
environment, and worldviews. The philosophical
underpinning of the narrative, saturated with the
foundation of plot events, does not escape the reader.
The ideal arrangement of artistic components
enriches the poetics of the work. The story's title is
"The Man with the Monkey," or "Poincaré."
Comprehending the narrative's essence commences
with its title. The author, through the title, attempts to
communicate to the reader the topic addressed in the
work, the portrayed surroundings, emotions, and
viewpoints, initiating a dialogue between them. The
author, owing to a sense of responsibility and reason,
understands his works.
*
Corresponding author
Said Ahmad produced stories during the period of
independence. His stories written during this period
reflect the events he witnessed through the prism of
his heart. In particular, the composition of the story
"Oftoboyim" (My Sun) encapsulates the loyalty to
one's country, homeland. The mystery in the title
piques the reader's interest, activating the engagement
process, and prompts understanding the meaning of
the words "oftob," "oy." The philosophy of people
from the land of the rising sun Japan in terms of
the Motherland, vividly reflects the essence of the
work. The author, sentenced to prison in the middle
of the last century, engraves moral, aesthetic norms
inherent in every nation onto the canvas of a fiction
story. While analysing the story, one can observe the
civic attitudes of the Japanese nation towards their
homeland, a disdain for betrayal, hard work, and
willingness to aid those in need. The kamikaze's fear
of returning to the homeland and his subsequent
suicide heightens the story's climax. The disruption of
the moral canon by a group of geishas, lovers of
428
Rasulova, U.
Poetic Research in Modern Story-Writing.
DOI: 10.5220/0012489900003792
Paper published under CC license (CC BY-NC-ND 4.0)
In Proceedings of the 1st Pamir Transboundary Conference for Sustainable Societies (PAMIR 2023), pages 428-433
ISBN: 978-989-758-687-3
Proceedings Copyright © 2024 by SCITEPRESS Science and Technology Publications, Lda.
beauty, incites contemplation about the situation of a
woman (mother) who must spend the last years of her
life in solitude. This story captivated both Uzbek and
Japanese readers with its striking depiction of events
reflecting unexpected twists of fate, duty, trust, and
loyalty.
Such stories by Said Ahmad as "Sarab" and by Adil
Yakubov as "Icebreaker" clearly manifest a unity in
response to the oppression endured by the
intellectuals due to the former system. In fiction, the
evolving narrative of fathers and children is
complemented by simplicity, naivety, betrayal, talent.
The consequences of childhood acts in these stories
are ambivalent, and in the work "Muzqaymoq (Ice
Cream)" the ease of its burden is revealed. However,
due to the work of ideological spies in the story
"Sarab," his betrayal of his father, Kimsan's nation
(the name “Kimsan” symbolically means “Who are
you?”) not only tarnishes the lofty feeling, but it also
destroys a child's moral duty towards his father. The
story's climax is seen in the dying wish of the
convicted Kimsan to remove the image of the leader
from his chest. Thus, the conquest of an individual's
identity and pride expels him from the honour of
humanity and forces him into spending his final days
in solitude.
Literary critic B. Karimov notes, "Awareness, the
feeling of features characterising the nature of the
writer, arise through the understanding of the social
and family environment, spiritual, moral, and
ideological world in which the writer lives"
(Karimov. B. 2016).
The epigraph of Nazar Eshonkul's short story
"Qultoy" (Little Servant) contains a small extract
from the epigraph of Alpomish. In these four verses,
the words of prayer, the closest person - a father's
words - are heard against the backdrop of a thorough
understanding of many motives of the work. The
events in the story are based on a retrospective plot.
As is known, a lie is a negative trait, and it
complicates a person's life. In particular, a woman's
lie told to her husband within the family leads to great
sufferings. The birth of daughters in the family of
Rajab and the Administrator incites conflicts. The
shepherd husband's anger and indifference cause
distress to his wife.
