Ismail Kadare (Albanian:[ismaˈilkadaˈɾe]; 28 January 1936 – 1 July 2024) was an Albanian novelist, poet, essayist, screenwriter and playwright.[2] He was a leading international literary figure and intellectual, focusing on poetry until the publication of his first novel,The General of the Dead Army, which made him famous internationally.[3]
Kadare is regarded by some as one of the greatest writers and intellectuals of the 20th and 21st centuries, and as a universal voice against totalitarianism.[4][5][6] Living in Albania during a time of strict censorship, he devised stratagems to outwit Communist censors who had banned three of his books, using devices such as parable, myth, fable, folk-tale, allegory, and legend, sprinkled with double-entendre, allusion, insinuation, satire, and coded messages. In 1990, to escape the Communist regime and itsSigurimi secret police, he defected to Paris. From the 1990s he was asked by both major political parties in Albania to become a consensualPresident of the country, but declined. In 1996, France made him a foreign associate of theAcadémie des Sciences Morales et Politiques, and in 2016, he was aCommandeur de la Légion d'Honneur recipient.
He was the husband of authorHelena Kadare and the father of United Nations Ambassador and UN General Assembly Vice-presidentBesiana Kadare. In 2023 he was granted citizenship ofKosovo, by presidentVjosa Osmani.[8][9]
Ismail Kadare was born on 28 January 1936, in theKingdom of Albania during the reign ofKing Zog I. He was born inGjirokastër, a historicOttoman fortress–city in the mountains, made up of tall stone houses in what is todaysouthern Albania, a dozen miles from the border with Greece.[10][11][12] He lived there on a crooked, narrow street known as Lunatics' Lane.[13][14][15]
Ismail's parents were Halit Kadare, a post office employee, and HatixheDobi, a homemaker, who had married in 1933 when she was 17.[16][17][18] On his mother's side, his great-grandfather was aBejtexhi of theBektashi Order, known asHoxhë Dobi.[19] Though he was born into aMuslim family, he was anatheist.[20][21]
Kadare attended primary and secondary schools in Gjirokastër.[23] He then studied Languages and Literature at the Faculty of History and Philology of theUniversity of Tirana.[23][24] In 1956, he received a teacher's diploma.[25] He lived inTirana until moving to France in 1990.[26][27][28]
At age 11, Kadare readWilliam Shakespeare's playMacbeth. He recalled years later: "Because I did not yet understand that I could simply purchase it in a bookstore, I copied much of it by hand and took it home. My childhood imagination pushed me to feel like a co-author of the play."[29]
He soon became entranced by literature.[29][11][30] At age 12, Kadare wrote his first short stories, which were published in thePionieri (Pioneer) journal in Tirana, a communist magazine for children.[23][31] In 1954 he published his first collection of poems,Frymëzime djaloshare (Boyish inspirations).[32] In 1957 he published a poetry collection entitledËndërrimet (Dreams).[33]
At 17, Kadare won a poetry contest in Tirana, which allowed him to travel to Moscow to study at theMaxim Gorky Literature Institute.[4] He studied literature during theKhrushchev era, doing post-graduate work from 1958 to 1960.[15] His training had as its goal for him to become a communist writer and "engineer of human souls", to help construct a culture of the new Albania.[34] In Moscow he met writers united under the banner ofSocialist Realism—a style of art characterized by the idealized depiction of revolutionary communist values, such as the emancipation of theproletariat. Kadare also had the opportunity to read contemporary Western literature, including works byJean Paul Sartre,Albert Camus, andErnest Hemingway.[35] He rejected the canons of Socialist Realism and committed himself internally to writing as opposed to dogmatism.[36][37][38] He also cultivated contempt for thenomenklatura, an attitude which, he later wrote, was the product of his youthful arrogance rather than of considered political opposition.[39] During his time in the Soviet Union, Kadare published a collection of poetry in Russian, and in 1959 also wrote his first novel,Qyteti pa reklama (The City Without Signs), a critique of socialist careerism in Albania.[40][41]
Kadare returned home in October 1960 on Albanian orders, beforeAlbania's breaking of political and economic ties with the USSR.[15][17][42] He lived for the next 30 years in Tirana, in an apartment which now houses the Ismail Kadare House museum and archives.[43][44] He worked as a journalist, became editor-in-chief of the literary periodicalLes Lettres Albanaises (Albanian Letters; published simultaneously in Albanian and French), and then contributed to the literary reviewDrita for five years, while embarking on a literary career of his own.[45][23][44]
At that time Kadare had a reputation for poetry. In 1961 he published a volume of poetry entitledShekulli im (My Century).[42][33] His work was particularly popular with Albanian youth. His future wife Helena, then a schoolgirl, wrote a fan letter to the young writer, which eventually led to their marriage in 1963.[46]
