Primary creative research of Luqmon Burixon’s story genre (on the example in the stories named “Pauper”(“Yalangoyoq”) by Luqmon Burixon and “Thief” (“O’g’ri”) by A. Qahhor)

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Shukurova, B. (2022). Primary creative research of Luqmon Burixon’s story genre (on the example in the stories named “Pauper”(“Yalangoyoq”) by Luqmon Burixon and “Thief” (“O’g’ri”) by A. Qahhor) . Результаты научных исследований в условиях пандемии (COVID-19), 1(03), 101–109. извлечено от https://inlibrary.uz/index.php/scientific-research-covid-19/article/view/8094
Barchin Shukurova, Institute of the Uzbek language, literature and folklore

the basic doctoral student in the Academy of Sciences

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Аннотация

This article analyzes the primary creative exercises in the story genre of Luqmon Burixon, a prolific writer in the modern Uzbek prose. In particular, the author's story “Pauper” (“Yalangoyoq”) is compared with the story named “Thief”(“O’g’ri”) by the master of the Uzbek story genre A. Qahhor. The creative influence of Luqmon Burixon on Qahhor is studied in the example of a story

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Barchin Shukurova, the basic doctoral student in the Academy of Sciences

Institute of the Uzbek language, literature and folklore in Uzbekistan,

Tashkent, Uzbekistan.

PRIMARY CREATIVE RESEARCH OF LUQMON BURIXON’S STORY GENRE

(on the example in the stories named “Pauper”(“Yalangoyoq”) by Luqmon

Burixon and “Thief” (“O’g’ri”) by A. Qahhor)

B. Shukurova

Abstract: This article analyzes the primary creative exercises in the

story genre of Luqmon Burixon, a prolific writer in the modern Uzbek prose.
In particular, the author's story “Pauper” (“Yalangoyoq”) is compared with
the story named “Thief”(“O’g’ri”) by the master of the Uzbek story genre A.
Qahhor. The creative influence of Luqmon Burixon on Qahhor is studied in
the example of a story.


Keywords: Luqmon Burixon, Uzbek storytelling, Abdulla Qahhor,

creative influence, similarity.


INTRODUCTION
Luqmon Burixon, who came to the attention of teachers with the story

“Old Begimqul” (Begimqul katta) (1987), published in the magazine
“Yoshlik”, took the hadith of this genre with a collection of short stories
“Pauper”(“Yalangoyoq”) (Cholpon Publishing House, 1991). Eleven years
later, the author's new book called “Light in thedepth of the night” (“Tun
qa’ridagi sho’la”) [1, Bo’rixon]has been published. It includes nineteen
stories of the author, L. Burixon, such as, “Citizen of the Far Citadel” (“Olis
qo’rg’on fuqorasi”), “Autumn Tale” (“Kuz ertagi”), “Pain” (“Dard”), “Son”
(“O’g’il”) (1985); “Old Begimqul” (“Begimqul Katta”), “Pauper”
(“Yalangoyoq”), “Late Tears” (“Kechikkan ko’z yosh”), “Wise man”
(“Donishmand”), “Where are you, love?”(“Qaydasan Muhabbat”) (1986);
“Letter” (“Maktub”), “Expected Day” (“Kutilgan kun”), “Iron Box” (“Temir
sandiq”) (1987); “The Guest” (“Qo’noq”), “The Young Man’s Prayer” (“Yigit
iltijosi”) (1988); “The Last Confession” (“So’ngi iqror”), “The Deceitful
Nights” (“Aldoqchi tunlar”), “The Trial Period” (“Sinov muddati”) (1991);
“Captured snowman” (“Qo’lga tushgan qorbobo”) (1993); “Anxiety from the
Desert” (“Cho’ldan kelgan tashvish”) (2000). Apparently, in 1985-2004, the
writer had not yet embarked on the novel genre, actively pursuing his
creative pursuits in the story and narrative genres.

