| Postuar mė 14-9-2004 nė 04:44||
Year of Birth: 1936
Place of Birth: Gjirokaster, Albania
Genre(s): Autobiography/Memoir, Fiction, Novels, Short Stories
Table of Contents:
Further Readings About the Author
Personal Information: Family: Surname is pronounced "keh DAH ray"; born January 28, 1936, in Gjirokaster, Albania; received political asylum
in France, 1990; father, a civil servant; married; wife's name, Elena; children: two daughters. Education: University of Tirana (Albania),
teacher's diploma, 1956; conducted advanced studies at Gorky Institute (Moscow), c. 1956-61. Addresses: Home: Paris, France. Agent: c/o Arcade
Publishing, 141 Fifth Ave., New York, NY 10010; Librairie Artheme Fayard, 75 rue des Saints-Peres, F-75006 Paris, France.
Education: Entry Updated : 08/15/2002
Career: Novelist, short story writer, and poet.
WRITINGS BY THE AUTHOR:
Gjenerali i ushtrise se vdekur, Naim Frasheri (Tirana, Albania), 1963, English translation by Derek Coltman published as The General of the Dead Army:
A Novel, W. H. Allen (London), 1971, Grossman (New York, NY), 1972, New Amsterdam Books (New York, NY), 1991.
The Wedding (published in Albanian as Dasma), English translation by Ali Cungu, Naim Frasheri (Tirana), 1968, (New York), 1972.
Kronike ne gur, [Tirana], 1971, English translation published as Chronicle in Stone, Meredith Press (New York, NY), 1987.
Dimri i vetmise se madh (title means "The Great Winter"), Shtepia Botuese Naim Frasheri (Tirana), 1973, published as Dimri i madh, 1981.
Nentori i nje kryeqyti, Naim Frasheri (Tirana), 1975.
Keshtjella, originally published c. 1970, Rilindja (Prishtine), 1976, English translation by Pavli Qesku published as The Castle, Gamma (New York,
NY), c. 1980.
The Twilight, 1978.
Ura me tri harqe: triptik me nje intermexo, Shtepia Botuese Naim Frasheri (Tirana), 1978, English translation by John Hodgson published as The
Three-Arched Bridge, New Amsterdam (Franklin, NY), 1995.
The Niche of Shame, 1978.
Gjakftohtesia: Novela, Shtepia Botuese Naim Frasheri (Tirana), 1980.
Kush e solli doruntinen (title means "Who Brought Doruntine Back?"), [Tirana], 1980, English translation by Jon Rothschild published as
Doruntine, New Amsterdam (New York, NY), 1988.
Viti I mbrapshte (title means, "The Dark Year"), [Tirana], 1980.
Krushqit jane te ngrire (title means, "The Wedding Procession Turned into Ice"), [Tirana], 1980.
Prilli I thyer, [Tirana], 1980, English translation published as Broken April, New Amsterdam (New York, NY), 1990.
Nenpunesi I pallatit te enderrave (title means "Employee of the Palace of Dreams"), [Tirana], 1980, English translation by Barbara Bray
published as The Palace of Dreams, William Morrow (New York, NY), 1993.
Nje dosje per Homerin (also known as Dosja H; title means "The H Dossier"), [Tirana], 1980, Naim Frasheri (Tirana), 1990, English
translation by Barbara Bray published as The File on H, Arcade (New York, NY), 1998.
Le crepuscule des dieux de la steppe (title means, "The Twilight of the Gods of the Steppe"), Fayard (Paris), 1981.
La niche de la honte, French translation by Jusuf Vrioni, Fayard (Paris), c. 1984.
Koncert ne fund te dimrit (title means "Concert at the End of Winter"), Shtepia Botuese Naim Frasheri (Tirana), 1988, English translation by
Barbara Bray published as The Concert: A Novel, William Morrow, 1994.
Perbindeshi (title means, "The Monster"), originally published in Nentori (literary journal), vol. 12, November, 1965, Shtepia Botuese e
Lidhjes se Shkrimtareve (Tirana), 1991.
Piramida, [Tirana], 1992, English translation by David Bellos published as The Pyramid, Arcade (New York, NY), 1996.
Nata me hene (title means, "A Moonlit Night"), [Tirana], 1985.
Hija (title means, "The Shadow"), [Tirana], French translation by Jusuf Vrioni published as L'ombre, Fayard, 1994.
Shkaba, Cabej (Tirana), 1996.
Pallati i Endrrave: Versioni Perfundimtar, Dukagjini, 1996.
Kusheriri i Engjevjve, Onufri, 1997.
Kasnecet e Shiut, Dukagjini, 1997.
Tri Kenge Zie per Kosoven: Novela, Onufri, 1998.
Kombi Shqiptar ne Prag te Mijevjecarit te Trete, Onufri, 1998.
(Co-author with Denis Fernandez-Recatala) Temps Barbares: de l'Albanie au Kosovo: Entretiens, Archipel, 1999.
Vjedhja e Gjumit Mbreteror: Tregime, Onufri, 1999.
Qorrfermani: Roman, Onufri, 1999.
Ra ky Mort e u Pame: Ditar per Kosoven, Artikuj Letra, Onufri, 1999.
Ikja e Shtergut, Onufri, 1999.
