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Illustration: AI Since the French philosopher Henri Bergson introduced his conception of memory as a living duration in which temporal layers interpenetrate within human consciousness, memory has no longer been understood as a mere reservoir of past images; it has come to be seen as a dynamic temporal fabric that permeates the present and continuously reshapes it. Bergson distinguished between mechanical memory, linked to habit, and pure memory, rooted in the depth of lived experience, where a moment is not retrieved as it was, but reawakened in a new form within the context of the present. This philosophical framework provides a crucial entry point into the contemporary dilemma we face in the age of generative artificial intelligence. The issue is no longer limited to expanding storage capacity or accelerating retrieval, but concerns a transformation in the very nature of memory itself, a shift from lived trace to generative model. Since the French philosopher Henri Bergson introduced his conception of memory as a living duration in which temporal layers interpenetrate within human consciousness, memory has no longer been understood as a mere reservoir of past images; it has come to be seen as a dynamic temporal fabric that permeates the present and continuously reshapes it. Bergson distinguished between mechanical memory, linked to habit, and pure memory, rooted in the depth of lived experience, where a moment is not retrieved as it was, but reawakened in a new form within the context of the present. This philosophical framework provides a crucial entry point into the contemporary dilemma we face in the age of generative artificial intelligence. The issue is no longer limited to expanding storage capacity or accelerating retrieval, but concerns a transformation in the very nature of memory itself, a shift from lived trace to generative model. Within the current digital landscape, memory is no longer solely an organic function embedded in the human brain. It has become part of a vast algorithmic system capable of analyzing data, detecting patterns, and producing plausible configurations of what may be interpreted as “the past.” Here a fundamental question arises: when memory shifts from retrieval to suggestion, from an imprint rooted in bodily experience to a probabilistic structure open to recomposition, does its meaning remain intact? Or are we facing a profound displacement affecting the structure of perception and identity alike? Analog memory, in its anthropological sense, has always been tied to the body and to lived time. It emerged from sensation, was anchored in emotion, and took shape through language as an extension of experience. Human beings do not remember in a neutral manner; they reorganize the past according to the conditions of the present. Feelings intertwine with details, and events are reconstructed within a singular subjective framework. Memory was never an exact replica of what occurred; it was a living reconfiguration in which forgetting interacted with preservation, and absence played a role as decisive as presence. With the rise of cloud computing and generative systems, a new phase has emerged that surpasses the earlier notion of digital storage. In the initial stages of digitization, data were converted into binary code, preserved electronically, and retrieved with precision. Generative artificial intelligence, however, does not merely recover stored material; it produces new content derived from prior patterns and offers persuasive possibilities that may lack any lived origin. Memory thus becomes a probabilistic space capable of generating images, texts, or voices that resemble the past without extending from a specific experience. This shift leads to the erosion of memory’s analog character, meaning the weakening of the direct bond between experience and its imprint. In the bodily model, recollection was linked to neural interconnections formed through lived events and shaped by sensory and emotional factors. In the generative model, memory transforms into a network of mathematical probabilities, constructed through the analysis of vast datasets and reorganized according to statistical weighting. The distinction between the two models exceeds differences in tools; it concerns the nature of the relationship between the self and its past. From an anthropological perspective, memory has long functioned as a foundation of collective identity. Rituals, narratives, myths, and oral archives ensured communal continuity across time. Memory operated as a social practice, retold and reformulated within a specific cultural context. Today, algorithms participate in shaping this memory, proposing to individuals what they might remember through intelligent archives and digital reminders that reorganize the past according to technical logic. Time becomes material for rearrangement rather than a linear extension of lived existence. This transformation appears clearly in the phenomenon of “suggested memories,” where digital platforms display images or events from previous years, summoning the past at a designated moment. This recall does not arise from inner desire; it is prompted by an algorithm selecting what it deems suitable. The center of agency shifts from the individual to the system. One receives one’s past ready-made, reordered, framed within a visual or textual context that subtly redirects its meaning. Another prominent sign of analog erosion is the expansion of archiving. Everything is documented, preserved, republished. The paradox is that excessive preservation may diminish value. A moment loses its uniqueness when absorbed into an endless stream of data. Memory once depended on selective emphasis; it now confronts an abundance that unsettles meaning. When every event becomes recordable, the distance that once granted certain moments their significance begins to fade. The impact deepens at the level of the self. In the analog framework, the self emerged through the accumulation and interpretation of experience. Remembering functioned as a reflective act, enabling renewed understanding of the past. Within the generative environment, the self engages with multiple versions of its own representation. Texts can be produced expressing emotions never lived, images can simulate events that never occurred, and voices can imitate specific tones. This multiplicity may contribute to a fragmentation of identity, where original experience merges with generated representation. The essential difference lies in reference. Analog memory rests upon a bodily and temporal origin, even when reshaped. Generated memory relies on patterns and data and can produce convincing effects without attachment to a specific event. This displacement raises profound questions concerning truth itself. If a persuasive narrative of an event that never happened can be generated, how can one distinguish between what was lived and what was suggested? This does not imply that technology eradicates human memory; it reshapes the conditions under which memory operates. Artificial intelligence may be understood as an extension of human imaginative capacity, distinguished by scale, speed, and analytical depth. Yet such extension carries the risk of normalizing generation, rendering produced content self-evident and obscuring the question of origin. When critical awareness diminishes, the capacity to discern experience from representation weakens. Within this context, intellectual and ethical resistance becomes necessary. Resistance entails reframing the relationship with technology rather than rejecting it. It involves restoring slowness in an era of acceleration, prioritizing direct experience, and cultivating awareness of generative mechanisms. The body, with its sensations and limits, remains a primary reference that cannot be entirely replicated. The experience of pain, joy, or awe belongs to living presence and cannot be reduced to algorithmic processing. Writing represents one form of such resistance. Through writing, an individual reconnects language to personal experience and inscribes memory with a distinct imprint. In an age of generation, writing becomes a contemplative act that preserves the link between word and body. The aim is not solely the production of unique texts, but the reaffirmation of the bond between the self and its lived past. The future of memory remains an open question. Generative systems may evolve to a point where the boundaries between remembering and producing grow increasingly indistinct. Nevertheless, human beings retain the ability to sustain critical distance, enabling engagement with technology without surrendering their grounding. Analog memory may recede in visible prominence, yet it persists in art, in embodied encounter, and in experiences that resist reduction to data. The erosion of the analog does not signify the end of human memory. It indicates a transformation in its structure and function. We inhabit a transitional moment in which modes of memory overlap, the bodily and the digital coexist, and origin and possibility confront one another. The central challenge lies in recognizing this shift, interrogating it thoughtfully, and preserving the distance that prevents complete absorption into the logic of generation. Memory remains an existential act exceeding its cognitive dimension. It is the means through which a person understands oneself and grants life coherence and meaning. Media may change, tools may advance, and intelligent systems may expand in capability, yet the question of who holds the past and who defines its meaning endures as a fundamentally human concern. It calls for sustained intellectual vigilance and reminds us that lived reality cannot be measured solely by what can be generated, but by what is experienced within the depth of living consciousness. Lebanese-Brazilian poet and translator Taghrid Bou Merhi

