yeah?

And written in blocks rather than in bricks, let's say, yeah? So in that sense, so you are sort of developing your taste, your presumptions, your sort of, you know, your preparedness to the culture, right? to perceive it as blocks rather than separate things, you know, rather than, for example, separate words.

Words, they don't dominate, for example, in the Uzbek mind as much as the wholeness of the sentence, let's say, you see.

Does it affect, for example, the sort of relationship between the individual and the society? Maybe, because you can see the parallel.

When the individualistic sort of philosophy came to Uzbekistan in the beginning of the 20th century, so those people who were blamed in bourgeois, blah, blah, blah, individuality, they've started to create this sort of poetry by certain words, separate words, for example.

You can create poetry by association of the words, not to crush them into the sentence to make them completely understandable.

That is the issue of those agglutinative languages, because they are extremely regular and they are extremely linear.

And, you know, in general, I think literature which makes us open in that way which makes us see things a new way provide a different lens and art in general as well is one of the first things that's always clamped down on I would say in totalitarian societies so Why is it art in particular that is clamped down on in totalitarian societies? And how can we resist and keep art having its sort of power?