(Co-author with Denis Fernandez-Recatala) Kohe Barbare: Nga Shqiperia ne Kosove, Onufri, 2000.
Breznite e Hankonateve: Roman, Onufri, 2000.
(Co-author with Ukshin Hoti) Bisede Permes Hekurash, Onufri, 2000.
Elegy for Kosovo, Time Warner Trade Publishing, 2000.
Spring Flowers, Spring Frost, translation by David Bellos, Arcade, 2002.
Kadare's novels have been translated into Croation, Czech, Danish, French, German, Greek, Hungarian, Polish, Portuguese, Romanian, Russian,
Serbian, and Swedish.
Qyteti i jugut (title means, "The Southern City"), 1964.
Sjellesi I fatkeqesise (title means "Caravan of Veils"), [Tirana], 1980.
Invitation a un concert officiel et autre recits (title means, "Invitation to an Official Concert and Other Stories"), Fayard (Paris), 1985.
La Grande Muraille, suivi de Le firman aveugle (short stories, includes "The Great Wall" and "The Blind Fireman"), French
translation by Jusuf Vrioni, Fayard (Paris), 1993.
Frymezimet kjaloshare, 1954.
Motive me diell: vjersha dhe poema, Shtepia Botuese Naim Frasheri (Tirana), c. 1969.
Koha: vjersha dhe poema, Shtepia Botuese Naim Frasheri (Tirana), 1976.
Ne muzeun e armeve: poeme, Shtepia Botuese Naim Frasheri (Tirana), 1978.
Poezi, Naim Frasheri (Tirana), 1979.
Buzeqeshje mbi bote, 1980.
Also author of The Sixties and Insufficient Time.
CRITICISM AND ESSAYS
Autobiografia e popullit ne vargje, Shtepia Botuese Naim Frasheri (Tirana), 1980, English translation published as The Autobiography of the People in
Verse, 8 Nentori (Tirana), 1987.
Eskili, ky humbes i madh (title means, "Aeschylus, the Great Loser"), French translation by Alexandre Zotos published as Eschyle ou
l'eternel perdant, Fayard (Paris), 1988, Shtepia Botuese 8 Nentori (Tirana), 1990.
Ftese ne studio (title means, "Invitation to the Studio"), Shtepia Botuese Naim Frasheri (Tirana), 1990.
Ardhja e Migjenit ne letersine shqipe (title means, "The Arrival of Migjeni in Albanian Literature"), [Tirana], 1991.
Pranvera shqiptare (title means, "The Albanian Spring"), c. 1991.
La legende des legendes (title means, "The Legend of Legends"), Flammarion (Paris), 1995.
Visage des Balkans (title means, "Visages of Balkans"), Ecrits de lumiere (Paris), 1995.
Gjemojne kontinentet: vjersha, Shtepia Botonjese Naim Frasheri (Tirana), 1967.
Ismail Kadare, [Tirana], 1976.
Emblema e dikurshme: tregime e novela, Shtepia Botuese Naim Frasheri (Tirana), 1977.
Keshtjella dhe helmi: pjese teatrale, Shtepia Botuese Naim Frasheri (Tirana), 1977.
On the Lay of the Knights, 8 Nentori (Tirana), 1979.
Vepra letrare (title means, "Works"), twelve volumes, Shtepia Botuese Naim Frasheri (Tirana), 1981.
Fjalet e gjuhes se zjarrte: antologji e poeteve te rilindjes, Shtepia Botuese Naim Frasheri (Tirana), 1982.
Koha e shkrimeve: tregime, novela, pershkrime (title means "Epoch of Writings"; collection of two novels, eight short stories, and three
travel sketches), Shtepia Botuese Naim Frasheri (Tirana), 1986.
Entretiens avec Eric Faye (interview; title means, "Conversations with Eric Faye"), J. Corti (Paris), 1991.
Endrra mashtruese: tregime e novela, Shtepia Botuese Naim Frasheri (Tirana), 1991.
Spiritus: roman me kaos, zblesee dhe cmeers, Onufri, 1996.
Gjirokaster, la ville de pierre, photographs by Etienne Revault, Editions Michalon (Paris), c. 1997.
Behind the Sun was adapted for film by Brazilian director Walter Salles.
Ismail Kadare has been one of the most prominent writers of the Eastern European country of Albania since he first began publishing literary works in
the 1960s. A prolific author who has composed poetry, short stories, and volumes of criticism in addition to his many highly regarded novels, Kadare
is one of the few Albanian writers whose works have been translated and read in other countries. His novels and stories have in fact been translated
into about thirty languages and have seen an increasing amount of critical attention since the 1980s, particularly in France and the United States. In
a country rigidly ruled by a Stalinist regime from the end of World War II until the early 1990s, Kadare's writings have stood out as some of the
few examples of Albanian literature that did not follow the strictures of social realism, a genre devoted to propagating Marxist ideology. Instead,
Kadare has offered historical and contemporary tales that range from lyrical portraits of the Albanian people, drawing upon both the history and
folklore of the culture, to scathing parodies of totalitarian rule. Although he was often praised as a champion of Albanian nationalism during the
reign of Communist leader Enver Hoxha, Kadare did encounter run-ins with government censorship under Hoxha and his successor, Ramiz Alia. Citing
increasing pressures and threats from Albania's secret police during the reign of Alia, Kadare sought political asylum in France and moved with
his family to Paris in 1990.