Poets, writers, and lovers of the written word are warmly invited to take part in a unique international artistic initiative that brings together poetry, memory, and collective expression. The project, “Building Peace”, is conceived by Italian artist Marco Nereo Rotelli in collaboration with the Piccolo Museo della Poesia Oratorio di Zamberto. Known for his evocative use of light and language in public spaces, Rotelli continues his long-standing exploration of the relationship between poetry, landscape, and human experience. Set in the historically rich town of Gibellina, the project draws inspiration from a place marked by both tragedy and artistic rebirth. After the devastating 1968 Belice earthquake, Gibellina was transformed into an open-air laboratory of contemporary art. At its heart lies Burri's Cretto, a monumental land artwork by Alberto Burri. This vast white concrete structure preserves the memory of the destroyed city through a network of cracks—lines that now speak as silent witnesses of history. “Building Peace” does not seek to erase these scars. Instead, it embraces them as a language. Peace, within this vision, is not a fixed state but a continuous, conscious act—an ongoing dialogue between past and future. Poetry becomes a fleeting light that does not cover the ruins, but gently moves through them. Call for Submissions Poets from all over the world, writing in any language, are invited to submit original poems dedicated to the theme of peace. Submission guidelines: - Send your poem in Word format - Include the title (if applicable) - Add your full name (name and surname) - Email your submission to: sabrinadecanio7@gmail.com - Deadline: May 24, 2026 Selected works will become part of a powerful collective installation at Burri’s Cretto. In this space, poetry will transform the very surface of the land—cracks will turn into lines, silence into voice, and memory into presence. This international project will gather a chorus of poetic voices, where each word exists not as permanence, but as an event—alive, breathing, and shared. For poets seeking to contribute to a meaningful global dialogue through art and language, “Building Peace” offers a rare and profound opportunity. Organisational board: Sabrina De Canio Co-Director General and Director of the International Section Piccolo Museo della Poesia Oratorio di Zamberto

Illustration: AI THE TAXABLE THUMB   Taxonomy characterises homo sapiens by the shape of the hand, it does not distinguish the hominid of the Bible, the hominid of the Gospel, the hominid of the Koran; modern anatomy has made a discovery worthy of belief: the average Italian has a taxable thumb.   The exorbitant increase in rates does not mean the disappearance of taxes, no animal sexologist has ever managed to break the deadlock, if rates are lowered or increased, taxes will increase, they will be nymphomaniac rates, far from a desire to lower them.   Italy is a republic founded on taxes, from north to south, for many who would like to put things right, it would take a government Robin Hood, the average Italian is in ADE every day to measure the tax burden, when the figure reaches 50%, we'll call in the pathologist to certify the cerebral embolism.   Itaglia, the land of inventors, imposes a tax on the shade of shop awnings, the maximum of the tax wedge (taking the ass) is the municipal tax on nuclear power plants,, that, in your bill, you find an EF-EN tax on the efficiency (?) of electricity, how the fuck do they manage to convince you of the inconsistency is funny.   There's the TV tax, there's the tax on tax, unconstitutional discontent, and we discover that our rubbish, subject to VAT, has added value, the death tax, aimed at the death certificate, guys, tell me, if there had been in the times of Yeshua, Lazarus, how they would have put it.   The death tax, Holy Madonna to the Crown , to die gives the green light, fuck, the dead must resurrect and pay 35 € queuing at the Post Office, the tax on inventions does not apply to the invention of new taxes, and they accuse you of defamation if you claim to be governed by a bunch of cuckolds.   The tax on spirits, in the alcoholic sense, the tax on aircraft noise, aircraft noise? We're thinking of the tax on the mess of an Inti-Illimani concert, there's a tax on staircases, council tax on dogs, tax on telephone boxes. Fuck off, maybe we were better off with the Bourbon tax extravaganzas. COLOGNO'S AMNESIAC   I visualised the boxes hidden in your USB drive, a sort of will, you didn't have Alzheimer's yet, having asked me to go and get them for you before I wasn’t able to hear and fly.   What was there of your twenties bent over a doctoral table, anxiously looking for a permanent contract, the hopes, smiles and sacrifices of a soul in Adidas blue, aware of fighting lost battles like the tenth MAS Flotilla.   What there was of your thirty yearslost in the corridors of a warehouse, looking for alter-egos busy in sadistic hide-and-seek, the enveloped bonuses, the career, with the desire not to end up broke absorbed in not being led into the world like an autistic.   What there was of your years of collisions, between know-it-alls and lilliputians, in the Flavio amphitheatre of web-hoppers with mouths like urinals, where, to stay on the network, it's not enough to be a famous retiarius ending up on the walls of Domus Tiberiana  like Ianuarius .   To find out who you are not, you have to noscere te ipsum on a digital medium homothetically adjusting your shape with the misfortune of a fractal, it's not enough, as in Grimm, to consult the mirror of your desires: Berlusca couldn't walk on water, you weren't a carpenter at all. THEY EAT VOICES if they have white paper, the new writers who sing without a Muse, would rival Géricault in his Raft of the Medusa. Italian art has become an assault on the pot, more fulfilled in the ‘brothel’ than the members of a porn film, so in the Poetryweb the actor is confused with a stallion full of anachronistic texts fit for the cover of Le Ore. Lyrical democracy must not be a two-bit lyric, it is essential to study and it is not forbidden to go deeper, all of them now strictly improvising, equipped with a notepad, as if they should sign up for Tú sí que vales rather than culture. To write on the www we should set up an entry test, It's forbidden to touch the keyboard on pain of sudden death, not suitable for late modern art, Lucini teaches, his revolver at his head, the incurable disease of the turn of the century is called Adsl. MONA FRIDA SMILE I thought I was embarking on a life of battle bombarding the world with the QWERTY of my keyboard, righting the wrongs of late-modern society, the shadow of a valve removed from the mould of the cave. By simulating attacks by the ECB to defy Re Cecconi by having put up with the slander of web trolls like Girolimoni and capitulating to the impracticality of rebuilding after the earthquake of Italian metric art, find myself cleaning out the colophon, a new enema. Joined at the moment when you wonder what it means to study and never arrive at a Bompiani, the transmission of writing lies in the dead hand of the barons, with the feeling of inadequacy of being a Barattieri at the Adua suddenly comes the serious expression of a Chihuahua. Mona Frida smile, Mona Frida smile and life turns into Cirque du Soleil, where the animal's role is reciprocal in the anarchy of a Saturnal wag. Mona Frida smile, Mona Frida smile, you want to shout ‘Heil!’ to Berlusconi, habemus Fridam, bark loudly at St Peter's and salute the Members of Parliament by raising your hind leg. SE-POLCRI They tell me to stay calm, let it go, you don't have to crack, as for the mediocrities of the brain drain, theirs, let them go to America teach the very high American homo insipiens to write in trochaic tetrameters selling their mosaic-toned whitmania forItalian poetry style, many corpses to divide the waters of the Dead Sea, to make the Red Sea black with despair. Their heads are completely empty under their headdresses they lament the Italian tragedy of the brain drain in US universities, the brain drain from their heads, their heads, leaving only the bodies, of these new Italian-American zombies used to despising the infamous, who don't tolerate the ‘fucks’, the ‘shits’ and the cacophony, employed to reproduce in America the system of the beloved barony. They tell me to stay calm, let it go, you don't have to crack, In Italy there are still some who dress up as Morticia Addams and declaim in a hurry Gothic, Romano-Gothic, Baroque verses, and, at the age of thirty, I'm accused of as a buffoon dressed as the caretaker of the Revised Nuns' cemetery, I'm at a loss if the art of the country has become a barrack phenomenon to be read lined up on chairs between dead celebrities, arteriosclerosis patients and whores. There's no alternative but to emigrate to Mars, if we continue to have the insane desire to soil papers, I'll go ahead and invent a cacophony of aliens for myself you stay where you are, behind me, kissing my bottom, don't expect me to stop and tow you away I don't have a steady hand and I'm no good at whitewashing. IGNOTE TOMB Corpse No. 2, the shadow of the wave reflected in my right retina, hands clenched to grasp Mediterranean sands worn under red surfing bermudas. Corpse n.7, muffled screaming attempts at the pit of my stomach Marrakech hash maps in my pockets, scanty dirhams sown between my purse and trousers, led me to the mouth of the abyss. Corpse No. 12, ‘Eloi, Eloi, lemà sabactàni’, I don't remember who was shouting it to whom not being written in the Koran: I too died invoking it in vain. Corpse No. 18, retreating on the roads between the dunes of Misrata, in thirsty slalom between friendly and enemy missiles, and dying of water. Corpse No 20, although nomads, like me, sway on desert ships, detonated fluids, never will they get used to drowning. Every grave of the unknown migrant whispers that it is hard to embrace a death that comes from the sea. THE ANTI-PROMISE TO LOVE Anti-poet, victim of my anti-poetry, all I could do is dedicate to you an antpromise of love, my anti-promise of love would have the features of a synesthesia, the Stalinist hardness of steel and the softness of colour, the finesse of friendship and the consistency of love, your white eyes turn me into a hydrophobic cynic, and there's no doctor for rage, my love. An anti-promise of love to be read before a registrar, as to convince a tecno-trivial world, i've loved you since June 1976, perhaps, in truth, since April, i was an embryo and you were still immersed in the aurora borealis, for six years you would have been an angel, a ghost, the inessential of a fractal, without batting an eyelid waiting for you, six years, thirty-six years, with nothing to say, the sheep of Panurge's contemporaries would condemn me to total silence. You are my anti-promise of love, and the idea may seem imperceptible to you, i observe you sleeping, serene, like a crumb abandoned in a toaster, my love I am stripped of the role of ‘sapper’ - it is abyssal like a submarine, condemned to scatter torpedoes under the (false) guise of a dogfish.