Kadare wrote one of his earliest pieces in the 1960s, a poem entitled "The Princess Argjiro". Locally inspired, the poem transforms the centuries-old myth of the legendary 15th centuryPrincess Argjiro, who was said to have jumped offGjirokastër Castle along with her child to avoid being captured by theOttomans.[47][34] The poem was denounced and an official reader's report was commissioned, which maintained he had committed historical and ideological errors.[47][34] Kadare was criticized implicitly for disregarding socialist literary principles.[47][34]
In 1962, Kadare published an excerpt from his first novel as a short story under the titleCoffeehouse Days [sq] in a communist youth magazine.[48][49][50] It was banned immediately after publication, contributing to his reputation for "decadence".[39][51][23]
In 1963, at 26 years of age, Kadare published his novelThe General of the Dead Army, about an army general and a priest who, 20 years after World War II, are sent to Albania to locate the remains of fallen Italian soldiers and return them to Italy for burial.[52][23][11] The novel faced criticism by Albanian literary critics for flouting socialist ideals and for its dark tone.[53] The novel was thus in stark contrast to those of other Albanian writers of the time, who glorified the Communist revolution.[54][55] The novel inspired three films:Luciano Tovoli's 1983The General of the Dead Army (Il generale dell'armata morta) in Italian starringMarcello Mastroianni andMichel Piccoli,Bertrand Tavernier's 1989Life and Nothing But (La Vie et rien d'autre) in French starringPhilippe Noiret, andDhimitër Anagnosti's 1989The Return of the Dead Army (Kthimi i ushtrisë së vdekur) in Albanian starringBujar Lako.[52] Though it is his best-known novel, and Kadare viewed it as "good literature", he did not view it as his best work.[56]
In 1964 he wrotePërse mendohen këto male (What are these mountains thinking about?).[33] His next short novel,The Monster (Përbindëshi), published in the literary magazineNëntori in 1965, was labelled "decadent" and banned upon publication; it was Kadare's second ban.[23]
By the mid-1960s, the cultural censorship thaw of the early part of the decade was over, and conditions changed dramatically. In 1967, Albania launched its ownCultural Revolution. Kadare was exiled for two years along with other Albanian writers toBerat in the countryside, to learn about life alongside the peasants and workers.[57][37] Two Albanian dramatists were at the time also sentenced to eight years in prison each.[57] Albanian writers and artists encountered indifference from the world outside Albania, which did not speak in their support.[58]
The General of the Dead Army was Kadare's first great success outside Albania.[59] The French translation byIsuf Vrioni, published in 1970 in Paris by publisherAlbin Michel, led to Kadare's international breakthrough.[60][36] In the ironic novel, an Italian general and an Italian Army priest return to Albania 20 years after World War II, to find and bring back to Italy for final burial there the bodies of Italian soldiers killed in the war.[10][28] The French publishing house published the novel without Kadare's knowledge or permission, as Albania at the time was not a signatory to theUniversal Copyright Convention and there was nocopyright protection on the text.[61] Once the book appeared in France, it was translated into most European languages.[61] By 1977 it had been translated into over 20 languages, with the Albanian communist press hailing it as "one of the most successful translations of the world of the 70s".[62]
After the success of the novel in the West in 1970, the older generation of Albanian writers and dogmatic literary critics became extremely embittered against the "darling of the West": "This novel was published by the bourgeoisie and this cannot be accepted", said a report by the Albaniansecret police.[63] Kadare's enemies in the secret police and the old guard of theAlbanian Politburo referred to him as an agent of the West, which was one of the most dangerous accusations that could be made in Albania.[64] He continued to publish in his home country and became widely promoted there, with frequent references in the Albanian press to new releases and translations of his work, being hailed as a "hero of the new Albanian literature".[65][66][67] Kadare's work was described as "treat[ing] many problems preoccupying" Albanian society, and as "mak[ing] use of the revolution as the organizing element of his writing".[68] He was also lauded as having a "revolutionary drive" which "keeps pace with life and fights against old ideas".[68]
In 1971 Kadare published the novelChronicle in Stone, in which the narrator is a young Albanian boy whose old stone city hometown is caught up in World War II, and successively occupied by Greek, Italian, and German forces.[69] The novel has been described asmagic realism.[46]John Updike wrote inThe New Yorker, that it was "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 primitive societies".[70] The book was heavily publicized in the Albanian press, both domestically and in magazines aimed at promoting Albanian socialism and culture to an international audience, such asNew Albania.[65]