Kadare was born on January 28, 1936, in the city of Gjirokaster in southern Albania, the town that was also the birthplace of Enver Hoxha. The son of
a civil servant, Kadare grew up during a time of tumultuous political struggle and the hardships of war--experiences that would later resurface in his
writings. Albania was a relatively new country in the 1930s, having declared independence in 1912 after four centuries of Turkish rule. The young and
weak nation was easily overrun by foreign forces, particularly those of Italy, during World War I. After the removal of the Italians, a stronger
national identity began to form under the Albanian ruler who named himself King Zog in 1928. But World War II brought the return of Italian occupying
forces, along with the armies of Nazi Germany, leading to the flight of Zog from the country in 1939. A Communist resistance group that had been
formed to oppose the occupation took control of the country with the retreat of the Axis powers in 1944. The Stalinist supporter Enver Hoxha emerged
as the nation's leader at this time, beginning a communist dictatorship that would last until his death in 1985.
Under Hoxha, Albania was first politically aligned with the country of Yugoslavia, but broke ties with that country when it left the Soviet bloc in
1948. Albanian allegiance was then declared with the Soviet Union, and the country became a formal member of the Warsaw Pact in 1955. It was because
of this political scenario that Kadare, after earning a teaching degree at Tirana University in 1956, was able to accept a scholarship to the Gorky
Institute in Moscow. There he studied world literature until political events intervened. With the death of Soviet leader Joseph Stalin, the USSR had
begun to take a conciliatory stance toward the country of Yugoslavia, a move opposed by Hoxha's government. These differences led Albania to
sever ties with the Soviets and to become an ally of Communist China in 1961. Therefore, in 1961 Kadare left Moscow to return to Albania.
Kadare quickly established a reputation as an important author back in his homeland. His first novel, The General of the Dead Army, appeared in 1963
and an English translation was released in England and the United States in the early 1970s, making it the first Albanian novel to be published in
America. The title of the book refers to a foreign general (identified by critics as Italian) who is sent to Albania twenty years after World War II
to recover the remains of his country's soldiers who were killed in battle there. At first confident and in control of his grisly task, the
general begins to question his work and his identity as he reflects upon the horrors of war. He further is subject to the hostility Albanians harbor
against their former oppressors. The burden of guilt that the general struggles against is represented by his belief that he has been placed under a
malignant curse. When the bones of the highest ranking officer killed in Albania, Colonel Z, are discovered, the general, having lost his sanity,
flings them into a mountain stream with the belief that this act will rid him of the spell.
The General of the Dead Army became Kadare's most popular novel within his native country as well as his most well-known work outside of Albania.
The government of Hoxha endorsed the book, despite its lack of obvious support of Communist ideology, because the work was viewed as containing a
powerful nationalist theme. By portraying Albanians as a strong, moral people, in contrast to the immorality and instability of the foreign
characters, some critics noted, Kadare was able to gain official acceptance for his anti-war novel. But his novel works on several other levels as
well, as reviewers have observed. "His point of view seems to reflect the official doctrine of Albanian communism which is permeated by
nationalism," stated Arshi Pipa in a Books Abroad review of The General of the Dead Army. This appearance is misleading, however, asserted Pipa,
who explained that "Kadare tells a lot about Albanian ethics and life, but almost nothing about Albanian communism. . . . The main characteristic
of Albanian communism, the celebration of work as the essence and purpose of life, is also ignored." The result of the work, Pipa maintained, is
a novel that avoids the propagandistic tone of most Albanian literature of that era and instead creates "a picture of the real Albania, a country
which has suffered a great deal from foreign invasions but has never lost its national pride." New York Times Book Review contributor Ken Kalfus
also noted the way in which Kadare "accommodates his former government's nationalist ideology, yet at the same time draws a nuanced,
troubling portrait of the Albanian people." Writing in World Literature Today, Janet Byron similarly asserted that the novel "is not a piece
of nationalistic propaganda promoting the tired but attractive notion that the West is corrupt while Albania is pure. Kadare weakens the allure of
this notion by showing that while vice is unevenly distributed, suffering is not. The wartime intruders and their descendants do not suffer any more
on account of their corruption, nor do the Albanians suffer any less because of their virtue."
Book reviewers were also impressed with the artistic merit of Kadare's writing in The General of the Dead Army. A work that surpasses the limits
of social realism, the book was called "the first Albanian novel which can stand the proof of criticism" by Pipa. Robert Elsie, critiquing
the work in World Literature Today, also acknowledged that "The General of the Dead Army is a step forward in Albanian letters. Gray storm
clouds, mud, and the humdrum reality of everyday life [contrast] sharply with the otherwise obligatory sunshine and blithe victories of social
realism." Kadare's "accumulation of detail and rather stylized conversations" in the book create "a slightly surreal
mood" according to a Kirkus Reviews appraisal. And Publishers Weekly reviewer Barbara Bannon lauded the novel as "a stern reminder of the
futility and tragedy of war, a remarkable exposition of guilt," and "an impressive, sustained act of imagination."