Different categories of people exist in society, and
some exploit the frailty of individuals with
disabilities. The pregnancy of the director's mentally
unwell and vulnerable sister posed a problem for her
father and her family. To conceal this indiscretion, the
father decided to give the unborn child to his married
daughter. When the time came, the daughter went to
her parents' house and returned with the baby, saying,
"One of our relatives died in childbirth, and I was
given the baby to raise as it was still breastfed. This
is now our child, Dad." Her lie set a sequence of
events into motion. The fact that a week later,
Arzihol's sister was returned to her father's house with
all her belongings propels the game of fate. The
adopted son, Uljon, grows up calling the shepherd his
father and the director his mother, effectively
imitating their mannerisms, gestures, habits, and way
of life.
Understandably, everyone in the family treats Arzihol
poorly due to her incompetence in domestic chores.
The shepherd often beats her, her sister hurls abuses,
and she ultimately becomes the servant to the children
in the family. When the director woman was dying,
she heard her sister expressing readiness to die,
revealing a shared feminine trait. After the death of
his wife, the shepherd's and his son's animosity
towards Arzihol intensifies. After years, the shepherd
passes away, and Uljon becomes the head of the
family.
Following the young man's marriage, his conflict with
his wife escalates, and the daughter-in-law's return to
her parents' home further compounds the problem. In
the narrative where Arzihol saves Uljan from
violence, a subtle situation related to the loss of the
sense of smell is discerning. As she throws herself
onto him to shield Uljan from being punched, she
detects a familiar scent, but that memory fades soon
after. In this conflict, Arzihol stops Uljan from taking
the rifle and becoming a murderer. Regrettably, for
this act of kindness, she earns a curse. Uljan says,
"Inagar, cripple. Instead, I'll kill you."
Arzihol resides in an old warehouse, and she is worn
out from serving Uljan, his wife, and their children.
The news of the death of Salom Chavandoz, who
defiled Arzihol in her youth and was killed by
Baithal's bullet, underscores that sin will not go
unpunished. In her advanced years, elderly Arzihol
spends her days in the sunless, cold warehouse,
evoking a sense of profound sorrow. On a frigid
winter day, the old woman passes away.
Uljan says, "This cripple's death is as troublesome as
she was." He has no choice but to publicly
commemorate the old woman. The reader can sense
his difficulty in shedding tears and uttering the word
Poetic Research in Modern Story-Writing
429
"aunt" in reference to her death. The story's climax
refers to the moment when an old man tells Uljan,
"Call her 'mother,' my boy. Call her 'mother'." The
story's main semiotic pivot occurs when the old man
informs Uljan, "Arzihol was your biological mother,
my son. After Salom the horseman violated her, we
gave you to Rohat. You were indeed breastfed by
Arzihol herself, my son…" (Eshonqul, 2004, 58) The
torment of conscience does not let him live in peace,
and the detail of the stick, a vestige of the past,
reminds him of certain sins.
The opening inscription of the work allows us to
reflect on the intersection of paternal influence and
the words of prayer with reality. Motivated by
concern for his family's reputation, the father coerces
his daughter, the director, into deceit. This, coupled
with the actions of the licentious Salom-chavandoz,
plunges the life of a disabled girl into despair and
breeds unhappiness in the life of an illegitimate son.
Both Rajab-chavanduz, who manifest fatherhood
through violence and cruelty, and Uljan, who inherits
this violent temper, exhibit wavering faith, evidenced
in their prayer filled with doubts. The portrayal of
Arzihol as a mother, unable to pray for her child's
happiness, is an unusual narrative device; in this
context, the author effectively employs antonomasia.
Rejected by all, Arzihol, a woman with a physical
disability, is exploited for her labour, humiliated, and
subjected to lifelong suffering by her son, Uljan. The
narrative suggests that a generation bereft of their
parents' prayers tends to evolve into violent, cold-
hearted individuals facing chaotic lives.