Throughout the 1970s, Kadare began to work more with myths, legends, and the distant past, often drawing allusions between theOttoman Empire and present-day Albania.[71] At this time, he also worked as an editor and contributor toNew Albania, an arts and culture magazine which sought to promote Albanian socialism to a worldwide audience.[72]
In 1970, Kadare publishedKështjella (The Castle orThe Siege) which was celebrated in both Albania and Western Europe, seeing a translation into French in 1972.[66] It detailed the war between Albanians and Ottomans during the time ofSkanderbeg.[73]
In 1978 he published the novelThe Three-Arched Bridge, a political parable set in 1377 in theBalkans, narrated by an Albanian monk.[74]The New York Times called it "an utterly captivating yarn: strange, vivid, ominous, macabre and wise".[74]
After Kadare offended the authorities with a political poem entitled "The Red Pasha" in 1975 that poked fun at the Albanian Communist bureaucracy, he was denounced, narrowly avoiding being shot, and was ultimately sent to domanual labour in a remote village deep in thecentral Albania countryside for a short time.[75][76][77] After his return to Tirana, Kadare increasingly began to publish short novellas.[37]
In 1980 Kadare published the novelBroken April, about the centuries-old tradition of hospitality,blood feuds, andrevenge killing in the highlands ofnorth Albania in the 1930s.[78][79]The New York Times, reviewing it, wrote: "Broken April is written with masterly simplicity in abardic style, as if the author is saying: Sit quietly and let me recite a terrible story about a blood feud and the inevitability of death by gunfire in my country. You know it must happen because that is the way life is lived in these mountains. Insults must be avenged; family honor must be upheld."[80] The novel was adapted into the 2001 Brazilian filmBehind the Sun (Abril Despedaçado) by filmmakerWalter Salles, set in 1910 Brazil and starringRodrigo Santoro, which was nominated for aBAFTA Award for Best Film Not in the English Language and aGolden Globe Award for Best Foreign Language Film.[81]
In 1981, Kadare publishedThe Palace of Dreams, an anti-totalitarian fantasy novel.[82] In the novel, an authoritarian dystopia (the imaginary U.O.S.; the United Ottoman States) through an enormous bureaucratic entity (the Palace of Dreams) collects every dream in the empire, sorts it, files it, analyses it, and reports the most dangerous ones to the Sultan.[83][11][84] Kadare first published an excerpt of the novel as a short story, alongside some of his other new works, in his 1980 collection of four novellas,Gjakftohtësia (Cold-bloodedness). The following year, under the same title, Kadare published the completed novel in the second edition ofEmblema e dikurshme (Signs of the Past); despite its political themes, it was not censored by the Albanian authorities.[85]
After publishingThe Palace of Dreams, readers began to draw comparisons between its critique of totalitarianism and the current government of Albania. At a meeting of theAlbanian Writers Union, Kadare was accused by the president of the Union of deliberately evading politics by cloaking much of his fiction in history and folklore, andThe Palace of Dreams was expressly condemned in the presence of several members of the Albanian Politburo.[11] Kadare was accused of attacking the government in a covert manner, and the novel was viewed by the authorities as an anticommunist work and a mockery of the political system.[86][87][11] As a result, the work was banned—but not before 20,000 copies had been sold.[88][11] The authorities were initially reluctant to imprison or purge Kadare, as he had become an internationally recognized literary figure and it would have caused an international backlash – which, given the country's rapid economic decline, the government wanted to avoid at all costs.[89] Western press reacted to the condemnation ofThe Palace of Dreams, and Western protests mounted in his defence.[37] Of all his books, he was most proud of having written this one.[90]
That same year Kadare finished his novelThe Concert, a satirical account of theSino-Albanian split, but it was criticized by the authorities and was not published until 1988.[91]
Communist Albanian leaderEnver Hoxha presided over aStalinist regime of forced collectivization and suppression from the end of World War II until 1985.[16][92] He initiated a process of eliminating Kadare, but backed off due to Western reaction.[93] There was a nightly presence of authorities outside of Kadare's apartment.[94] Albanian historian and scholar Anton Logoreci described Kadare during this time as "a rare sturdy flower growing, inexplicably, in a largely barren patch".[95]
In January 1985, Kadare's novelA Moonlit Night was published, only to be banned by the authorities.[96][97] On 9 April 1985, Hoxha fell into a coma; the next night he died, aged 76. On the evening of the ailing dictator's death, members of the Union of Writers, the Albanian Politburo, and the Central Committee of theCommunist Party hastily organized a meeting in order to condemnMoonlit Night.[98]