Kadare's next publication was a 1964 collection of short stories titled The Southern City. In contrast to his earlier novel, in which evil and
sorrow are seen as troubles brought to Albania from outside sources, the tales in this volume explore the problems inherent to the country,
particularly the clash between ancient customs and modern communist policies. This book, like The General of the Dead Army, was sanctioned by the
Communist rulers of Albania at the time of its publication. This was probably due to the fact that some of the stories, such as "In the
Cafe," show Albanian popular traditions to be harmful and the new Communist policies to be liberating. "In the Cafe" depicts two men
who meet to secretly make a marriage arrangement for their children, even though such matchmaking has been declared illegal by the Communist
government. Their negotiations, which represent an ancient cultural practice, are eventually broken up by government agents. But other stories seemed
to be critical of Communist rule and pointed to the hypocrisy of leaders. "Winter Season at the Cafe Riviera," for example, is about a man
who openly questions Communist Party members who engage in the forbidden matchmaking deals and is fired from his job for his statement.
The theme of matchmaking is featured in another of Kadare's works from the 1960s--The Wedding, first published in Albania in 1968. The narrative
focuses on Katrina, a young woman from the mountainous northern region of the country, an area considered to be more backwards than the more urban
south. Katrina has been promised in marriage through a match made by her father with a local family. But when the Communist authorities assign Katrina
and other young people to a railroad camp in the south, she is enlightened about the freedoms that young people are ensured through party policies.
The girl decides to reject the match that her family has made for her and instead marries a fellow worker with whom she has fallen in love. The author
demonstrates the severe repercussions that accompany a broken promise in traditional Albanian society with a scene of Katrina's father meeting
the matchmaker near the site of the wedding festivities in a bloody encounter. "The message is clear," concluded Byron in World Literature
Today. "The old customs are vicious and will crumble under the weight of their own contradictions, without in the least hindering the
establishment of more humane relationships between men and women."
The acceptance of Kadare and his works by the Albanian government was highlighted in 1970 when he became a member of the country's legislative
body, the People's Assembly. His comfortable relationship with Party officials also allowed him to travel and publish outside Albania--a rare
privilege in a country considered to be one of the most isolated in the world at that time. By the early 1970s, although he held no position as such,
he was considered to be the official writer of Albania. The success of his novel Chronicle in Stone, released in his country in 1971, helped to secure
this reputation. This semi-autobiographical story takes readers into the often magical world of a young boy living in what appears to be the city of
Gjirokaster, Albania, during World War II. Over the course of the novel, the narrator grows from a child who is horrified by the sight of sheep being
slaughtered to an adolescent who has become immune to the violence and chaos that war brings to his hometown. But his imaginative, youthful view of
the people and elements, particularly the stone, that make up the city, creates a nostalgic look at the old ways of Albania that are stomped out in
the invasion of foreign and modern forces. The boy's fascination with the gleaming metal airplanes that are brought in by occupying armies,
contrasted with a local inventor's dreamy creation of a delicate aircraft powered by perpetual motion, the murder by military men of a woman who
has carried on the tradition of painting the faces of young brides, the arm of a British pilot that falls from the sky, and an outbreak of troublesome
magic in the city which is interpreted as a sign of impending disaster all contribute to an atmosphere some critics likened to the magical realism of
South American writer Gabriel Garcia Marquez. The characters are finally forced to leave this unique world, however, when they evacuate the city in
the face of a German invasion.
Chronicle in Stone was one of Kadare's most praised works. Upon its translation into English in the late 1980s, it received a number of laudatory
reviews from critics. Leonie Caldecott, critiquing the novel in the New York Times Book Review, observed that the events of the story can be seen as
an encapsulation of Albania's historical struggles. "The boy is in some sense merely reliving the history of his people, who down the
centuries have shrugged off the coming and going of invading armies," stated the reviewer. Nation contributor Evan Eisenberg, noting
Kadare's use of magical themes, declared that "it is remarkable that his images, no matter how farfetched, so rarely seem strained or
arbitrary or avant-garde." Caldecott also admired the balance struck by the author, commenting that "the triumph of Chronicle in Stone . . .
is that it does not need to depart from the esthestically satisfying unities of time, space and action in order to achieve this beguiling conjunction
of realism and fantasy." Savkar Altinel, writing in the Times Literary Supplement, also felt that Kadare's techniques were not particularly
idiosyncratic and in fact maintained that comparisons to Garcia Marquez were unjustified. "The pleasures of this text are, by and large,
conventional ones," stated Altinel. Discussing the novel in the New Yorker, John Updike appreciated the appearance of a quality work from a
region not known for its great literature. Updike praised Chronicle in Stone as "no mere curiosity but a thoroughly enchanting
novel--sophisticated and accomplished in its poetic prose and narrative deftness, yet drawing resonance from its roots in one of Europe's most
Kadare's favored status with Albanian officials suddenly disappeared with the publication of a satirical poem about the country's
bureaucracy, "The Red Pashas," published in 1975. Not only was the author forced into internal exile in a small central Albanian village, he
was also forbidden to publish anything for a number of years. This censorship finally abated in 1978 with the publication of Kadare's novel The
Three-Arched Bridge. Perhaps in order to quiet the suspicions of censors, the author set his novel several hundred years in the past, in medieval
Albania. During a time of increasing distrust of the Turks who are moving into the area, a bridge being built by the foreigners over a local river
becomes the target of mysterious sabotage, which the townspeople blame on supernatural water naiads. When a man is found murdered and plastered into
the bridge foundation, the assumption is that this was an immurement--a traditional Albanian practice in which a human sacrifice is made to appease
the evil spirits haunting the structure. The monk who begins to investigate the murder, and who serves as the narrator of the novel, ultimately
discovers that the Turks have used this legend to cover their assassination of the local man who had been vandalizing the bridge.