MATERIALS AND METHODS
The story of “Old Begimqul” (“Begimqul katta”) begins with the worldly

impressions of Begimqul Khurramovich, who returned to the Chartak resort,
bathed in icy clear waters and walked in the snow-capped mountains. The


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bad news he heard from his wife about the chairman's imprisonment has a
strong effect on the hero's mood. The author expresses this in the following
way: “he dropped his cup”, “jumped up as if swallowing a pepper”, “his heart
could not fit”. Because Begimqul Tuxliev, a former physical education
teacher at the school, became the club's director and an active propeller of
the Soviet ideological and political propaganda machine. He had neither a
shop nor a bathroom. For his contribution to the "education" in the spirit of
the boxes, the chairman returned to the resort for the first time in his life
with the blessing of his grandfather. Consequently, Begim, who was noticed
by adults, did not want to be deprived of these opportunities in the future.

His wife went to a neighbor's house to find out the truth, which seemed

to be a rumor of women, and returned “with a broken sword and a shield”.
It turned out that the chairman was accused of “writing and making people's
bread” and it was Begimqul's turn. This dangerous situation frightens his
heart. Although he did not betray anyone's rights or engage in immoral
activities, the “big man” who was trapped in heavy thoughts had a headache
and a panic attack in his heart. Only then will he realize that he is a “little
man” in the footsteps of others, and that he is a “screw” far removed from
the worries of the people.

The rhythm of the story, the content of the subject of the image and the

author's attitude to it draw attention with its light laughter, sarcasm and
slightly sad tones about those who are separated from social life and do not
understand themselves and their identity. This is evident not only when
Begim Xurramov, who knew himself to be a prince, said that the joy did not
last long, when the psychology of slavery was revealed, but also when it was
pointed out that the truth and truth of Elmurad had been decided. The
former chairman, who had no time or opportunity to look after the people's
livelihoods and ran for complete the plan of cotton harvest, in the result he
ended up in prison. Can the new chairman, who was elected in the place of
the former one, solve the people’s problem instead of dismissing the
employees? The question is left open, and its solution is left to the discretion
of the reader.

Speaking at a meeting with intellectuals at the State Committee for

Geology and Mineral Resources on 31 January, the President of our country,
Sh.M. Mirziyoyev remembered about “cotton policy”and told so: “We have
abolished the 100-year-old system in two years. No schoolboy goes to
cotton. Sure, it was hard, but we were able to make that decision. That's it.
Who needs cotton, who has benefited from it? It has not benefited our
nation. The prom brought suffering.“Uzbek affair” and other works. Our
work has been slandered” [8, kunuz].

Therefore, in the 80s of the last century, when the shield of the Soviets

was still pierced and the sword was not broken, the young writer L.


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Burixon's courage to awaken the consciousness of the people in finding
artistic solutions to economic, social and spiritual problems was a sign of
courage. Nevertheless, the writer could not show the painful consequences
of the cotton monoculture, the essence of the slanders against Uzbek labor,
with such deep roots as in Hoshimov's story “The Uzbek affair” [9, ziyouz].

In particular, U. Hoshimov reveals the fate of the heroes against the

backdrop of breathtaking landscapes such as cotton fields, dark green fields,
bell fields and dusty roads and breathtaking warm air. Butefos compares the
sprinkled fields to the calm autumn landscapes of Moscow's suburbs: clear
sky, crystal-clear air, as well as golden oaks, white birches and lush pine
trees rustling in the wind.

Little pale girls in the row of cotton fields who had white cloth on their

head and a number of schoolchildren, putting on caps, carrying hard aprons
which were full of cotton and hurrying to the trailers are compared with the
girl called Natasha who had cheese, sausage, butter, eggs, coffee,
sandwiches, etc., for breakfast and lunch, wore sneakers, pantyhose and a
white turtleneck, walked in the middle, cautiously played the violanchelo
being careful for her fingers, and picked mushrooms just for her fun. The
writer likens our sons and daughters at the same age of Natasha, who are
supposed to be the future of the country, to be the future of the nation, but
who are forced to work hard at a young age, to be enslaved by pain and
suffering.

