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In the history of 21st century literature, Ismail Kadare is the most important writer. His books translated into almost 45 languages, continue to tell the story of a fantastic Albania everywhere in the world, with a culture and language that entices millions of readers to ask more about it every year. The general in the work “The General of the Dead Army” is already trying in my mind, where drunk from the rhythm of the drums, the sighing of the violins, the sound of the garnet, he feels when the silence flattens, something magical.
Wedding, this significant tradition in the history of Albanians, is used in Kadare’s work as an important image of our ethno-cultural identity. In an Albania that has been described by dictatorship for almost half a century, the writer manages to see continuity through language, music, or the preservation of tradition. World criticism continues to find an element of a modernity that enriches world literature that has its origins in the deep roots of our folklore and tradition.
But I would not like to dwell on the universality of a work that made Albanian literature part of world literature since the early 1970s, while the country was still experiencing communism. I would like to talk about another dimension of the writer who comes at the beginning of this century as an important subject for all those who will later deal with the study of his life and work.
The publication of the book “Time for storytelling – Dialogue with Alda Bardhyli” (Sh.B. Onufri) on the 85th anniversary of the writer’s birth, is an event not only for Albanian culture. Jason Goodwin, one of the brightest minds of contemporary letters, rightly calls them in the preface to the book, as “21st century conversations that will resonate beyond Albania.”
Our literary history is poor in terms of such narratives. Petro Marko, for his own European formation, is the only one who has left such a testimony in “Interview with himself, Clouds and Stones”.
And only a few years after announcing that “he would not write anymore”, Kadare comes to these stories telling us the extraordinary history of a literature, country, culture and language.
A story that reminds me of Philip Roth’s unfinished conversation with Benjamin Taylor, which came in the book “Philip Roth and I”, but unlike Roth, Kadare describes secret areas of consciousness with astonishing sincerity.
The book begins with the fascination of Macbeth, showing the importance of early acquaintance with the great literature in his life, to continue with liberal Moscow, Pasternak, return to communist Albania, corpus of works, Kosovo, China, love, wife and death .
Kadare removes the texture of a heavy shadow we are used to seeing, and appears to us with the image of a sensitive man like any other man in relation to women. He admits that love has often faded into his life, showing us a Kadare drawn to passion as in his works showing that the writer alone Christ cannot be.
“For the love that destroys a man”, admitted Lasgush Poradeci. In the history of writers who lived in former communist countries, Kadare is perhaps the bravest. Not only for the fact that he managed to face the dictator by turning him into a character, but also managed to create a love flirtation right in the heart of power.
For the first time in “Time for Confession”, he talks about this love, of which Enver Hoxha himself was aware. This love affair takes on another meaning in this century, outlining to us a Kadare who, like Hemingway, did not give up in the face of love. But before whom does the writer surrender ?! I could never find out. To no one, nowhere.
“Time for a Story” with Alda Bardhyli, is not only a book about love, but also about how great literature manages to challenge even the wildest dictatorships. I like to see Kadare in this honest corner where he shows himself after so long, trusting Alda Bardhyl’s not so casual ear, some pieces of life. A Kadare that shines, as much as his work. That is why the river of rage has ignited as always and has not escaped them, even this time…
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