Reviewing the English translation of the novel in the New York Times, Patrick McGrath found The Three-Arched Bridge to be "a profoundly
atmospheric book" which involves both striking descriptions of the grim physical setting as well as an insightful portrayal of political and
social tension during this historical period. "The novel is a reflection on the complex interactions of myth, cash and power in a time of
political divisiveness and instability," wrote McGrath. The critic continued, "It is at the same time an utterly captivating yarn: strange,
vivid, ominous, macabre and wise." While a Publishers Weekly contributor found the novel's conclusion to be "unsatisfying" in its
predictableness, the reviewer acknowledged Kadare as "a terrific writer" with a "gift for ominous parable."
Kadare's relationship with Albanian officials continued to fluctuate in the 1980s. He began the decade with a number of accepted works with
historical settings. One of these was The File on H, a 1980 novel about two Irish-American folklorists who explore northern Albania in the 1930s in
search of a link between traditional songs of the area and Homeric verse. Their activities draw the attention of a bumbling local politician and an
Albanian secret agent; they also raise the suspicion of villagers, who eventually thwart the scholars' project with sabotage. Robert Elsie, in a
World Literature Today appraisal, commented that The File on H is "a delightful satire on two innocent foreigners endeavoring to fathom the
Albanian soul and, in particular, on the foibles of Albanian life at which foreign visitors often marvel: the Balkan love of rumors and gossip,
administrative incompetence, and a childish fear or suspicion on the part of the authorities of everything foreign."
The year 1980 also saw the publication of Kadare's novel Doruntine, a supernatural mystery based on a fairy tale from the region. Again returning
to medieval times, the author recounts the tale of a family whose daughter, Doruntine, has married and moved to Bohemia. The mother has lost all her
other children but one, her son Constantine. Worried about losing her only daughter, she makes Constantine promise that he will bring his sister back
to her if she ever desires it. Although Constantine eventually dies, Doruntine returns one night, saying that her brother has brought her there in
accordance with his promise. Doruntine and her mother die soon afterward, apparently from the shock of the idea that Constantine rose from the dead to
fulfill his pledge. An official by the name of Captain Stres is given the task of preparing a report on the unusual events. In the course of his
investigation, the captain "uncovers some blood truths at the core of an Albanian soul gripped by passionate belief in God, mystery, clan, and
honor," asserted Stephan Salisbury in the New York Times Book Review. In a World Literature Today review, Robert Elsie called the novel
"legendary in the purest sense" with an "atmosphere of medieval intrigue." Times Literary Supplement contributor Savkar Altinel
suggested that in addition to being a "melancholy tale of love and loss," Doruntine also serves as an "ingenious parable about
Albania," in its presentation of the nation's religious tensions and fear of foreigners.
Kadare delves into another dark side of Albanian culture in Broken April (1980). Set in twentieth-century Albania, the novel follows the members of a
northern family involved in an ancient bloody feud guided by a traditional code known as the Kanun. A newly married couple from the south arrives on
the scene for their honeymoon, partly in order for the intellectual husband to get a first-hand glimpse at the rural culture he has been studying. The
romantic world the scholar has imagined ends up being much more violent and dangerous than his expectations. The wife grows disillusioned with her
husband when she, too, sees the contrast between the reality of the peasants' world and her husband's idyllic representations. With this
story, stated Savkar Altinel in the Times Literary Supplement, Kadare "has produced not just a sad and beautiful tale but also a powerful
allegory about pre-Communist Albania with its downtrodden masses, its blood-sucking ruling class, its ineffectual men of science in the service of
feudal institutions, and its cloistered intelligentsia ignorant of social realities." Merle Rubin, critiquing the book in the Christian Science
Monitor, found it to be "a precise and delicate balance of wonder and horror, simplicity and irony." And New York Times Book Review writer
Herbert Mitgang hailed Broken April as a work that established Kadare "as a major international novelist": "Broken April is written
with masterly simplicity in a bardic style."
Another widely reviewed book that first appeared in Albania in 1980 was Kadare's highly controversial novel The Palace of Dreams. Described as an
"explicit and fantastic fable of totalitarianism" by Imogen Forster in the Times Literary Supplement, the novel was banned in Albania
shortly after its release. The Palace of Dreams of the title is a bureaucratic entity in the hypothetical United Ottoman States. A young man named
Mark-Alem Quprill is assigned to the Palace, where he becomes one of the many employees involved with cataloguing and interpreting the reports of
dreams from citizens of every corner of the empire. The supposed purpose of the dream documentation is to watch for signs of "master dreams"
that signify potential anti-government threats. As he reaches higher levels of authority in the Palace, Mark-Alem finds himself less and less able to
appreciate the joys of the real world.