In a literary landscape that continuously seeks meaningful dialogue across cultures, the Premio Accademico Internazionale di Letteratura Contemporanea “Lucius Annaeus Seneca” returns with its tenth edition—marking a decade of shared words, ideas, and creative expression. Organized by the Accademia delle Arti e delle Scienze Filosofiche, this prestigious international award invites writers, poets, journalists, and scholars from around the world to participate in a celebration of contemporary literature rooted in philosophical depth and humanistic values. A Prize Inspired by Seneca Named after the Roman philosopher Lucius Annaeus Seneca, the award reflects a commitment not only to literary excellence but also to introspection, ethics, and intellectual freedom. This year’s edition continues to emphasize the importance of literature as a tool for understanding the complexities of modern life and fostering dialogue across borders. Categories and Participation The competition is open to participants of all nationalities and includes a wide range of categories: *Poetry (single and collections) *Short stories *Journalistic articles *Published books (poetry, narrative, and essays) *Special philosophical essay inspired by Seneca *Student categories** *International (non-resident) categories Submissions may be published or unpublished, provided they meet the guidelines outlined in the official regulations. Key Dates *Submission Deadline: 31 May 2026 *Award Ceremony:** 24 October 2026 *Location: Castello Normanno-Svevo, Sannicandro di Bari, Italy The ceremony promises to be a significant cultural event, gathering distinguished figures from literature, academia, and the arts. Awards and Recognition Participants will compete for various honors, including: * Traditional literary prizes (top three placements per category) * Special thematic awards (e.g., philosophy, history, social themes) * Academic distinctions and honorary titles * Personalized trophies and official certificates The award is further distinguished by institutional recognition, including associations with Italian cultural bodies and international support networks. Submission Requirements To apply, candidates must submit: * Completed participation form * Literary works (in Word or PDF format) * Proof of payment (if applicable) * Short biography * Author photograph Submissions must be sent electronically to the official email provided by the organizers. Privacy and Data Protection The organization ensures that all personal data submitted will be handled in accordance with European GDPR regulations. Information provided by participants will be used exclusively for purposes related to the administration and promotion of the competition and will not be shared with third parties without consent. Why Participate? The Seneca Prize is more than a competition—it is a platform for intellectual and artistic exchange. It offers participants the opportunity to: * Gain international visibility * Engage with a global literary community * Contribute to a tradition that values both creativity and philosophical reflection Final Thoughts As it celebrates its tenth anniversary, the Premio Seneca stands as a testament to the enduring power of literature to connect, challenge, and inspire. Writers from all backgrounds are encouraged to take part in this meaningful initiative and contribute their voice to a shared cultural dialogue. Participation Form For full details and submission guidelines, participants are encouraged to consult the official regulations provided by the Accademia. More about Award cam be read on this link

In an age where voices from across the world are increasingly interconnected, the launch of World Poets Magazine marks a significant and inspiring moment for contemporary poetry. This new English-language electronic journal, based in Greece, arrives with a clear and ambitious vision: to unite poets from diverse cultures and traditions under one digital roof. Founded and edited by the acclaimed Greek poet Dimitris P. Kraniotis, the magazine has already generated remarkable enthusiasm within the international literary community. From its very inception, World Poets Magazine has been embraced by distinguished poets worldwide, signaling a strong desire for platforms that celebrate poetic diversity and dialogue. Reflecting on the launch, Kraniotis expressed both gratitude and excitement, emphasizing the honor of receiving such a powerful response from globally recognized poets. His vision is clear—this magazine is not just a publication, but a meeting ground where meaningful voices from around the world can be heard and appreciated. What truly sets World Poets Magazine apart is its global scope. The inaugural issue brings together poets from a wide range of countries, including Greece, South Korea, India, Egypt, China, Pakistan, the United Arab Emirates, Italy, Sudan/Austria, and the United States. This rich diversity is embodied in contributors such as Kang Byeong-Cheol, Jernail Singh Anand, Ashraf Aboul-Yazid, Cao Shui, Shahid Abbas, Adel Khozam, Giuseppe Napolitano, Rati Saxena, Tarek Eltayeb, and George Wallace. Through this international collaboration, the magazine achieves something powerful—it transforms poetry into a shared language that transcends borders, politics, and cultural differences. Each contribution adds a unique thread to a growing tapestry of global expression. Beyond showcasing established names, World Poets Magazine also positions itself as a nurturing space for emerging voices. Its editorial philosophy is rooted in inclusivity, artistic excellence, and the belief that poetry remains one of the most profound ways to understand both ourselves and each other. As the magazine continues to grow, it invites readers and writers alike to become part of its evolving community—exploring, contributing, and engaging with poetry that reflects the world in all its complexity and beauty. For those eager to discover this vibrant new literary space, the journey begins here : In a fragmented world, poetry still unites—and World Poets Magazine is proof that its voice is louder than ever. Source : The Silk Road Today

Illustration: AI We grew up loving our land We dwelt in the hills and roamed the heights Eagles, eagles... in this life We roam the mountains, our hearts rich We grew up loving our land We traverse the skies with love for us And we cross the deserts in our glory We transform them into verdure And glory and peace We roam the mountains, our hearts rich So come, my friends We are yours... and you are ours We scatter the fragrance of peace In the farthest reaches of our land We are yours and you are ours One hand on our land