That same year Kadare wrote the novellaAgamemnon's Daughter – a direct critique, set in the 1970s, of the oppressive regime in Albania. It was smuggled out of the country, with the help of Kadare's French editorClaude Durand, but was not published until 2003.[99][79]
In 1990 Kadare requested a meeting with Albanian presidentRamiz Alia, at which he urged him to end human rights abuses, implement democratic and economic reforms, and end the isolation of Albania.[75] Kadare was disappointed with Alia's slow reaction.[75]
In October 1990, after he criticized the Albanian government, urged democratization of isolationist Albania – Europe's last Communist-ruled country, then with a population of 3.3 million – and faced the ire of its authorities and threats from theSigurimi secret police, Kadare sought and receivedpolitical asylum in France.[100][101][75] Hedefected to Paris, where he thereafter primarily lived, except for a time in Tirana.[90][102][103] He had decided to defect because he had become disillusioned with the government of Ramiz Alia, legal opposition was not allowed in Albania, and he had become convinced "that more than any action I could take in Albania, my defection would help the democratization of my country".[76][104]The New York Times wrote that he was a national figure in Albania comparable in popularity perhaps toMark Twain in the United States, and that "there is hardly an Albanian household without a Kadare book, and even foreign visitors are presented with volumes of his verse as souvenirs".[76]
The official Albanian press agency reacted by issuing a statement on "this ugly act", saying Kadare had placed himself "in the services of the enemies of Albania".[76] Some intellectuals, at great personal risk, publicly supported Kadare, whom the authorities had declared a traitor. PoetDritero Agolli, who headed the Albanian Writers' Union, said: "I continue to have great respect for his work."[76] Despite this, his books were not fully banned by the Communist authorities, and he remained a popular and celebrated author.[103][105]
After receiving political asylum and settling in France, Kadare continued to write. His exile in Paris was fruitful and enabled him to succeed further, writing both in Albanian and in French.[106]
His 1992 novelThe Pyramid is a political allegory set in Egypt in the 26th century BC, focusing on intrigues behind the construction of theGreat Pyramid of Cheops.[17][107] In it, Kadare mocked any dictator's love for hierarchy and useless monuments. In some of Kadare's novels, comprising the so-called "Ottoman Cycle", theOttoman Empire is used as the archetype of a totalitarian state. In 1993, the novel was awarded thePrix Méditerranée Étranger in France.[108]
In 1994 he began to work on the first bilingual volume of his work with the French publishing houseFayard.[109] The same year, at the request of the French publisher Flammarion, he wrote the essay "La légende des légendes" ("The legend of legends"), which was immediately translated to French and published in 1995.
Kadare's 1996 novelSpiritus marked a narrative and compositional turning point in his literary career. In it, two ghosts return to a post-Communist world.[77] Its influence is felt in all of his subsequent novels.[110] It deals with a group of foreigners who are touring Eastern Europe after the fall of Communism and hear exciting rumours during their stay in Albania about the capture of the spirit from the dead. As it turns out, the spirit is in fact a listening device known to the notorious secret service as a "hornet".[89]
Beginning in the 1990s, Kadare was asked multiple times by both the country's major political parties to run forpresident of Albania, but he declined.[113][7][101]
Kadare returned to Albania in his later years. After suffering from ill health for several years, he died from a heart attack at a Tirana hospital, on 1 July 2024, at the age of 88.[115][116][117] He was granted astate funeral on 3 July at theNational Theatre of Opera and Ballet in Tirana, but was buried in a private ceremony shortly afterwards. Two days of mourning were declared in Albania, while one day of mourning was declared in neighboringKosovo.[118]
In 2005 Kadare received the inauguralMan Booker International Prize in the United Kingdom for the full body of his work. In his acceptance speech, he said: "We propped each other up as we tried to write literature as if that regime did not exist. Now and again we pulled it off. At other times we didn't."[11]
In 2015, Kadare was awarded the bi-annualJerusalem Prize in Israel.[126] Speaking ofthe relationship between Albania and the Jews, he said: "I come from one of the few countries in the world whichhelped the Jews during World War II. I believe the number of Jews there grew from 200 at the start of the war to 2,000 by the end. The population always defended the Jews, whether during the kingdom, under Communism, or after it."[14][127][128] He noted that duringthe Holocaust Albanians refused to hand Jews over to theNazis, and many Albanians went to great lengths to protect Jewish refugees who had fled to Albania.[102] He also noted that Albania and Israel share in common the experience of fighting for survival in a sometimes hostile neighbourhood.[102]
