P rominent t ajik f igures of the

Party of Tajikistan. His stories, which deal with the social and political
problems of Tajik society, have been in print since 1958. He is also a

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Iraj Bashiri

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satirist. His contributions include "Favvora" ("The Fountain," 1964),

"Rohhoi Zindagi" ("Paths in Life," 1966), "Ru ba Oftob" ("Facing the
Sun," 1968), "Sidoqat" ("Truthfulness," 1968), "Gulkhani Dusti" ("Rose
Garden of Friendship," 1969), "Pidaron va Farzandon" ("Fathers and
Offspring," 1971), "Az Jibha" ("From the Front," 1973), "Oshiyoni
Baland" ("The Lofty Perch," 1974), "Dar Otash" ("In the Fire," 1975),
"Qissai Bishai Sabz" ("The Tale of the Green Woods," 1977), and
"Savgand" ("Oath," 1983).
Faizulloev joined the Union of the Writers of the Soviet Union in
1974.
Farhat, Muhiddin
Tajik poet Muhiddin Farhat, also referred to as Hasanov, was born
on August 7, 1924, into a farming family in the village of Khojanais-
avor in Khujand. He contributed to the war effort from 1941 to 1945.
He joined the CPSU in 1948.
Farhat graduated from the Leninabad Pedagogical State Institute in
1948. In 1953 and 1954, he was Head of the Literary and Artistic Divi-
sion of Tojikistoni Surkh. During 1954 and 1955, he was a literary con-
tributor to Sharqi Surkh. Between 1955 and 1959, he was the Editor of
Pioniri Tojikiston. From 1960 to 1969, he was the Chief Editor of Taji-
kistan State Publications. In 1970, he became the Chief Editor of the
Soviet Tajik Encyclopedia.  His first poems appeared in the 1930s in the
local Khujand paper, Bo Rohi Lenin. His first poetry collection, Gulhoi
Shodi (Flowers of Happiness), appeared in 1948. His other contribu-
tions include "Dust Midoram" ("I Love," 1950); "Nazmi Ozodi"
("Poetry of Freedom," 1955); "Taronahoi Muhabbat" ("Songs of Love,"
1962); "Rudi Kuhi" ("The Mountain River," 1964); "Chashmai Bahor"
("The Spring Fountain," 1972); "Kitobi Dusti" ("The Book of Friend-
ship," 1976); and "Gilosi Safid" ("The White Cherry," 1981).
The themes of Farhat's poetry are centered on life in the Soviet
Union, the promotion of peace, education, and friendship, and the bene-
fits of socialism. He is also interested in depicting nature, love, and
truthfulness. The events of World War I have a special place in his
compositions. In these regards, his contributions include "Zuri Khalq"
(People Power), "Maktubi Modaron" ("Mothers' Letter"), "Javobi
Pisaron" ("The Sons' Response"), "Salom, Tojikiston" ("Hello, Tajiki-
stan"), and "Boroni Bahori" ("Spring Rain").

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