Prodigy Magazine announces the release of its sixteenth issue, “The Future,” a globally curated edition bringing together leading and emerging voices in poetry, literature, art, and philosophy. Continuing its mission since its launch in June 2022, the magazine presents a powerful international collaboration that reflects on transformation, consciousness, and the evolving human experience. Edited by Zlatan Demirović, this edition gathers over 100 contributors from across continents, offering a multidimensional exploration of what the future means in today’s interconnected world. The issue opens with a philosophical Preface by Demirović, framing the future not as a distant endpoint but as a conscious, present reality shaped by thought, imagination, and choice. Featured Contributors The Poetry section showcases voices from across the globe, including: Zlatan Demirović (USA), Bhagirath Choudhary, Dr. Molly Joseph, Dr. Ashok Chakravarthy Tholana, Dr. Rakesh Chandra, Dr. Prasanna Kumar Dalai, Parvinder Nagi, Anjdali De Nandi, Dr. Perwaiz Shaharyar, and Monalisa Parida (India). The Essays section features distinguished writers and scholars such as: Dr. Joseph S. Spence Sr. (USA), Dr. Aziz Mountassir (Morocco), Taghrid Bou Merhi (Lebanon/Brazil), Dr. Natalie Bisso (Germany), Themistoklis Katsaounis (Greece), Elmaya Gabbarova (Azerbaijan), Nguyen Xuan Tuan (Vietnam), Maja Milojković (Serbia), Dr. HC Rozalia Aleksandrova (Bulgaria), Santosh Kumar Pokharel (Nepal), Norma Marina Solis Zavala (Peru), Leo Acosta (Nicaragua), Ibrahim Honjo (Bosnia/Canada), Ankica Anchie Biskupović (Croatia), and Farzaneh Dorri (Iran/Denmark). The Art section highlights international visual artists including: Maristella Angeli, Ermano Spera, Gianpiero Actis (Italy), Debra S Mascarenhas (UAE), Tanja Ajtić and Adam Koturević (Serbia), Nagla Ali Hassan (Egypt/Iraq), Norma M. S. Zavala (Peru), and Muhammad Shahadat Hossain (Bangladesh). Additional contributors across sections include a wide range of global voices such as: Ernesto P. Santiago (Philippines), Sankha Ranjan Patra (India), Maria do Sameiro Barroso (Portugal), Reema Hamza (Syria), Giulia Donzello (Italy), Shah Jehan Ashrafi (India/Canada), Hasan Ildiz (Turkey), and many others representing diverse cultural and artistic perspectives. Special Sections A central highlight of this issue is the **SELF-HEALING** section, featuring contributors such as Dr. HC Dincho Chobanov (Bulgaria), Folajimi Notch Shoaga (Nigeria), and Farzaneh Dorri (Iran/Denmark). This section explores personal transformation, inner awareness, and the role of spirituality in shaping human potential. The edition also includes Book Reviews, Events, and interdisciplinary features such as Dr. Ana Stjelja’s collaboration with Prof. Velimir Abramović under the EVENTS section, emphasizing the magazine’s commitment to bridging literature with broader intellectual and scientific discourse. Global Editorial Vision Supported by an esteemed Board of Advisors from countries including Australia, India, Portugal, Bulgaria, Serbia, the Netherlands, Israel, Vietnam, and more, Prodigy Magazine continues to strengthen its position as a truly international platform for artistic and intellectual exchange. This issue reflects a unifying message: that creativity, collaboration, and consciousness are essential forces in shaping a better future. “The future is not a destination—it is a choice,” the issue asserts, inviting readers to actively participate in the creation of meaning and transformation. About Prodigy Magazine Prodigy Magazine is a quarterly international publication dedicated to poetry, literature, art, and philosophy. It provides a platform for global voices, fostering dialogue, creativity, and innovation across cultures. Digital version of the magazine can be read here

80 poets from 28 countries collaborate to create a new landscape of poetry and image fusion On the occasion of World Poetry Day, established by UNESCO, the 3rd Beijing International Poetry Film Awards have been officially announced and presented. The 3rd Beijing International Poetry Film Awards attracted the participation of poets and literary professionals from 28 countries including Colombia, Russia, Australia, China, Tajikistan, the United States, Algeria, Greece, Italy, Serbia, Egypt, Ecuador, Lesotho, the United Arab Emirates, Kazakhstan, the Republic of Korea, Saudi Arabia, Switzerland, Belgium, Chile, France, Kyrgyzstan, Nepal, Lebanon, Pakistan, India, Armenia and Finland. Creators and guests from all countries took poetry film as a link to build a cross-cultural bridge for poetry exchange. Launched in six seasons, this year's awards have selected 33 outstanding poetry film works, gathering the creative wisdom of poets from around the world, and inviting numerous renowned literary figures from home and abroad as special guests. With poetry film as the carrier, the event practices the integrated innovation of poetry and film art, echoing the core purpose of World Poetry Day: to promote cross-art dialogue of poetry and advance the global spread of poetry. The poster design is set against the backdrop of the Forbidden City in Beijing, and the certificate design is based on the Hall of Prayer for Good Harvests at the Temple of Heaven in Beijing. It represents the grandeur of Chinese aesthetics internationally and has received widespread praise from poets both domestically and internationally. The poetry film movement advocated by Cao Shui has become the core spiritual core of this event, opening up a brand-new path for the development of contemporary poetry. A total of 30 countries and regions of poets and literary professionals participated in this event, making it an important practice of cross-cultural exchange in the field of world poetry. The awards were unveiled in six consecutive seasons. The winning works of Season 1 include “Goddess of the Sun” by Fernando Rendon (Colombia), translated by Cao Shui and dubbed by Jiaming; “Astronaut” by Vadim Terekhin (Russia), translated by Cao Shui and dubbed by Qiang Chaohui; “In the World, in Such a Good World” by Ying Xia (Australia), dubbed by Jiang Yunlin; “Testimony” by Tan Wuchang (China), dubbed by Li Jun; “God's Window” by Wang Tong (China), dubbed by Aijia; “Ginkgo Leaf” by Li Ziguo (China), dubbed by Qingshan; “At Guandi Tower Wharf” by Cao Wenjun (China), dubbed by Zhang Jun; and “Romance of Love Waltz” by Abdukakhor Sattorovich Kosimov (Tajikistan), dubbed by Tianmahua. The winning works of Season 2 cover “One of Our Dreams is Better Than 100,000 Kinds of Lives” by Cao Shui (China), dubbed by Song Changjun; “Black-eyed Susan” by George Wallace (USA), translated by Cao Shui and Chen Bing; “A Great Love Poem” by Mohammed Rahal (Algeria), translated by Cao Shui and dubbed by Laoyin; “Charm of Chunling River” by Lei Xiaoming (China), dubbed by Song Weidong; “At Every Station, There is You Who Gets Off” by Yan Xi (China), dubbed by Wang Qingyun; “Gulangyu Island” by Yue Jian (China), dubbed by Lan Xin; “Janus With