Some books are interesting because they tell a story. The Sands of Oxus: Boyhood Reminiscences of Sadriddin Aini is interesting because it captures an entire world at the moment before it disappears.

Through the eyes of a clever, frightened and observant boy in late nineteenth-century Bukhara, Sadriddin Aini turns childhood into history. Village schools, sandstorms, canals, cholera, hunger, superstition, poetry, cruelty and humour all pass through the same narrow lanes.

The result is more than a memoir: it is a portrait of old Central Asia, and a quiet explanation of why that world could not remain unchanged.

Why the past refused to become propaganda

Originally published in Tajik as Yoddoštho / Ёддоштҳо between 1949 and 1954 in Stalinabad (now Dushanbe), The Sands of Oxus: Boyhood Reminiscences of Sadriddin Aini, appeared in English in 1998. Published at a time when Soviet writers were often expected to celebrate factories, production and Stalinist progress, Aini instead returned to childhood. That choice matters because the book is not a nostalgic retreat into the past. It is Aini’s attempt to explain how a child of old Bukhara became a modern writer, reformer and Soviet-era national figure.

Also read on Novastan: “Hafiz Saifullaev’s prose marks a fruitful turning point in Russian-language Tajik literature”

The book begins in rural Bukhara, among village celebrations, halva workshops, shifting sands, irrigation canals, family disputes, religious lessons, fasting, fairs, harvests and death. Aini writes about the physical struggle of everyday life: villagers fighting sandstorms, digging canals, enduring hunger and disease. But he also captures the mental universe of the time: fear of demons, belief in exorcism, the authority of religious teachers, the prestige of Persian poetry and the weight of inherited customs.

One of the most striking things about the book is that it does not read like simple Soviet propaganda. Aini certainly condemns the old order. Poverty, superstition, arbitrary power, clerical abuse and social cruelty appear throughout the book. However, the book does not present history as a clean march from darkness to socialism. Lenin is absent; Saadi is present. Poetry often matters more than ideology.

That ambiguity made Aini’s work powerful, but also politically delicate. Aini was not an anti-Soviet dissident, and Yoddoštho was published in the Soviet Union. The memoirs could be read as anti-feudal, anti-clerical and pro-enlightenment, which made them acceptable to Soviet editors. Yet his writing sat uneasily within Soviet nationality policy. It preserved a Persianate world of Islamic learning, village ethics, oral memory and Bukharan social complexity. It helped build modern Tajik identity while also describing a shared Central Asian past that did not fit neatly into Soviet national borders.

Bukhara between Tajik and Uzbek memory

The renewed relevance of The Sands of Oxus lies in the fact that Central Asia is once again debating its past. Jadidism, Bukhara, colonialism, Soviet modernisation, Islamic heritage, national identity and the relationship between Uzbek and Tajik cultural histories are all being reconsidered.

Aini stands exactly at that intersection. He was born in what is now Uzbekistan, wrote across Tajik and Uzbek contexts, and described Bukhara, a city central to both national narratives. His memoirs are therefore not only personal recollections. They are an archive of nineteenth- and early twentieth-century Central Asian life: village customs, schools, professions, beliefs, family structures and social hierarchies.

This is why the book speaks so strongly today. It recalls a Central Asia before national borders hardened, when Persianate culture, Turkic speech, Islamic education, local identities and imperial pressures overlapped in complicated ways.

In Tajikistan: a national classic

In Tajikistan, Aini is foundational. He is not simply a writer, but a national institution: the father of modern Tajik prose, a builder of the literary language, and a figure through whom Tajik Soviet and post-Soviet identity have been narrated.

For Tajik readers, Yoddoštho is more than an autobiography. It is almost a national archive. Through Aini’s childhood, Bukhara becomes part of a recoverable Tajik past. Village life, old schools, artisans, religious figures, intellectuals and reformers all become elements of a literary homeland.

The book therefore carries emotional and cultural weight. It preserves a world that Tajik national memory claims as central to its own formation.

