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In a closed literature on vanity life such as Albanian literature, a saying of our great writer Ismail Kadare in his latest book “Time for a story-dialogue with Alda Bardhyli”, would bring back to the stage this missing debate on women .
Kadare breaks the schemes for the first time and says: In literature I have usually treated women as problematic women, with an imperfect morality. Such women seemed interesting to me. And it is true that these kinds of loose, not very moral women are interesting. Others have not interested me. It seems to me that not everyone cares about others. Women with a “negative” tis are interesting. Because they create problems, dissatisfaction and drama.
“In fact, his statement reminds you of Ana Krasniqi in Big Winter, a married woman who does not deny herself to dream of an attractive journalist, Besnik.
The reflection of the female reality for a work is not only related to time, but also to the perception of the female image that the male writer has”.
In general the women of the writer are emancipatory women, who have further advanced the concept of love and eros.
Alda Bardhyli: Kadare appears as a writer on the side of a woman. I have felt this since his first work “The Mists of Tirana”. A novel written in 1958, where we see a more fluidity image of the women depicted in this novel.
But how progressive is Albanian literature, in relation to eros and how sexist is it? Let us recall another character in Kadare literature found in the City without Advertising, even though it is about the 50s. Gjon Kurti breaks a taboo and falls in love and has sex with his own student.
Ylljet Alicka: What dialogues does the writer give and with what emotions does he dress the woman is one of the main indicators of the emancipation of a work. Kadare has dealt with the protection of female dignity, which may or may not be liberal.
Alda Bardhyli: Let’s not forget that one of the most beautiful characters in Kadare’s novel prose is “In front of a woman’s mirror”.
Mimoza Ahmeti: His women are female ideas. They are extremely beautiful because they are feminine ideas.
Mustafa Nano: All world literature to date has been accustomed to emphasizing the physical beauty of women. To me this is done because it is an objective thing of this world.
Tursun Pashai is another character of Kadare who took the hammam with him in the war. Exheri was his favorite, and the writer gives their love fire almost alive.
Ylljet Alicka: His messages transcend debate letters, but turn into moral and sometimes political messages, but in all these ambiguous appearances he is a modern writer.
Mustafa Nano: He pretends that sexist culture did not exist, but has existed and has penalized the other sex as well. This is why it is still called second sex.
Mimoza Ahmeti: The writer has a duty to provoke and push beyond moral and social boundaries.
Alda Bardhyli: I will not call Kadare a conservative writer. Because in no work, much less in the last book does he appear as an early modernist. Kadare is a great writer.
In a literature where male writers are dominant, as in the very history of world literature, female characters often created by themselves have faced the pressure of gender itself.
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