Two Heads” by Dimitris P. Kraniotis (Greece); and “The Prince is at Home” by Alessio Arena (Italy). The winning works of Season 3 include “Skeleton Stylist” by Fan Qun (China), dubbed by Yuan Fan; “Unbindable Soul” by Ana Stjelja (Serbia), translated by Cao Shui and dubbed by Li Wei; “Train Crossing the Desert” by Ashraf Aboul Yazid (Egypt), translated by Cao Shui and dubbed by Chen Jun; “Song of Hope” by Edwin Antonio Gaona Salinas (Ecuador), translated by Cao Shui and dubbed by Zhen Li; “I Am African” by Siphiwe Nzima Ntšekhe (Lesotho), translated by Cao Shui and dubbed by Wang Qingyun; “The Silk Road” by Liang Zhihong (China), dubbed by Cui Zhiling; “Fading Childhood” by Wang Zhengyang (China), dubbed by Hong Bin; “Fox” by Lv Dao (China), dubbed by Chen Bing; and “Imagery” by Adel Khozam (UAE), translated by Cao Shui and dubbed by Aijia. The winning works of Season 4 include “Cotton Fluff in February” by Dong Lai (China), dubbed by Li Hua; “Wolf Nature” by Ulugbek Yesdolet (Kazakhstan), translated by Cao Shui; “Sydney Harbour on Notes” by Liao Shijing (Australia), dubbed by Chujian Hanmei; “Tonight, in Delingha” by Wang Fangwen (China), dubbed by Chen Bing; “Ordinary Meaning” by Lu Jian (China), dubbed by Wang Xiaoping; “Ancestors” by Lamberto Garcia (Italy), translated by Cao Shui and dubbed by Zhang Jianjun; “Remember Homesickness” by Han Geyou (USA), dubbed by Luo Songhuai and Song Lin; “A Tear of Acacia Fills the Room with Grass Fragrance” by Dong Faliang (China), dubbed by Qingshan; “Flying Sea” by Tian Jiguang (China), dubbed by Sun Kai; and “Companionship” by Han Dani (China), dubbed by Chen Bing. To highlight the internationality and professionalism of the event, the 5th and 6th seasons of the awards announced the lineups of international and Chinese special guests respectively. The international special guests include Oscar Saavedra Villarroel, Americas Coordinator of the World Poetry Movement; Kang Byeong-Cheol, renowned Korean poet; Raed Al-jishi, renowned Saudi Arabian poet; Laura Di Corcia, renowned Swiss poet; Sylvie Marie, renowned Belgian poet; Vo Thi Nhu Mai, renowned Australian poet; Roberto Aedo, renowned Chilean poet; Nikolay Vasiliev, renowned Russian poet; Lily Baylon Escritora, President of the International Association of Writers and Artists; Dra Hc Maria Elena Ramirez, Editor-in-Chief of Global Humanities magazine; Miguel Leonardo Gamarra Quiroz, President of the World Federation of Art, Literature, Education and Peace Culture of the United Nations; Alexandra Crette, renowned French poet; Xanthi Hondrou-Hill, renowned Greek poet; Dr. Salwa Ali Ahmed Abo Ali, renowned Egyptian poet; Altynai Temirova, renowned Kyrgyzstani poet; Til Kumari Sharma, renowned Nepalese poet; Franca Colozo, renowned Italian writer; George Onsy, renowned Egyptian poet; Turkia Loucif, renowned Algerian journalist; Bilal Al Masri, renowned Lebanese poet; Alessio Arena, renowned Italian poet; Marin Angel, renowned Finnish poet; Ahmed Al-Sheikh, renowned Egyptian poet; Fadwa Attia, renowned Egyptian poet; Shahid Abbas, renowned Pakistani poet; Ezhil Vendhan, renowned Indian poet; Achyot Kumar Borah, renowned Indian poet; Narek Paponts Arakelyan, renowned Armenian poet; and Diana Wu, President of the North American International Film Festival. The lineup of Chinese special guests is equally impressive, covering well-known poets, literary critics, cutting-edge creators and more, including renowned Chinese poets Yu Xiuhua, Cao Tian, Tan Yantong, Wu Shunzhen, Huang Yongjian, Lu Qing, Meng Yang, Zhai Yongli, Guan Dangsheng, Lu Zhong, Tie Wu, Xia Mingzhi, Xian Ya, Da Yueliang; emerging Chinese poets Ying Zi, Bei Shan, Mu Ziwen, Zhao Kangli, Han Lanna, Xing Shun; Yang Qingyun, renowned Chinese literary critic; and Wang Shenghua, emerging Chinese director. They are mostly poets who participated in the “Cao Shui-Tang Xiaoling Debate” and are the most active Chinese poets of contemporary times. The core soul of this event is the poetry film movement initiated by Cao Shui. His Manifesto of Poetry Film Movement gives modern significance to contemporary poetry and cross-cultural communication, becoming a spiritual bond for global poets. First, the movement integrates poetry with film and audio to revitalize traditional written poetry, making it visual and accessible. It revives the oral tradition of poetry and brings literary works to the public, solving the problem of difficult promotion and communication for contemporary poetry. Second, guided by the world poetics concept of integrating East and West, past and present, Cao Shui builds an exchange bridge between Chinese and foreign poetry. As a creator, translator and promoter, he translates multilingual poems and introduces global poetic works to China while spreading Chinese poetry abroad. Third, the movement reconstructs the creative ecology of poetry, combining lyrical expression with visual narration and providing new ideas for global poets. The 3rd Beijing International Poetry Film Awards practices this concept, gathering poets worldwide to promote the integration and symbiosis of the global poetry movement. Finally, the movement uses poetry film to convey universal human emotions such as love, hope and peace, echoing the mission of World Poetry Day and making poetry a shared language of mankind. The Poetry Film Movement originated from the Manifesto of the Poetry Film Movement written by Cao Shui on December 24, 2017. On May 19, 2023, Cao Shui, together with Zhang Jianjun and Fan Qun, jointly signed the revised version of the Manifesto of the Poetry Film Movement at Zhengyang Gate in Beijing, near the birthplace of Chinese cinema, officially launching the Poetry Film Movement in China. They successfully held the first Beijing International Poetry Film Spring Festival Gala during the 2024 Spring Festival. Poetry film originated from French avant-garde cinema. According to Irish poet Gabriel Rosenstock, who introduced relevant information to Cao Shui, Moving Poems Magazine has listed six internationally influential poetry film festivals: Cadence Poetry Film Festival in Seattle, USA; REELpoetry Festival in Houston, USA; Weimar Poetry Film Award in Weimar, Germany; International Video Poetry Festival in Athens, Greece; Les Instants Video in Marseille, France; and Midwest Video Poetry Fest in Madison, Wisconsin, USA. In China, there is also the “Huiyu Film Island Poetry Film Spring Festival Gala” founded in 2024. Together with the “Beijing International Poetry Film Spring Festival Gala”, there are a total of 8 poetry film festivals. As a pioneering international art movement, poetry film is growing vigorously around the world. After the successful holding of the Beijing International Poetry Film Spring Festival Gala, numerous media outlets at home and abroad covered the event, praising poetry film as “a creative