The stark characterization, vaguely historic setting, and limited plot struck critic Forster as an ultimately unsatisfactory effort from Kadare.
"The characters are so ghostly, the narrative so flaccid, the creation of a microcosm of dictatorship, despite its bizarre form, so sterile and
predictable, that the reader feels that there must somewhere be more, and that this must be the author's occluded messages to his Albanian
readers," stated Forster. New York Times Book Review contributor David R. Slavitt also had reservations about The Palace of Dreams. While
acknowledging that part of the problem was that English readers of the 1990s were receiving a translation of the book after the fall of
totalitarianism in the Balkans, rendering many of the novel's themes irrelevant, he also cited stylistic flaws. "Not much happens in the
novel," maintained Slavitt, "and its series of small, self-conscious and even self-congratulatory moves can get to be, even in a relatively
short book, a bit tiresome." Other reviewers were more impressed with the novel. Bettina L. Knapp, writing in World Literature Today, admired the
work's "ingenious plot" and averred that while "the novel is humorous" it is also "to be taken seriously." Observer
critic Sally Laird lauded the anti-utopian story for the way "it reminds us that hell, like love, can always be imagined afresh."
After the publication and subsequent censorship of Palace of Dreams, Kadare's literary output slowed somewhat. His next novel, Twilight of the
Gods of the Steppe, a parody of the Russian Communist Party and government based on his personal experiences at the Gorky Institute, appeared in 1981,
but he did not produce another major fiction work until 1985. In that year he release a collection of short stories entitled Invitation to an Official
Concert and Other Stories. Reviewing the collection, Bettina L. Knapp in World Literature Today remarked that Kadare "writes with pith and
About this time, the Albanian leader Hoxha died and was succeeded by Ramiz Alia. Many citizens of Albania hoped that the new leader would reform the
totalitarian policies that had dominated the country since World War II, but Alia failed to live up to their expectations. Kadare became a central
figure in calls for democratic reforms in the late 1980s, at the same time continuing to put out books that continued to poke at the flaws in the
In 1988 he published The Concert, a novel parodying the relationship between Albania and the Chinese Communist system, a political force that Albania
had separated itself from in the 1970s. Kadare alternates between events in Albania and China, focusing on a cast of characters ranging from Albanian
diplomats to Chinese spies and even Chinese leader Mao Tse Tung. While spoofing the often bizarre tactics of the Chinese, Kadare also shows an
Albanian family trying to maintain some semblance of a normal life in the face of the changes brought about by the interactions of the two countries.
The Concert received mixed reviews from critics of its English translation. Admitting that the novel "registers history's calibrations in
Albanian society during an era of ideological freefall," Bill Marx in the Nation also found that "Kadare never satisfactorily orchestrates
the book's various voices . . . which makes this the most fractured and uneven book he's published here." Marx described the novel as
"a brilliant fable about an attempt to imprison the unconscious mind." Sybil S. Steinberg, in a Publishers Weekly critique, was more
positive about what she called a "subversively inventive satire" that highlights "Kadare's mordantly ironic vision." While
citing some awkward aspects of the novel, New York Times Book Review writer Robert D. Kaplan argued that the work remained a valuable one: "Mr.
Kadare makes us understand the secret of how a totalitarian regime survives: terror breeds isolation, and that isolation denies the inhabitants a
crucial perspective, without which it's hard for them to realize just how abnormal their society is." Julian Duplain, reviewing The Concert
for the Times Literary Supplement, felt the work "superb" as "a portrait of the isolation of the old Albania."
Over the next two years, Kadare spoke out against government control of literature on a number of occasions. In the winter of 1990 he had a personal
meeting with Ramiz Alia, from which he emerged hopeful that the leader would soon enact reforms allowing for a wider range of freedoms. His tone
changed a few months later after he received a letter from Alia which Kadare characterized as "idiotic" in a Vanity Fair article by
Jean-Christophe Castelli. This disappointment, combined with apparent threats from the Albanian secret police, led to his defection to France in that
year. Only six months later, Albania joined the trend of Eastern bloc countries who threw off their totalitarian systems.
In 1992 Kadare released The Pyramid, another parable, concerning the construction of the pyramids in Egypt. Originally published serially in short
story form in an Albanian newspaper in 1990, The Pyramid, Robert Elsie deemed in World Literature Today, "can only be understood properly if read
as a political allegory." Bruce Bawer, reviewing the novel in the New York Times Book Review, found the analogy between Egypt and Albania
effective: "Like cold-war-era Albanians, the people who dwelt on the banks of the Nile four and a half millenniums ago had relatively little
interaction with other nations; like the long time Albanian strongman, Enver Hoxha, the Pharaohs were rulers whose authority was absolute." Bawer
summed the work: "the book . . . adds up to a haunting meditation on the matter-of-fact brutality of political despotism, the harshness of life
among the humble and powerless, and the vastness, ubiquity and stonelike permanence of death, which treats all humanity as equals." Ian Thomson
in Spectator surmised that he did not find it the "best of this Albanian writer." Thomas did state, "The Pyramid is a fine, creepy read
and one can only marvel at how Ismail Kadare managed to write anything under the pressures of so watchful a regime."