Panji Jumanov, a former director of the Uzbek state farm, also spent his

life working in cotton. He believed that Baynalmilal had performed his duty
honestly and conscientiously. The chairman could not fix the village streets
where the soil was playing, the low-walled houses, the plastered roofs. The
burning of cotton stalks did not bring any change to the way of life of the
poor people. He could not even treat his grown-up daughter twice as soon
as she had jaundice, as if she had not been able to floor her house and store
coal for the winter. Therefore, despite the language of the characters, U.
Hoshimov likens Panji Jumanov's wife, whose hair was as white as a sack
and whose coat was loose, with pain, anguish, ridicule, grief and could find
the courage to say: “rag wrapped in cloth”. However, when the injustice
reached its climax, she said, “What an oppression! What a slander! My
husband did not feed his children the share of the others. There is no sin in
my husband! No!

Is it possible to call “wild” a courageous Uzbek woman, who hid her

wrists from the eyes of strangers in order not to fall into sin, and shrugged
her shoulders, and said “I don't need a child without a father, I will embrace
my children and set myself on fire!”? What if Olga, who did not keep a secret
from her husband that she had had her child from her boyfriend, is a
“modern” woman?! ...


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Thus, the psyche of the heroes drawn by O. Hoshimov is convincingly

demonstrated, firstly, through religious comparisons and comparisons,
secondly, landscapes, thirdly, the speech of the characters, fourthly, the
active attitude of the author. In terms of his artistic and aesthetic
achievements, he deserves higher praise than L. Burixon's story “Old
Begimqul” (“Begimqul katta”). Because, firstly, L.Burixon did not have
enough experience, and secondly, the story “Old Begimqul” (“Begimqul
katta”) was written in 1986, but “Uzbek affair” in 1990. After all, in the
formation of a certain work of art, it is important how much the material of
life is broken, acquires a certain appearance, the relationship is clarified.

Luqmon Burixon's story “Pauper” (“Yalangoyoq”) was written in the

same year as “Old Begimqul” (“Begimqul katta”) analyzed above. The plot
takes place on a train from a distant city to Pakhtaabad district of
Kashkadarya. Halim, whose shoes are made in the Czech Republic and are
“imported” but have not been worn for a year, somehow reminds us of Cain's
grandfather, the protagonist of A. Qahhor's story “The Thief” (“O’g’ri”).

True, neither the period of the events nor the age of the characters are

absolutely appropriate. The protagonist of “Pauper” (“Yalangoyoq”) is a
college student; Qobil bobo was one of the oldest farmers in the
neighborhood (later the hired worker). In “The Thief” (“O’g’ri”) a bull is
stolen from the barn, in “Pauper” (“Yalangoyoq”) shoes are stolen on the
train. In terms of size and value, bulls and shoes are unmatched.

However, the spiritual similarity in the names of the characters: “Qobil”

- trustworthy, meek and pious, and “Halim” - gentle, kind, meek. Both
protagonists are close in terms of the loss of their precious fabric and the
worsening of their situation, not only in terms of material losses, but also in
terms of their helplessness in the midst of spiritual suffering.

Consequently, it does not matter that one is a farmer and the other is a

student. It is important that in order to find an ox or a pair of shoes, both of
them, in the words of A. Qahhor, have to “throw the pot in the water for a
long time”. Even though the shoes were given to Halim, it is clear that the
cost of these shoes for a student is no less than that of an ox, given that two
bags of flour cost moneyconsidering that he would ask for another new
shoes for five or six years.

When we pay attention that “Qobil bobo” is described so: “He trembles

so hard that the knees are bent; His eyes glaze over, he looks at everyone,
but he doesn't see anyone.” Halim's drawing, “loosened like a running
cucumber and sat on the edge of a chair”, his voice squealed with excitement
and breathlessness, carefully watched the feet of those who walked in the
cradle-shaking carriageway and observed without noticing that people were
laughing at him. it is understood that the process of acceptance of the
tragedy is almost the same - the pressure of confusion and helplessness,


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even when he returns from the parchment unwashed.The depiction of the
relationship, which is characterizedby speech and gestures, such as one of
his roommates muttering, the other whispering, and the protagonist
muttering about this indifference, exacerbates the seriousness of Halim's
situation. Indeed, it was now very difficult for these poor. Already, Halim
was in trouble in these thought “Now what do I say to my family?” “How can
I face to face with them?” when the questions like “How can I plant on the
field?” “How can I make a living without an ox?” were disturbing Qobil bobo.