The narrative, "Yolgizim-siz" (You're my only one),
penned by Khurshid Dustmukhamed, is built on the
author's perspective on human life. It provides a
glimpse into the psyche of Fyodor Dostoevsky,
renowned globally for his distinctive voice and style,
offering insights into the moments of joy in this
esteemed author's challenging life. Daily
preoccupations of the writer, who advanced universal
human ideas, and the cultivation of 'tahayul' in them,
contribute to the evolution of the plot and the
depiction of complex events. The author's captivating
language and strength draw young Anna towards
Dostoevsky's unique talent, profound intellect, and
intricate mind. It becomes apparent that Dostoevsky,
who found life's essence in art, along with the writer's
innocence, honesty, and risk-taking disposition, lent
her resilience and vigour in trying times. By
recreating the persona of Fyodor Dostoevsky in his
narrative, Khurshid Dustmukhammed acquaints
readers with this author's extraordinary talent.
Often, authors intentionally utilise epigraphs at the
outset of their stories. An epigraph can offer readers
insight into the author's artistic intent. From the
epigraph of Isajan Sultan's "Qismat" (Fate), readers
can infer the story's conclusion. The epigraph asserts,
"If you throw a stick at your fatherhood, your child
may one day throw a stone at you". This suggests that
all actions, whether benevolent or malicious, entail
corresponding outcomes and repercussions. The
logical substantiation of the event illustrated in the
work's poetics aids in elucidating the ultimate point in
interpersonal relationships.
The distinctiveness of an author's work concurrently
determines the particularities of the creative process.
Each author has a unique creative process. For
instance, the narratives by Zulfiya Qurolboyqizi
present the images of a mother, beloved, young
woman, and aim to vividly portray challenges
encountered in the market economy. The author seeks
to explore the lives of affluent individuals from
diverse, often contrasting angles. In "Boyvuchcha",
the author discusses individuals whose luxurious
lives are financed by ill-gotten wealth, which
ultimately leads to their downfall. The spiritual
paucity of the parents adversely affects their
children's happiness. The mother, unable to bear the
death of her violated daughter, her son's drug
addiction, and her wealthy husband's betrayal,
eventually succumbs to insanity. The narrative
depicts the daily lifestyles of people from disparate
social classes. Through the dialogue between a
wealthy lady and a servant, the author conveys his
thoughts about aspirations and satisfaction, honesty
and evil, thereby heightening the narrative tension.
Using the illustration of a family's disintegration, the
author warns readers about the potential misfortunes
stemming from an overdependence on wealth,
deterring them from embarking on such a hazardous
path.
2 LITERATURE
Nurilla Chori's narrative "Kyzgaldak" (Poppy)
mirrors the archetypal traits associated with the
maternal figure. Turdihol, a widow, takes immense
pride in her son and considers her daughter as her
honour. The daughter, Tulg‘anay, whose beauty
aligns with the literal translation of her name - the full
moon, acts as a catalyst in the progression of the
narrative. The mother, despite her initial reluctance,
consents to her daughter's marriage to Eshpuldalla’s
son. To hint at the character of Sapar Ugil, the author
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creatively employs the aphorism, "A clever man's
offspring will be affluent by the age of seven, whereas
the progeny of an incapable man will remain
impoverished even at seventy”. The incident where
the son, discontented with his mother's choice, curses
Eshpul dallal and Mashi Maschara forebodes
potential melancholic events.
The plot incorporates the metaphor, "The night when
the Moon and the stars are veiled by clouds turns
dark”, representing the unfortunate destiny of pride.
Maschara's malevolent act, which brings misery to
the life of the innocent girl, is symbolically depicted
through the tale of a poppy. Folkloric elements like
sayings and tales are seamlessly incorporated into the
story. By showcasing Turdihol’s reliance on mullahs,
fortune tellers, and matchmakers, the author critiques
societal superstitions. The vanishing of the poppy,
and its rescue from an evil world, elicits sorrow in the
mother: "The woman, older than time itself,
anticipated warmth from winter, a poppy from spring,
and the return of her daughter with the blossoming of
poppies." The narrative assigns a symbolic
connotation to the poppy, drawing a parallel between
its early withering and the fate of young women.