In Uzbekistan: a shared but sensitive legacy

In Uzbekistan, Aini’s reception is more layered. He belongs to Uzbek literary history as well: he lived in Bukhara and Samarkand, wrote in Uzbek contexts, and engaged with the Jadid and Soviet transformations of the region.

Yet his legacy is sensitive because his work also helped define a distinct Tajik literary identity, often by presenting Persian-speaking Bukhara as a central part of Tajik cultural history. In a country where Bukhara is one of the great symbols of Uzbek heritage, this creates a complex overlap rather than a simple national ownership.

Today, as Uzbekistan revalorises Jadidism and revisits its early modern intellectual history, Aini can be read in a new way: not only as a Soviet Tajik monument, but as a Bukharan intellectual whose life crossed the Uzbek-Tajik divide.

Before borders hardened

Beyond Tajikistan and Uzbekistan, The Sands of Oxus is less of a national classic, but it remains an important regional text. In Kazakhstan, Kyrgyzstan and Turkmenistan, Aini does not occupy the same canonical place as national literary figures such as Abai, Chingiz Aitmatov or Makhtumkuli. Yet his memoirs illuminate a shared Central Asian problem: how traditional authority, religious education, rural poverty, imperial pressure and Soviet modernisation interacted before borders and national canons became fixed.

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The book is therefore valuable not only for Tajik or Uzbek readers, but for anyone interested in how Central Asia entered the twentieth century.

A past too complex for Soviet ideology

The Sands of Oxus is not a fast book, but it is a rewarding one. Its power lies in detail: a schoolroom, a sandstorm, a canal, a death, a rumour, a poem, a beating, a feast. Through these fragments, Aini turns childhood into a map of pre-Soviet Central Asia.

The book refuses to belong neatly to one category. It is Tajik and Bukharan, Persianate and Soviet, autobiographical and political, nostalgic and accusatory. That refusal is exactly what makes it so relevant today. At a time when Central Asian states are reassessing Jadidism, Soviet rule, colonial legacies and the ownership of cities such as Bukhara, Aini’s memoirs are a reminder that the region’s past cannot be divided cleanly into today’s national narratives. They show a world where Persianate culture, Islamic learning, rural poverty and early reformist politics overlapped before Soviet borders turned shared histories into competing national legacies.

Maya Ivanova, Author for Novastan-English and Mathieu Lemoine, Editor-in-Chief for Novastan-English

The post Bukhara Before the Border: Aini and the Politics of Tajik-Uzbek Memory appeared first on Novastan English.

The short story collection Hold Me in Your Arms, by Hafiz Saifullaev, has been nominated for the Sadriddin Ayni Literary Prize.

The book Hold Me in Your Arms (Moscow, 2024), by Tajik writer Hafiz Saifullaev, was nominated by the Sughd branch of the Writers’ Union of Tajikistan for the Sadriddin Ayni Literary Prize. This undoubtedly represents an important milestone in the landscape of contemporary Russian-language Tajik literature.

At first glance, the writer’s short stories may evoke a sense of ambivalence. Some find them highly personal, intimate and linguistically simple, yet complex in terms of perception and the depth of thought they convey. Others see in them a rather cerebral, rational form of writing, driven by the need to express the words of the soul, emotional fractures. In any case, by grasping the subtleties of the subtext, it becomes clear that a prosperous future awaits this Russian-language writer, a true sculptor of words.

Tajik media outlet Asia-Plus has read Hold Me in Your Arms, published in 2024 by Pero publishing house in Moscow, and has drawn the following conclusions.

A lyrical writer

Hafiz Saifullaev is a lyrical writer, in whom East and West intertwine naturally. His prose is imbued with the world around him. Trees, mountain rivers and high peaks all appear in his work in a philosophical and poetic form.