Let's listen to the conversation of the passengers, who are indifferent to

the concerns of others in “Pauper” (“Yalangoyoq”) and need practical help:

“By the way, you looked for shoes, didn't you?”
Halim nods.
"Oh, it's a mess," said the robber, shaking his head. "You had to be

careful, brother."

“It's too loose for our leader” said the black uncle. “Would he throw his

boots in the air?”

“Oh” said the robber, shaking his hand in displeasure. - Today's young

people have nothing to say, they cannot save their share. I ...

‘That's me” said the black uncle. - I would bring cattle from the market

of Denau and sell them in Samarkand ... [1, Bo’rixon].

“Now, nephew” said his uncle, putting his hand on his knee like a rapid.

“If you do, our advice is to always stick to it, don't return such a rag.” Uh-huh
... wear your shoes after you get off the train, don't go barefoot again, okay?
The ground is still damp ...

- Ha-a-a-a ... if you die ... boots will be found ... [1, Bo’rixon].
Was Halim really a loose, ragged guy who would shave his ass?
No, that night he was in no hurry to join his companions and lie down

comfortably in a chair. First, he simply hung his suit on the hook which is on
the side of his head. (In fact, the fact that the grandfather of Qobil bobo was
“bare-headed, barefoot, naked” is a remarkable detail.) He took off his shoes
in frustration and blew away the dust that had settled on his shiny shoes.
Then he carefully placed it under the folding table as a tray. Everything was
as it should be. Even the fact that Halim believed in taking off his pants and
stretching this shirt in its place increases our love for this hero, who is drawn
with national stripes. He clearly remembered that the roommate fell asleep,
the second passenger climbed upstairs, and the third stretched out on the
lower seat. Of course, everyone's eyes were closed and the four of them
didn't move until dawn ...

For now, let's leave this issue open for a while, but let's compare some

of the dialogues in A. Qahhor's story “The Thief” (“O’g’ri”) in comparison
with the above conversation:


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When Qobil bobo met “amin”, he snorted loudly without opening his

mouth, then laughed as he hung up his fat face.

"Yes, did a cow disappear?"
“No, it wasn't a cow, it was a bull, a bull.”
“An ox? It's an ox!” Himm… a piebald ox? Repent!...
“It was just a bull.”
Amin stuck his chin up to his second joint and laughed.
“Did you have a bull before the one disappeared?” What kind of bull was

it?

- A piebald ox…
“A good bull or a bad one?”
- While I was bringing to add to the herd …
“Does a good bull go with anydiv if someone leads it?”
- I have nothing except that bull…
“Will he come back himself? If someone takes him away, he won't come

back!” Why are you crying? A? Don't cry! [5, Qahhor].

It is true that in the conversation in “Pauper” (“Yalangoyoq”), except for

Halim's one nod, he almost does not participate. In “The Thief” (“O’g’ri”), the
whole dialogue is based on the dialogue of “amin” and Qobil bobo. From the
bottom to the top: due to the growing deformation (lat. Deformation -
distortion) in the form of “ellikboshi”–“amin”–interpreter–“pristav”, the
sphere of influence of interconnected external forces also expands and the
amount of propagation increases. As a result, the activated deformation
pushes Qobil bobo to every position. As the thieves bleed, the influence of
external forces diminishes and the deformation becomes passive. With the
onset, elongation, and finally relative stabilization of the deformation, the
movement now returns from top to bottom: “pristav”–“amin”–“ellikboshi”.
Although the elastic deformation that took place at the end of life seemed to
return to normal, in fact the solution of the knot found in the Egamberdi
cotton mill testifies to the fact that it left serious complications in the
spiritual world of a farmer, family life and way of life.

It is worth noting that the consolation of “ellikboshi”: “Do not cry, do not

cry! ... your bull will be found” and “constantly want to tell the truth” gave
Qobil bobo hope. No matter how much Amin laughed but he soothed Qobil
bobo saying so “Why are you crying? A? Don't cry!” And even he said: “Shall
we have somediv looked for?... He repeated non-stop to report about it
to“pristav” and Qobil bobo looked forward to his ox hopefully.