While many of the themes of Kadare's novels and stories may seem irrelevant with the fall of communism in Albania, his writing is still highly
praised for its insightful views of the character of the Albanian people and its criticisms of the dangers of totalitarianism. The literature that has
been produced by Kadare throughout his lengthy career as an author has been called one of Albania's most important exports, and the author
himself is considered a sort of living "national monument" in his native land. Readers from all over the world have become more familiar
with Kadare's talents with the numerous translations of his works that have appeared since the 1980s, and his widening acclaim has been evident
in his nomination for the Nobel Prize on several occasions. Times Literary Supplement reviewer A. M. Daniels summed up critical sentiment with the
declaration that "there is no doubt that his work remains an ornament of his country's, and his continent's, literature."
| Postuar mė 26-3-2005 nė 18:24||
|Dy dosje tė turpshme kundėr Kadaresė nė Suedi|
Drejtori i Arkivit të Shtetit, Shaban Sinani, ka deklaruar dje në Durrës, në promovimin e librit Një dosje për
Kadarenë, se në Akademinë e Shkencave të Suedisë, vendi që shpall fituesit e çmimit Nobel, janë depozituar
dy dosje, të cilat janë mbushur me fyerje dhe denigrime për Ismail Kadarenë; ish-drejtori i Arkivit, Luan Malltezi, pohon se nuk
ekzistojnë këto dosje në Shqipëri; shkrimtari Sadik Bejko shprehet se të gjitha faktet për shkrimtarët që
kanë kallëzuar njëri-tjetrin pohohen vetëm nëpër tavolina dhe se dosjet e sigurimit janë më të rënda
Prof.dr.Shaban Sinani ka deklaruar se në Suedi janë depozituar dy dosje kundër shkrimtarit të madh shqiptar, Ismail Kadare.
Deklarata e tij është bërë në Durrës gjatë promovimit të librit të autorit Sinani, Një dosje
për Kadarenë, të organizuar nga biblioteka publike e Durrësit në galerinë Jozef. Sinani ka shtuar se, në
Akademinë e Shkencave të Suedisë, vendi që shpall fituesit e çmimit Nobel, janë depozituar dy dosje, të cilat
janë mbushur me fyerje dhe denigrime për Ismail Kadarenë. Ai nuk ka deklaruar se cilët janë autorët që kanë
formuluar dosjet, por është shprehur se dosja është mbushur nga emra të njohur të letrave nga diaspora shqiptare dhe
është cilësuar si veprimi më i keq që i bëhet shkrimtarit të madh me përmasa evropiane, nga vetë
shqiptarët. Sinani ka theksuar se, libri i tij nuk është nxitur nga shkrimtari Kadare, por si synim i tij për të vendosur
në qendër të opinionit të huaj një dosje më shumë në krah të vlerësimit të Kadaresë.
Sipas autorit të librit "Një dosje për Kadarenë", në fletët e veprës del në pah edhe qëllimi i
autorit, që mbetet prezantimi i Kadaresë në raportin mes politikës e letërsisë. Një detaj që nuk ka
rënë shumë në sy deri tani, por që Sinani e ka theksuar, ishte fakti se Ismail Kadareja është ftuar për
të parë në dorëshkrim librin para se të shihte dritën e botimit. Ndërkohë që, Sinani bëri të
ditur se dorëshkrimi është pritur ftohtë nga Kadareja, i cili nuk i ka kushtuar më shumë se 10 minuta vështrim
sipërfaqësor dorëshkrimit në fjalë. Libri Një dosje për Kadarenë është prezantuar në faqet e
gazetave edhe në Itali, Rumani e Greqi, ndërkohë që autori ka deklaruar se shumë shpejt libri do të botohet edhe në
Francë, në frëngjisht.
Por, Sinani ka thënë se para se të botohet në Francë, libri do të ripunohet në një version të ri. Vepra e
prof.dr.Shaban Sinanit, Një dosje për Kadarenë, e cila ka pasur reagime, madje, edhe polemika që para se të botohej, ndahet
në dy pjesë. Në pjesën e parë, autori i është përkushtuar studimit për stilin e të shkruajturit
të Kadaresë, ndërsa në pjesën e dytë botohen 40 dokumente që dëshmojnë marrëdhëniet e
shkrimtarit Ismail Kadare me politikën në kohën e regjimit komunist.
Sinani: Shkrimtarë nga diaspora kanë denigruar Kadarenë
Figura e Kadaresë është denigruar dhe fyer përmes letrave drejtuar Akademisë së Nobelit në Suedi. Drejtori i
Arkivit të Shtetit, Shaban Sinani, ka deklaruar dje se në vendin që shpall fituesit e çmimit Nobel, janë depozituar dy
dosje kundra. Sinani nuk ka përmenduar autorët që kanë formuluar dosjet, por është shprehur se, dosja është
mbushur nga emra të njohur të letrave nga diaspora shqiptare dhe është cilësuar si veprimi më i keq që i bëhet
shkrimtarit të madh me përmasa evropiane, nga vetë shqiptarët. Sinani ka theksuar se, libri i tij nuk është nxitur nga
shkrimtari Kadare, por si synim i tij për të vendosur në qendër të opinionit të huaj një dosje më shumë
në krah të vlerësimit të Kadaresë.
| Postuar mė 27-3-2005 nė 13:07||
|Sot nuk dihet a ekziston kund flamuri qe u ngrit ne Vlone. |
Nuk dihet a ekziston kund dokumenti i shpalljes se pamvaresise. Kush ishin gjithe firmuesit.