Muyassar Tilovova's "Nomus" foregrounds a social
issue against a backdrop of child discord. Bunyod’s
hubris and aggression provoke distress among his
contemporaries. Shodman, a poor yet proud boy, aids
his mother, Mehriopa, a cleaner by profession.
Assuming the family's breadwinner role early in life,
Shodman matures prematurely. He has myriad
ambitions, but regards assisting his mother as his
principal duty. Bunyod's insults and mistreatment of
children like Laziz and Botir underscore the triumph
of evil over good. A significant event occurs when a
young man exhibits his violence towards a sober
farrow woman. Two individuals, disparate in power,
engage in a conflict for pride, with Shodman, the
weaker of the two, standing up to the bully, Bunyod.
This can be perceived as an artistic representation of
overcoming the devil's hearse, an embodiment of will
and trust in a child's spirit. Through his personal
volition, the child convinces his friends of the
feasibility of conquering and vanquishing ignorance.
The narrative argues that a person's belief in his
honour and reputation, and the fact of his existence,
can empower him to demonstrate his freedom and
assist him in confrontations. To lead a fulfilling life,
one must embrace goodness and reject evil.
Kholiyor Safarov's "Night when the Moon does not
set" tackles a pressing issue. The author illustrates the
tragedy of a rural individual who migrates to Russia
for labour-intensive work. Opportunists like Salim
exploit their peers and fellow villagers for manual
labour, profiting from this practice. Such incidents are
becoming commonplace in our society. Simple,
credulous individuals are ensnared in this trap and
fail. The story includes the poignant depiction: "The
mother crying for assistance slippers out of the
mother's body, descends from the mount into the
river, pleadingly touches the slopes of the hill and is
swept away by the evening breeze." These words
evoke the agony of Gulshan opa. The sorrowful gaze
of the father and the despairing mother underscore the
bleakness of the situation. Ultimately, the return of
their son, Bakhtiyor, to their homeland, transforms
their night into day and instils life back into the
family.
3 DISCUSSIONS
Artistic minutiae in various narratives, exemplified
by the work "You can't hold back the wind",
underscore their unique roles. These stories often
employ natural occurrences as metaphors to signify
distinct characteristics of human destiny or to embody
core values and principles. Symbolic importance is
attributed to depictions of natural phenomena,
fostering an appreciation for the nuanced
interpretation of the narratives. Rather than merely
providing an ancillary medium to elucidate the
protagonist's psyche, the portrayal of nature serves to
further the narrative's creative aims. Natural events
invite readers to interpret the significance of human
existence and reality. Detailed attention is given to the
narrative's scope, taking regulatory modifications into
consideration (Karimov 2016).
The story "Wooden Cavush" (a type of footwear worn
by impoverished villagers) centres on the aspiration
of a Chinese rice farmer from a lower societal tier.
Society's affluent, aristocratic lifestyle is discerned
through the experiences of the less fortunate. The
father's action of crafting wooden shoes for his
daughter enhances the significance of details in the
narrative. The farmer, hoping for a brighter future for
his daughter, insists that she would continue wearing
these wooden shoes as she grows up (Ahmad 2005).
The extreme discomfort resulting from wearing the
wooden shoes silences her objections. The father's
desire to marry his daughter off to a wealthy lord
confounds the reader's understanding of his
intentions. The rich man's refusal to accept the
beautiful daughter as an equal shatters the
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impoverished father's hopes. The scene in which the
father, regretting his aspirations for his daughter's
affluent life devoid of hardship, departs in shame,
induces sorrow in the readers.
Details illuminate the depicted event, unveiling
contrasts between passion and dreams, and physical
pain. The diminutive wooden shoes constrain the
child's freedom, and her belated realisation that it was
merely a fantasy results in disappointment towards
her father. The detail serves a specific function,
offering a vivid portrayal of reality and the
protagonist's emotions(Sulton 2015).