It is true that when the interpreter who received the gift promised: “... -

a thorough explanation to the “pristav”, all the joints of the old man became
loose and he was caught in a series of promises. However, heis remained in
a state of crisis and confusion in the face of the promising figure. Then


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“pristav” sent to “amin”, “amin” to “ellikboshi”, “ellikboshi” to the cotton
seller ...

However, in the story “Pauper” (“Yalangoyoq”) there is no such thing as

wandering around, which destroys the trust. The uncles accused Halim of
carelessness and idleness. Encourage not to worry about losing shoes. They
tried to convince him that if his livewould survive. Of course, this is also
comforting. But at its core are symptoms of fear of interfering in the
problem. There is a desire to avoid trouble and to try to stay away from
excessive worry. In fact, this desire stems from a lack of inner integrity,
indifference and insensibility that overwhelms the minds.

The important thing is that while Halim’s soul is overwhelmed by

sadness and his mood is surrounded by a district of depression, he does not
despair - he does not fall into a state of depression. This is evidenced by the
fact that his desire to find his shoes has never faded, his ability to think has
not diminished, and he does not blame himself for emptiness. Those sparks
of hope drive him towards the wagon supervisor and the police sergeant.
Although there is a probable good news at the heart of this, don't we know
that if we look at the question and answer, we will need to remember the
story of the “Thief” (“Og’ri”) again:

“What shoes?” asked the sergeant.
The policeman's question seemed to tell Halim, “Here's your shoes”.
“Gray ... Czech ...” he said angrily.
The policeman shrugged:
“Gray ... isn't the Czech the only one?” [1, Bo’rixon].
The fact that the policeman carefully and precisely demands clear marks

in accordance with his profession, and Halim cleverly presents dozens of
well-founded arguments, leads to the humble desire of the humble young
man: “Shoes may be here”.

However, Halim, who laughed and went into the details of what

happened in the car the night before, finally hit Halim hard, accusing the
victim of not accepting the loss bravely. The fact that even the last hope is
fading makes him a little nervous. As he turned around, the supervisor's
gesture seemed to rekindle sparks of hope in his heart. The sandals
presented with “generosity” extinguish this flickering light.

So how did the shoes disappear? Did anyone get lost and wear it? Yes,

by the way, isn’t the title of the story barefoot? Eh, no, while the ground was
still wet, who got out of the train barefoot? Besides, firstly, Halim had woken
up before his roommates, who were having a good time. Secondly, his thirty-
eighth-style shoes were too tight for his partners. Thirdly, if there is only a
supervisor in the carriage and a careful sergeant accompanying him, it is
impossible for strangers to enter the room. So, were the shoes on his shoes
and did it disappear itself? ...


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Luqmon Burixon strictly adheres to the method of secrecy until the end

of the story. This situation raises interest in the psyche of the characters and
the nature of the situation that arises in their destiny, how the conflict
between the protagonists will end. Increases creative activity and leads to
artistic solutions.

Right questions are arisen:
How did the shoes disappear?
"Who was the thief?"
- How was the situation resolved?
After all, events have developed from the node to the solution: on the

basis of cause and effect, in interconnectedness, subject to objective laws -
on the basis of the principle of deterministic interdependence! It is true that
fatigue causes sleepiness, sleep apathy, indifference loss. Consequently,
there is no denying that the story went from cause to effect. However, the
solution will not be obvious until the final dialogue. Here is the dialogue:

As he (i.e. Halim, emphasis ours. B.Sh.) walked away from the

compartment, the policeman spoke calmly:

“I am surprised in the memory of this guy…
“It's great”. You are also afraid to wear boots.
- He clearly states all the signs! ... [1, Bo’rixon].
CONSLUSION
Apparently, the writer sought to create a spiritual explosion effect at the

end point of events. Just as A. Qahhor hides the real thief in a figurative sense,
L. Burixon does not reveal until the last stamp that the real thieves are
people trusted by the government. Therefore, in our opinion, A. Qahhor used
it as an epigraph in the story “The Thief” (“O’g’ri”): “The death of a horse is
a holiday of a dog” is fully consistent with the story of L. Burixon “Pauper”
(“Yalangoyoq”).