Also read on Novastan : Hymnes de sang, un recueil de nouvelles tadjikes de l’époque de la perestroïka

The most essential feature of his short stories is the absence of any distortion in his ideas about the world, people and their lives. Hafiz Saifullaev expresses his thoughts and feelings with such sincerity that his words seem to emerge in a moment of pure truth, without any artifice:

“I was sitting on a bench in the park. In the orange flames of autumn, wrapped in my black jacket, I looked like a piece of coal that had not yet caught fire. I had opened my laptop and was staring at the screen. I was searching for the Word. A cat distracted me from these useless ramblings, having crept up close without my noticing. It was grey, speckled with white, almost transparent. Floating, perhaps…”

Stories imbued with sincerity

The writer is fully aware that the loss of sincerity and inner truth is fatal to literature. And yet Hafiz Saifullaev’s short stories are not limited to a simple account of what he has seen or experienced: they take the form of philosophical meditations, reflections on life and death, the past and the future, the irreconcilable struggle between good and evil, joy and sorrow, the moment and eternity:

“Seeing my mother lying in bed, strangely stern, I went up to her and took her cold hand in mine. Her chin was held up by a bandage. ‘It’s over,’ I told myself, ‘Mama is dead.’ I looked at her, trying to imprint her features in my memory. But instead, her young face came back to me, her laughter. I stayed like that until I placed the pillow back under her head. Under the pillow was a folded velvet waistcoat, the one I loved. I could not hold back my sobs and leaned towards her, taking her in my arms. It was then that I heard her voice: ‘Do you love me?’ I began breathing again. My mother’s light flowed into my chest. No one saw it. It remains a secret between my mother and me.”

Like a return to childhood

Hafiz Saifullaev’s prose stands out for the richness of its vocabulary and the variety of its rhythm.

The language of his works is rich, metaphorical and simple, “almost materially tangible”, according to critic Sanoat Azizova. His thought is both visual and philosophical. The absence, in his miniature stories, of grandiloquence or declarative tone, often characteristic of more conventional prose writers, reveals the combination of genuine artistic talent and deep intelligence.

Reading Hafiz Saifullaev’s miniatures gives rise to a poignant feeling of nostalgia: the memory of one’s own childhood. In many of his stories, the colours are more vibrant, the snow whiter, the sky more azure and unfathomable. In the short story Hold Me in Your Arms, this is exactly the case: one’s breath is taken away by the brilliance of its wonderful, colourful epithets.

It is a rare thing to read a text of such coherence and density, written in a single breath, to the point that one almost regrets that the memories of childhood come to an end, that they are interrupted…

Music and thought

These are only a few sketches of impressions born from reading, or listening to, these musical stories by a talented writer who has brilliantly established himself in Tajikistan’s Russian-language literature. Reading his miniature stories, the reader perceives both music and thought, wrapped in the garment of his poetic imagination:

“There is the Word. The one whose function is to awaken man. And there it suddenly appears in the context of a sentence, of a story.”

This is exactly what happens in the short stories of the collection Hold Me in Your Arms.

Also read on Novastan : « Un thème éternel » : entretien avec l’autrice kazakhe Roza Mouqanova

Hafiz Saifullaev is moving through literature seriously and confidently. He must continue to remain always close to people, to live events fully alongside his characters. For this is what matters most for a writer, a poet, a creator. And there is no greater happiness than to be understood by those for whom one creates.

A sculptor of words

As the Kabardino-Balkar poet Tanzilia Zumakulova writes:

“And to dry someone’s tears,
To soften pain, O poet, you must be
Not an actor playing a role,
But shed bitter tears yourself,
And not suppress true suffering.”

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To conclude these reflections on Hafiz Saifullaev’s book Hold Me in Your Arms, a work that can rightly be described as poetic prose, it is possible to say that its author, a true sculptor of words, undoubtedly deserves to be awarded the prestigious Sadriddin Ayni Literary Prize.

His prose, as poet Nizom Kosim states, “brings together all that is best: the pull of plot and imagery, the brilliance of imagination and fantasy, the subtlety of themes and characters, a rich and vivid language. How could one not appreciate such prose?”

Azim Aminov and Kamila Mulloyeva
Journalists for Asia-Plus

Translated from Russian by Lisa D’Addazio and from French by Mathieu Lemoine

The post “Hafiz Saifullaev’s prose marks a fruitful turning point in Russian-language Tajik literature” appeared first on Novastan English.

On the road between Ayni and Dushanbe. Credit: Gina Bates (England)Find all of our photos of the day here.

The post Along the river appeared first on Novastan English.