art”, “the greatest contribution of Chinese literature to world literature”, and “a perfect integration of poetry and film”. As stated in the Manifesto of the Poetry Film Movement: “Every era has its own 'dominant discipline'. In agrarian society, it was lyric literature characterized by poetry; in industrial society, it was narrative literature characterized by novels; in the information society, it is dramatic literature characterized by film literature. From now on, we will vigorously promote the Poetry Film Movement, commit to cinematizing poetry, let the ancient lyric literature from the agrarian era embrace the modern narrative literature from the information age, enable films to gain deeper poetic essence, and allow poetry to find better expression.” At present, the Chinese Poetry Film Movement is jointly promoted by the Great Poetry Movement, the World Poetry Movement, the Dramatized Novel Movement, the BRICS Writers Association. It has produced poetry films for more than 200 poets from over 50 countries, and plans to hold the Beijing International Poetry Film Festival annually to further advance the development of poetry film. The presentation of the 3rd Beijing International Poetry Film Awards is not only a concentrated recognition of the world's outstanding poetry film creation, but also a global implementation of Cao Shui's Poetry Film Movement concept. Poets and literary professionals from 30 countries and regions gathered together for poetry film, which not only witnessed the innovative achievements of the integration of poetry and film art, but also demonstrated the infinite possibility of cross-cultural communication of contemporary poetry. Under the guidance of Cao Shui'sManifesto of the Poetry Film Movement, poetry film is becoming a new trend in the development of world poetry, making poetry glow with new vitality in the era of media integration, and making the beauty of poetry from different civilizations bloom more dazzlingly in exchange and integration. Following is the list of the awardees: 第三届北京国际诗电影奖（第一季） The 3rd Beijing International Poetry Film Awards (Season 1) 世界诗歌日快乐 Happy World Poetry Day 1.《太阳女神》 作者：费尔南多·伦德（哥伦比亚） 翻译：曹谁 配音：家茗 | "Goddess of the Sun" Author: Fernando Rendon (Colombia) Translator: Cao Shui Dubber: Jiaming 2.《宇航员》 作者：瓦迪姆·特里金（俄罗斯） 翻译：曹谁 配音：强朝晖 | "Astronaut" Author: Vadim Terekhin (Russia) Translator: Cao Shui Dubber: Qiang Chaohui 3.《在人间，在这么好的人间》 作者：映霞（澳大利亚） 配音：江韫琳 | "In the World, in Such a Good World" Author: Ying Xia (Australia) Dubber: Jiang Yunlin 4.《证词》 作者：谭五昌（中国） 配音：李军 | "Testimony" Author: Tan Wuchang (China) Dubber: Li Jun 5.《上帝的窗口》 作者：王童（中国） 配音：爱家 | "God's Window" Author: Wang Tong (China) Dubber: Aijia 6.《银杏叶》 作者：李自国（中国） 配音：青山 | "Ginkgo Leaf" Author: Li Ziguo (China) Dubber: Qingshan 7.《在关帝楼码头》 作者：曹文军（中国） 配音：张军 | "At Guandi Tower Wharf" Author: Cao Wenjun (China) Dubber: Zhang Jun 8.《爱情华尔兹的罗曼史》 作者：阿卜杜卡赫·科西莫夫（塔吉克斯坦） 配音：甜麻花 | "Romance of Love Waltz" Author: Abdukakhor Sattorovich Kosimov(Tajikistan) Dubber: Tianmahua 第三届北京国际诗电影奖（第二季） The 3rd Beijing International Poetry Film Awards (Season 2) 世界诗歌日快乐 Happy World Poetry Day 9.《我们的一个梦胜过十万种人生》 作者：曹谁（中国） 配音：宋长军 | "One of Our Dreams is Better Than 100,000 Kinds of Lives" Author: Cao Shui (China) Dubber: Song Changjun 10.《黑眼睛的苏珊》 作者：乔治·华莱士（美国） 翻译：曹谁 陈兵 | "Black-eyed Susan" Author: George Wallace (USA) Translators: Cao Shui, Chen Bing 11.《一首伟大的爱情诗》 作者：穆罕穆德·拉合尔（阿尔及利亚） 翻译：曹谁 配音：烙印 | "A Great Love Poem" Author: Mohammed Rahal (Algeria) Translator: Cao Shui Dubber: Laoyin 12.《舂陵江之韵》 作者：雷晓明（中国） 配音：宋维东 | "Charm of Chunling River" Author: Lei Xiaoming (China) Dubber: Song Weidong 13.《每一站都有一个你下站了》 作者：雁西（中国） 配音：王青云 | "At Every Station, There is You Who Gets Off" Author: Yan Xi (China) Dubber: Wang Qingyun 14.《鼓浪屿》 作者：月剑（中国） 配音：兰馨 | "Gulangyu Island" Author: Yue Jian (China) Dubber: Lan Xin 15. 《双头的雅努斯》作者：迪米特里斯·毕·克拉尼奥蒂斯（希腊）|“Janus With Two Heads”Author：Dimitris P. Kraniotis (Greece) 16. 《住在家里的王子》作者：阿莱希欧·阿瑞纳（意大利）|“The Prince is at Home”Author：Alessio Arena（Italy） 第三届北京国际诗电影奖（第三季） The 3rd Beijing International Poetry Film Awards (Season 3) 世界诗歌日快乐 Happy World Poetry Day 15.《骨骼造型师》 作者：范群（中国） 配音：远帆 | "Skeleton Stylist" Author: Fan Qun (China) Dubber: Yuan Fan 16.《无法捆绑的灵魂》 作者：安娜·施蒂利亚（塞尔维亚） 翻译：曹谁 配音：李维 | "Unbindable Soul" Author: Ana Stjelja (Serbia) Translator: Cao Shui Dubber: Li Wei 17.《穿过沙漠的火车》 作者：阿什拉夫·阿布尔·雅兹德（埃及） 翻译：曹谁 配音：陈骏 | "Train Crossing the Desert" Author: Ashraf Aboul Yazid (Egypt) Translator: Cao Shui Dubber: Chen Jun 18.《希望之歌》 作者：艾德温·高纳（厄瓜多尔） 翻译：曹谁 配音：贞礼 | "Song of Hope" Author: Edwin Antonio Gaona Salinas (Ecuador) Translator: Cao Shui Dubber: Zhen Li 19.《我是非洲人》 作者：希菲微·恩济玛·恩特塞克（莱索托） 翻译：曹谁 配音：王青云 | "I Am African" Author:Siphiwe Nzima Ntšekhe (Lesotho) Translator: Cao Shui Dubber: Wang Qingyun 20.《丝绸之路》 作者：梁志宏（中国） 配音：崔志玲 | "The Silk Road" Author: Liang Zhihong (China) Dubber: Cui Zhiling 21.《远去的童年》 作者：王正阳（中国） 配音：洪彬 | "Fading Childhood" Author: Wang Zhengyang (China) Dubber: Hong Bin 22.《狐狸》 作者：绿岛（中国） 配音：陈兵 | "Fox" Author: Lv Dao（China） Dubber: Chen Bing 23.《意象》 作者：阿德尔·霍扎姆（阿联酋） 翻译：曹谁 配音：爱家 | "Imagery" Author: Adel Khozam (UAE) Translator: Cao Shui Dubber: Aijia 第三届北京国际诗电影奖（第四季） The 3rd Beijing International Poetry Film Awards (Season 4) 世界诗歌日快乐 Happy World Poetry Day 24. 《二月里的棉絮》 作者：东来（中国） 配音：李华 | "Cotton Fluff in February" Author: Dong Lai (China) Dubber: Li Hua 25. 《狼性》作者：乌鲁格贝克·耶斯道勒特（哈萨克斯坦） 翻译：曹谁| "Wolf Nature" Author: Ulugbek Yesdolet (Kazakhstan) Translation: Cao Shui 26.《音符上的悉尼港》 作者：廖世敬（澳大利亚） 配音：初见寒梅 | "Sydney Harbour on Notes" Author: Liao Shijing (Australia) Dubber: Chujian Hanmei 27.《今夜，在德令哈》 作者：王芳闻（中国） 配音：陈兵 | "Tonight, in Delingha" Author: Wang Fangwen (China) Dubber: Chen Bing 28.《一般的意》 作者：陆健（中国） 配音：王小平 | "Ordinary Meaning" Author: Lu Jian（China） Dubber: Wang Xiaoping 29.《祖先》 作者：兰伯特·加西亚（意大利） 翻译：曹谁 配音：张建军 | "Ancestors" Author: Lamberto Garcia (Italy) Translator: Cao Shui Dubber: Zhang Jianjun 30.《记住乡愁》 作者：韩舸友（美国） 配音：罗松怀、宋琳 | "Remember Homesickness" Author: Han Geyou (USA) Dubbers: Luo Songhuai, Song Lin 31.《一滴相思泪 满室生茅香》 作者：董发亮（中国） 配音：青山 | "A Tear of Acacia Fills the Room with Grass Fragrance" Author: Dong Faliang (China) Dubber: Qingshan 32.《会飞的海》 作者：田继光（中国） 配音：孙凯 | "Flying Sea" Author: Tian Jiguang (China) Dubber: Sun Kai 33.《陪伴》 作者：韩丹妮（中国） 配音：陈兵 | "Companionship" Author: Han Dani (China) Dubber: Chen Bing 第三届北京国际诗电影奖（第五季） The 3rd Beijing International Poetry Film Awards (Season 5) 世界诗歌日快乐 Happy World Poetry Day 特别嘉宾（国际） International Special Guest 奥斯卡·萨维德拉·维拉罗尔（Oscar Saavedra Villarroel），世界诗歌运动美洲协调员 姜秉徹（Kang Byeong-Cheol），韩国著名诗人 拉义德·阿勒吉希（Raed Al-jishi），沙特阿拉伯著名诗人 劳拉·科尔西娅（Laura Di Corcia），瑞士著名诗人 西尔维·玛丽（Sylvie Marie），比利时著名诗人 武氏梅雪（Vo Thi Nhu Mai），澳大利亚著名诗人 兰伯特·艾多（Roberto Aedo），智利著名诗人 尼古拉·瓦西里耶夫（Nikolay Vasiliev），俄罗斯著名诗人 莉莉·拜伦·艾斯克瑞多拉（Lily Baylon Escritora），国际作家艺术家协会主席 玛丽亚·埃琳娜·拉米雷斯（Dra Hc Maria Elena Ramirez），《环球人文》杂志主编 米盖尔·莱昂纳多·加马拉·基罗斯（Miguel Leonardo Gamarra Quiroz），联合国世界艺术文学教育和平文化联合会主席 亚历山德拉·克雷特（Alexandra Crette），法国著名诗人 克桑希·霍洛德·希尔（Xanthi Hondrou-Hill），希腊著名诗人 萨尔瓦·阿里·艾哈迈德·阿布·阿里（Dr. Salwa Ali Ahmed Abo Ali），埃及著名诗人 阿尔特奈·泰米罗娃（Altynai Temirova），吉尔吉斯斯坦著名诗人 蒂尔·库玛丽·沙尔玛（Til Kumari Sharma），尼泊尔著名诗人 弗兰克·克罗佐（Franca Colozo），意大利著名作家 乔治·昂西（George Onsy），埃及著名诗人 图其娅·卢瑟福（Turkia Loucif），阿尔及利亚著名记者 比拉勒·马斯里（Bilal Al Masri），黎巴嫩著名诗人 阿莱希欧·阿瑞纳（Alessio Arena），意大利著名诗人 马林·安赫尔（Marin Angel），芬兰著名诗人 艾哈迈德·阿勒谢赫（Ahmed Al-Sheikh），埃及著名诗人 法德娃·阿提娅（Fadwa Attia），埃及著名诗人 沙希德·阿巴斯（Shahid Abbas），巴基斯坦著名诗人 艾其尔·文德汉（Ezhil Vendhan），印度著名诗人 阿奇奥特·库马尔·博拉（Achyot Kumar Borah），印度著名诗人 纳雷克·帕蓬茨·阿拉克烈扬（Narek Paponts Arakelyan），亚美尼亚著名诗人 吴钟丹（Diana Wu），北美国际电影节主席 第三届北京国际诗电影奖（第六季） The 3rd Beijing International Poetry Film Awards (Season 6) 世界诗歌日快乐 Happy World Poetry Day 特别嘉宾（国内） Chines Special Guest 余秀华，中国著名诗人 曹天，中国著名诗人 大月亮，小荷诗社社长 谭延桐，中国著名诗人 吴顺珍，中国著名诗人 黄永健，中国著名诗人 鹰子，中国新锐诗人 北陕，中国新锐诗人 木子文，中国新锐诗人 潞清，中国著名诗人 梦阳，中国著名诗人 杨青云，中国著名批评家 赵康利，中国新锐诗人 韩兰娜，中国新锐诗人 翟永立，中国著名诗人 管党生，中国著名诗人 陆忠，中国著名诗人 铁舞，中国著名诗人 夏明智，中国著名诗人 行顺，中国新锐诗人 鲜娅，中国著名诗人 王胜华，中国新锐导演