Finally, the story, which began with a description of space and time,

ends with the message: “The train was crawling into the next town ...”: “The
train was entering the next station while running with a loud noise ...”. At
first glance, it seems that one phrase is repeated at the beginning and end of
the story. However, this is a deceptive notion, and in the first sentence the
movement towards space is slow. That is, the train “crawls”. Accordingly,
time slows down. At the end of the story, the train enters with a loud noise.
In other words, the speed of movement intensifies from crawling to
screaming. As the tragedy unfolds on an unprecedented scale, the disturbed
author points to his inner self. As the literary critic Suvon Meli rightly
pointed out:

“The creation of a work is to leave a mark on oneself, on the

time to which one belongs, to which one has witnessed.”[3, Meli].


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It is clear that L. Burixon's mastery of storytelling has gradually

developed in the form of indirect learning from the stories of A. Qahhor,
sometimes trying to find his way through prejudice (imitation).


References:
1.

Bo’rixon Luqmon. Tun qa’ridagi shu’la. - Tashkent: Sharq, 2012. -

256 b.

2.

Bo’rixon Luqmon. Titrayotgan tog’. – Toshkent: G’afur G’ulom

nomidagi nashriyot-matbaa-ijodiy uyi, 2018. – 272 b.

3.

Meli Suvon. So’zu so’z. – Тоshkent: Sharq, 2020. – 528 b.

4.

Quronov D. Adabiyot nazariyasi asoslari. – Toshkent: Akademnashr,

2018. – 480 b.

5.

Qahhor A. Tanlangan asarlar. 3 jildlik. 3-jild. – Toshkent: Tamaddun,

2017. – 260 b.

6.

Qo’chqorova M. Abdulla Qahhor istiqlol adabiyotshunosligi

ko’zgusida. – Toshkent: Akademnashr, 2018. – 256 b.

7.

Qo’chqorova M. “Jaziramadagi odamlar” romani badiiyatiga chizgilar

// O’zbek tili va adabiyoti. 2017. №5. – 68-75 b.

8.

https://kun.uz/79757243

9.

https://ziyouz.uz/ozbek-nasri/otkir-hoshimov/q-q




Mastura Tajieva, Termez state university, Termez, Uzbekistan

USING PROVERBS IN TEACHING VOCABULARY

M.Tajieva


Abstract: This paper deals with using proverbs in teaching and learning

English and the way teachers can make use of proverbs to keep the students
interested in learning English. Proverbs reflect human experience across
cultures and languages. In language teaching, proverbs can be used to teach
vocabulary. Introducing a foreign culture and values can be carried out
through the use of proverbs. Teachers can use different vocabulary activities
through proverbs in teaching process.

Keywords: proverbs, vocabulary activity, English teaching
Teaching vocabulary is one of the most important parts of teaching

English. Vocabulary can be defined as '' words we must know to
communicate effectively; words in speaking (expressive vocabulary) and
words in listening (receptive vocabulary)'' [2].

When the teaching and learning process takes place, teachers may have

problems of how to teach students to gain satisfying results. The teacher

Библиографические ссылки

Bo’rixon Luqmon. Tun qa’ridagi shu’la. - Tashkent: Sharq, 2012. -256 b.

Bo’rixon Luqmon. Titrayotgan tog’. - Toshkent: G’afur G’ulom nomidagi nashriyot-matbaa-ijodiy uyi, 2018. - 272 b.

Meli Suvon. So’zu so’z. - Toshkent: Sharq, 2020. - 528 b.

Quronov D. Adabiyot nazariyasi asoslari. - Toshkent: Akademnashr, 2018.-480 b.

Qahhor A. Tanlangan asarlar. 3 jildlik. 3-jild. - Toshkent: Tamaddun, 2017.-260 b.

Qo’chqorova M. Abdulla Qahhor istiqlol adabiyotshunosligi ko’zgusida. - Toshkent: Akademnashr, 2018. - 256 b.

Qo’chqorova M. "Jaziramadagi odamlar" romani badiiyatiga chizgilar // O’zbek tili va adabiyoti. 2017. №5. - 68-75 b.

https://kun.uz/79757243

https://ziyouz.uz/ozbek-nasri/otkir-hoshimov/q-q

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