Kochkor Norkobil's story "Tulip in winter" employs
symbolism to unify individuals from three different
regions under a singular theme. These individuals,
Uzbeks, Russians, and Afghans, strive to retain their
humanity amidst the Afghan war. The narrative,
through the hardships recollected in memories,
highlights the separation induced by the war. The
burgeoning affection between Askar Tohir and Dr
Irina amidst an environment of ignorance is
discernible in their desire to console distressed hearts.
The story's semantic depth is apparent in scenes
depicting their assistance to the wounded husband
and the woman cradling her infant(Salim 2019).
Years later, during peacetime, when Irina travels from
Moscow to Tashkent seeking Tohir, the protagonist's
lives are revealed. Irina's letter and photograph are
details contributing towards the elucidation and
augmentation of the author's perspective. An Afghan
woman, Shafika, residing in London, expresses her
gratitude towards the soldier and the doctor by
inscribing the photograph of her son. Winter and tulip
carry dual connotations, representing Irina who
assisted the soldiers and those liberated from the war's
deception and darkness, akin to the cold of "winter".
They experience the warmth of spring and, like
"tulips", bloom and lead content lives. The narrative
urges everyone to cherish a peaceful, tranquil life and
cultivate universal human virtues.
In recent years, Uzbek story writing has undergone a
rejuvenation and transformation. As it is known, the
evolution of a specific literary trend is not arbitrary,
rather it originates from alterations in a writer's
thought process. Such changes engender novel
perspectives. Naturally, the outcome of this fresh
thinking is creativity, teeming with nuanced and
comprehensive descriptions (Karimov 2021).
In contemporary narratives, a distinct principle is
discernible, mainly, the potent influence of lyricism
in storytelling. These stories are imbued with such
intense feelings and emotions that readers are
reluctant to part with the enchanting world that they
inhabit, resulting in a sense of melancholy when they
close the book. Consequently, they are compelled to
revisit these stories, and during subsequent readings,
the essence underlying this captivating world, both in
terms of the soul and the stream of inexpressible
thoughts, becomes evident. Stories such as "The
Garden of Eram," and "Oydin bulak" present varied,
vivid landscapes. Concurrently, the effect achieved
through the application of artistic creativity
components is apparent (Karimov 2021).
4 CONCLUSION
Scholarly investigations in the realm of artistic
creativity, coupled with the productive employment
of classical traditions and folklore, are yielding fruit.
Recent history has seen Uzbek literature enriched by
examples of prosaic works that fulfil the scientific
and theoretical requisites of global literary criticism.
These works' poetics feature characters of various
ages, occupations, and worldviews, including
children, adults, labourers, professionals, the
mentally disturbed, nameless heroes, and the
unlettered. It's vital that the work adheres to the
principle of thoroughly representing the essence of
the human character and understanding human
attributes.
Specifically, during the era of independence, there
was heightened attention towards the artistic
interpretation of a protagonist's subconscious thought
process. The reward for enabling readers to empathise
with the pains and emotions of the characters has
amplified. In the current literary landscape, each
piece of work created imbues the reader with a
profound comprehension of its essence and an
awareness of the philosophical aesthetic layer. A
scrutiny of the text reveals novel elements in story-
writing and methodological uniqueness.
Simultaneously, the progression of the genre is not
compromised. The transformations in the structure of
contemporary Uzbek stories are also directly
reflected in analytical interpretations.
The influence of spiritual rejuvenation is discernible
in the comprehension of people's identity, national
dignity, pride in our generation's and ancestors' past,
and the recognition that the future lies in their hands,
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stemming from arduous work and conscious activity.
The present objective is to aid in augmenting the
nation's spiritual and intellectual potential and
advancing the intellectual and spiritual culture of
people. The world, alongside beauty, maintains
spirituality and virtue. To grasp the subtlety of an
artistic text's meaning, it is critical to study the nature
of modern story-writing.
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