Senegalese publisher Babacar Ndiaye has announced the publication of the poetry collection A Street in Cairo by the poet Ashraf Aboul-Yazid, in French, by Senegal Njaay Editions, expressing his gratitude to the Tunisian poet Arwa Ben Dhia, who suggested the book for publication by the house. In an official message, the publisher expressed his appreciation for this nomination, stating that the publishing house values the trust placed in it by entrusting it with the works of the distinguished Egyptian poet Ashraf Aboul-Yazid. He explained that the reading committee received the manuscript with great enthusiasm and formally approved it after review. He added that the poetic strength of the texts—reflected in Arwa Ben Dhia’s preface and in the translation by the poet’s daughter—perfectly matched the editorial vision of the publishing house, which seeks to promote outstanding poetic voices in the Francophone sphere. He also confirmed that the house will promote this remarkable work at upcoming literary events, foremost among them the African Book Fair in Paris, where the collection will be presented as a poetic bridge between Arab, African, and French cultures. Poet Arwa Ben Dhia believes that the poems combine density with transparency, evoking themes of exile and nostalgia, while also criticizing war and fanaticism and celebrating love in poems such as Sixty Love Letters to Her. She concludes that reading A Street in Cairo resembles strolling along an Egyptian street where harshness and beauty coexist, and where the sounds of the city transform into poetic music that unites people despite distances. On April 13, the results of the first stage of the International Poetry Invention Prize 2025 were announced. In this fourth edition, the reading committee selected thirteen poetry collections in French and six in Creole from a total of 135 submitted collections—110 in French and 25 in Creole. Among the shortlisted works was A Street in Cairo by the Egyptian poet Ashraf Aboul-Yazid, a selection of poems translated into French by his daughter Hoda Ashraf, a student at the Faculty of Archaeology at Cairo University. The nomination of the collection marks a notable moment for translated Arabic literature, placing contemporary Egyptian poetry within the context of Francophone literary dialogue and confirming the presence of Arab voices in international competitions that seek to renew poetic expression and highlight its human horizons. The French translation represents the eleventh linguistic milestone in the international journey of the anthology A Street in Cairo. The book includes selected poems from six of the poet’s collections published between 1989 and 2024: Whisper of the Sea, Shells, Memory of Silence, Above the Path of Death, Memory of Butterflies, and Poems. These selections have been published in independent editions across four continents and in several languages, including Spanish, German, Turkish, Sindhi, Persian, Urdu, Serbian, Russian, Malayalam, and English. With the publication of the French edition, this multilingual poetic project becomes further testimony to poetry’s ability to cross cultural borders. Each translation does not merely convey words; it recreates the poetic experience within a new linguistic context, making the collection resemble a literary map where cultures intersect—from Cairo to Asia, Europe, Africa, and the Americas—allowing readers to encounter a shared human resonance that transcends linguistic differences. Egyptian poet and writer Ashraf Aboul-Yazid is considered one of the most prominent contemporary Arab literary voices, combining poetry, fiction, cultural journalism, and travel writing. He has published numerous poetry collections, short story volumes, and critical works, and has participated in international literary festivals while contributing to the introduction of Arabic literature to readers from diverse cultures. Throughout his career he has received several awards and honors, including the Manhae Grand Prize for Literature in South Korea, the Arab Journalism Award in the United Arab Emirates, the Gold Medal of the Eurasian Literary Festival in Turkey, Egypt’s Sawiris Cultural Award, and the World Organization of Writers Medal in Russia for translation. His name has also been associated with cross-cultural projects, including his role as editor-in-chief of the international cultural magazine The Silk Road Today, dedicated to dialogue among civilizations. His literary works have been translated into multiple languages and have become the subject of academic studies, enabling his poetry to reach a wide readership beyond the Arab world. In his poems, philosophical reflections blend with details of everyday life, while place, memory, exile, and the human condition appear as central themes reflecting the vision of a poet who views the world through the eyes of a traveler in search of meaning. The collection A Street in Cairo is also expected to participate in the African Book Fair in Paris, a major cultural event aimed at promoting African and Francophone literature in the heart of the French capital. According to the publisher, the book’s journey begins in Dakar, where it is being released this week by Senegal Njaay Editions, before traveling to Paris, where it will be presented within the fair’s program bringing together publishers, writers, and translators from around the world. This participation represents a new step in the collection’s international path, offering it the opportunity to meet new readers and introduce Arabic poetry within an African and Francophone cultural context. Thus, the book continues its symbolic journey—from a lively Cairo street to global literary spaces—affirming that poetry can travel farther than geography, and that a sincere word can connect cities, languages, and cultures.