Nuk dihet kur asht shkruejt shqipja per here te pare.
Tash 60 vjet qe vec fallsifikohen dokumenta e retushohen foto, shtremnohet historija e s'dime ma me ja gjete fillin asgjaje.................e
shqiptaret paguejn nji drejtor te arkivave te shtetit per me u marre me letrat anonime kunder Kadarese.....a thue se i kane zgjidhe tana problemet e
tyne.........ne vend qe me e vue historine tone ne vendin qe i takon........botojne ne France, frangisht, liber me diftue se Kadareja ka pase
Teveqela, botoni ne France libra per historine e Shqipnise e shqiptareve e mundonju me ju kundervue historianeve nacionalista te armiqve te
| Postuar mė 3-4-2005 nė 05:26||
|Pėr Z. e nderuar Kadarenė...|
Shumicën e librave të Z. Kadaresë i kam lexuar. E çmoj shkrimtarin më të madh bashkohorë. Hajde se nomenklatura e
kuqe paska qenë imbecile, por nuk e di a ka pasur lexues në Shqipërinë xhuxhe dhe jasht saj që t'ë bëjë
lidhjen p.sh. në "Pallati i ëndrrave" në mes oborrit të Sulltanit dhe të Enverit. E vërteta është
edhe misterioze, por një mik i imi këtu në mërgim që ka qenë i burgosur dhe i internuar në famëkeqen
Savër të Lushnjës, më ka thënë se I. Kadare ka qenë rreth 30 vjetë deputet i Kuvendit Popullor, ka pasur
pasaportën dhe ka mundë me udhëtuar jasht shtetit dhe ka pasë në dispozicion veturën me shofer. Kam në Mujoren
letrare "ars", citate të botuara në të të marra nga "Drita" gazeta e Lidhjes së Shkrimtarëve
shqiptarë ku Kadareja e hymnizon Partinë dhe Enver Hoxhën. Është interesante dhe sinjifikative që dosjet e
intelektualëve e shkrimtarëve etj. të përsekutuar kanë qenë dhe janë /ato që nuk janë zhdukë/ tek
ministria e Punëve të Brëndshme, ndersa e Kadaresë në Arkivin e Shtetit!!! Mendoj se kur lustrohet biografia, kur fshihen
të këqiat, sajohen dokumenta, është pandershmëri, /të mos them poshtërsi/ dhe ata njerëz që i
bëjnë dhe ata që i lejojnë për ta të krijojnë disidentë të paqenë. Edhe arti i të tillëve
nuk është plotësisht i ndershëm. Diku e lexova se Shoqatat e të përndjekurve politikë duhet t'i japin
Kadaresë çertifikatën e të përndjekurit...
Ini dhe përhapni Dashuri!
\"Ti Shqipëri më ep nderë,më ep emrin shqipëtar\"!...
\"Mos pyesni ç\'ka bërë Atdheu për ju, pyesni ç\'keni bërë ju për Atdheun\"!
| Postuar mė 27-12-2008 nė 20:26||
|Ismail Kadare |
spiuni me i ndryre i sigurimit qe ekziston nder shqiptare.
E falenderoj nga zemra zotin Kastriot Myftaraj qe ka patur durimin e domosdoshem qe te analizoje veprimtarine e tij.
Une per vete diku qe ne vitin 1989 me kam perbuzur duke ju drejtuar
"krimb o krimb ne ate lartesi si je ngjitur duke u zvarritur vlla duke u zvarritur."
Por sot, Shqypni, pa m´thuej si je?
| Postuar mė 27-12-2008 nė 20:30||
|Per fat te keq zogjt e shqiptareve jane aq te perdhosur menderisht sa duhet nje durim mbinjerezor me ja shpjegu dhe te vertetat me elementare. |
I falem nderes dhe nje here zotit Myftaraj dhe i jam une dhe cdo zog shqyptari, borxhli, perjetesisht per durimin e tij.
Gjyqi intelektual i Kadaresë, Buzuku, Prishtinë, 2008, f. 536
Por sot, Shqypni, pa m´thuej si je?
| Postuar mė 28-12-2008 nė 18:48||
|Ja: buzë lumit ra e qetë nata, |
u ndezën yjet, fryri fllad i lehtë.
Në një lëndinë ku pushoi brigada
një partizan mbi shkëmb me bajonetë
skaliti atje emërin « Stalin ».
Kaluan vjetë lufte... dhe një ditë,
kur frynte er' e pastër ne liri:
i biri i tij me sytë gjithë dritë,
duke shtrënguar plot me dashuri
kalemin; shkruan emërin « Stalin ».
Baba dhe bir... Te dy ata një emër
skalitën për gjith'jetë mu në zémër.
Frymëzimet djaloshare (Lirika), 1954
Ndërmarrja Shtetrore e Botimeve
Eshte shume domethenese sesi sigurimi i shtetit dhe me 2008 kerkon ti siguroje ketij individi cmimin Nobel!?
Por sot, Shqypni, pa m´thuej si je?