The 3rd Beijing International Poetry Film Festival stands as a vibrant celebration of global poetic expression, cinematic innovation, and cross-cultural dialogue. Bringing together distinguished poets, filmmakers, translators, and cultural leaders from across continents, this year’s festival continues to redefine how poetry lives and breathes through film. Leadership The festival is chaired by renowned Chinese poet and cultural organizer Cao Shui, whose visionary leadership has helped establish poetry film as a powerful artistic movement. Executive Chairman: Zhang Jianjun Vice Chairman: Fan Qun Together, they guide a platform that merges literature, performance, and cinematic aesthetics into one dynamic international event. Distinguished International Guests The festival proudly features global literary voices and cultural ambassadors, including: Vadim Terekhin, Chairman of the BRICS Writers Association Zhang Jianjun, Executive Chairman of the Beijing International Poetry Film Festival George Wallace, acclaimed American poet Fan Qun, Vice Chairman of the Festival Liao Shijing, President of the Sydney International Poetry Festival Wang Fangwen, Chairman of the Silk Road International Poetry Festival Ashraf Aboul Yazid, Secretary General of the African Journalists Association Lamberto Garzia, President of the World Frustrate Association Dimitris P. Kraniotis, President of the International Writers and Artists Association (Greece) Edwin Antonio Gaona Salinas, General Coordinator of the Intergalactic Poets Organization Oscar Saavedra Villarroel, Americas Coordinator of the World Poetry Movement Dai Qicang, Honorary Advisor of Canglang Yayuan Poetry Society Kang Byeong Cheol, celebrated Korean poet Raed Al Jishi, distinguished poet from the Kingdom of Saudi Arabia Laura Di Corcia, acclaimed Swiss poet Sylvie Marie, noted Belgian poet Vo Thi Nhu Mai, prominent Australian poet Roberto Aedo, distinguished Chilean poet Nikolay Vasiliev, renowned Russian poet Ana S Gad, poet representing Serbia and the UAE Program Highlights This year’s edition presents 33 poetry-film works organized into four thematic units. The program features international poetry, translation, dubbing performances, and cinematic poetic expression. Representative works include: “Goddess of the Sun” — Author: Fernando Rendon “Astronaut” — Author: Vadim Terekhin “Testimony” — Author: Tan Wuchang “One of Our Dreams is Better Than 100,000 Kinds of Lives” — Author: Cao Shui “Train Crossing the Desert” — Author: Ashraf Aboul Yazid “Ancestors” — Author: Lamberto Garzia These works showcase poetic cinema that integrates spoken word, visual storytelling, music, translation, and cross-cultural artistic collaboration. Cultural Significance The 3rd Beijing International Poetry Film Festival aims to: Promote global poetic dialogue Strengthen international literary cooperation Explore new artistic forms combining poetry, music, dubbing performance, and film aesthetics As global poetry communities continue to expand, the festival serves as a cultural bridge connecting Asia, Africa, Europe, the Americas, and Oceania — reinforcing poetry as a universal language of peace and creative unity. Special Guests The festival also welcomes distinguished cultural figures, including: Lily Baylon Escritora, President of the International Chamber of Writers and Artists Maria Elena Ramirez, Editor-in-Chief of Global Humanities Miguel Leonardo Gamarra Quiroz, President of the UN World Federation of Art, Literature, Education, Peace and Culture Alexandra Crette, celebrated French poet Salwa Ali Ahmed Abo Ali, distinguished Egyptian poet Altynai Temirova, renowned poet of Kyrgyzstan Til Kumari Sharma, prominent poet of Nepal Franca Colozo, respected Italian writer Turkia Loucif, distinguished journalist of Algeria Tan Yantong, acclaimed Chinese poet Wu Shunzhen, notable Chinese poet Da Yueliang, President of Xiaohe Poetry Society Bilal Al Masri, celebrated poet of Lebanon Alessio Arena, distinguished Italian poet Marin Angel, respected poet of Finland Ahmed Al-Sheikh, prominent Egyptian poet Fadwa Attia, distinguished Egyptian poet A Global Invitation Jointly supported by international literary organizations, the festival will feature performances by distinguished poets including Oscar Saavedra Villarroel and Edwin Antonio Gaona Salinas, among many others. The 3rd Beijing International Poetry Film Festival warmly invites audiences worldwide to experience the poetic power of cinema and the universal language of art — where words become images, and poetry becomes a shared global vision. Source / Photo : The Silk Road Today

Ahmed Ibrahim Al-Sheikh Can you tell us about your journey as a writer and illustrator, and how did it start? It started by chance in one of the cultural groups, it was just a joke in teaching improvisation, and here we are saying I “Ahmed Sheikh” owner of “Mr. Khan's Notebook”. What inspired you to create the “Mr. Khan Notebook” series, and what makes this character special to you? Because if it weren't for Mr. Khan, I wouldn't be here today, he's the one who deserves the credit and the love, a character mixed with the scent of humor and seriousness. What themes and emotions did you want to explore in your book “Hopeless Memories”? A book full of poetic prose, balanced between love, loss, sorrow, absence, and reproach, a book that made a legend for me, I love it a lot. How do you balance writing and drawing in your creative process?. I draw if it requires that, because drawing is more troubling than writing because it's the only one that can't be faked. What comes first for you: the story or the visual imagination? I love imagination very much because it's very honest. How did your upbringing in Kom Hamada, Egypt, affect your artistic and literary voice? Is there any Egyptian writer or famous person who inspired your work or life?. Kom Hamada is a city of poetry, that's why I'm here, I was just a simple person, and a simple reader, but now I can say I'm Ahmed Sheikh, as for my inspiration, it's the late writer and my teacher: Walaa Al-Jarahi and Safaa Al-Agmawi. Your work has received international recognition. How did these awards shape your career and confidence? No, I haven't reached what I want yet, they're just attempts, but I pray to God for ease in work and the love of the reader. What attracts you most to creating illustrations for children? Love, and simplicity. What message do you hope readers, both young and old, take from your work?. It's that education is the basis of everything, if it weren't for it, a person wouldn't reach the peaks of success, writing loves those who love it. What advice do you give to young writers and artists who want to follow the same path?. Never give up, because the dream still has its wings fluttering. Do you have any future plans or projects? What are you focusing on these days?. I'm currently writing a new book, balanced between messages and prose.

“Whispers of Quiet Strength” is a gentle collection of poems born from silence, feeling, and lived moments. These poems rise from my journey as an artist and speak of women, love, and the quiet strength found in stillness. Written in simple, honest lines, they carry the same emotions that live within my art, offering reflection and healing. They softly share the stories behind my art and invite readers to pause, feel deeply, and connect with their own inner strength. This book offers a quiet space for your emotions, both the ones you speak aloud and the ones you carry silently, waiting to be seen. Book has been nominated for the prestigious Emily Dickinson award. Inspired by the legendary poet Emily Dickinson, this award celebrates authors who dare to dream, push creative boundaries, and leave an indelible imprint on readers' hearts and minds. About the Author: Shilpi Dabral is a contemporary visual artist based in India. Inspired by her years in the UAE, nature, travel, and women’s emotional journeys, she creates soulful, expressive art rooted in quiet strength and inner reflection. Her work has been internationally exhibited and honoured, and she has participated in both global showcases and community driven art initiatives. Whispers of Quiet Strength marks her debut in poetry, where she brings the same emotional depth and honesty found in her art to simple, heartfelt words. Through both canvas and verse, she continues to explore love, resilience, healing, and the silent courage within.