Kadare was nominated for the 2020Neustadt International Prize for Literature (described as the "American Nobel") in the United States by Bulgarian writerKapka Kassobova.[138] He was selected as the 2020 laureate by the Prize's jury.[139] He won the 2020 Neustadt International Prize for Literature.[7] In his acceptance speech, he observed: "There is no room for literature in the Marxist vision of the future world."[140] His nominating juror wrote: "Kadare is the successor ofFranz Kafka. No one since Kafka has delved into the infernal mechanism of totalitarian power and its impact on the human soul in as much hypnotic depth as Kadare."[26]
Kadare won the 2020 Prozart Award, given by the PRO-ZA Balkan International Literature Festival, for his contributions to the development of literature in the Balkans.[141]
Kadare was nominated for theNobel Prize in Literature 15 times.[21] He stated that the press spoke about him being a potential Nobel Prize winner so much, that "many people think that I've already won it".[143]
In 2023 Kadare was granted citizenship ofKosovo.[144]
Kadare's literary works were conceived in the bedrock of tinyAlbanian literature, almost unknown before in Europe or the rest of the world.[146] With Kadare it became known, read, and appreciated. For the first time in its history, through Kadare, Albanian literature has been integrated into wider European and world literature.[147]
Kadare's oeuvre is a literature of resistance. He managed to write normal literature in an abnormal country – a Communist dictatorship. He had to struggle to get his literary works published, going against state policy. At times even putting his life at risk. Dissent was not allowed in Albania.[11] Kadare noted: "That was not possible. You risked being shot. Not condemned, but shot for a word against the regime. A single word."[11]
Under Hoxha, at least 100,000 people were imprisoned for political reasons or for a word they said or wrote; 5,000, including many writers, were executed.[11][148]
Kadare devised numerous subtle stratagems to outwit Communist censors.[149][11] He used old devices such as parable, myth, fable, folk-tale, allegory, and legend, and sprinkled them with double-entendre, allusion, insinuation, satire, and coded messages.[11][77][76]
His oeuvre in general has been in theoretical and practical opposition to the mandatory Socialist Realism required by the State.[146] Kadare challenged Socialist Realism for three decades and opposed it with his subjective realism,[150][151] avoiding state censorship by using allegorical, symbolic, historical and mythological means.[152]
The conditions in which Kadare lived and published his works were not comparable to other European Communist countries where at least some level of public dissent was tolerated. Rather, the situation in Albania was comparable toNorth Korea or tothe Soviet Union in the 1930s underStalin. Despite this, Kadare used any opportunity to attack the regime in his works, by means of political allegories, which were picked up by educated Albanian readers.[153]Henri Amouroux, a member of the Académie des Sciences Morales et Politiques of France, pointed out that Soviet dissidents includingSolzhenitsyn published their works during the era ofde-Stalinization, whereas Kadare lived and published his works in a country which remainedStalinist until 1990.[154]
Kadare's works have been published in 45 languages.[155][156][157] By 2020 most of his approximately 80 novels, plays, screenplays, poetry, essays, and story collections had been translated into different languages.[101]
Kadare's complete works (other than essays, poetry, and short stories) were published by Fayard, simultaneously in French and Albanian, between 1993 and 2004.[91] His original Albanian-language works have been published exclusively byOnufri Publishing House since 1996,[161] as single works or entire sets. Published in 2009, the set of complete works constituted 20 volumes.[162]
The dates of publication given here are those of the first publication in Albanian, unless stated otherwise.
Uragani i ndërprerë: Ardhja e Migjenit në letërsinë shqipe (The Interrupted Hurricane: The Advent of Migjeni in Albanian Literature) (2015)ISBN978-9928-186-58-4
Tri sprova mbi letërsinë botërore (Essays on World Literature) (2017)ISBN978-9928-226-88-4
^Breto, Jose Carlos Rodrigo (2018).Ismail Kadare: La grand estratagema (in Spanish). Barcelona: Ediciones del Subsuelo. pp. 317–318.ISBN978-84-947802-0-2.Y que este libro sea el principio de toda una serie de ensayos que pueda cosntruir para abundar y ahondar en la obra del escritor que considero como más importante del Siglo XXI, y uno de los más importantes de la segunda mitad del Siglo XX.
^Apolloni, Ag (2012).Paradigma e Proteut (in Albanian). Prishtinë: OM. pp. 33–34."Romani Gjenerali i ushtrisë së vdekur i Ismail Kadaresë, i botuar në vitin 1963, u kritikua nga kritika zyrtare, mandej u hesht sikur të mos ekzistonte fare, për t'u shfaqur prapë në vitin 1967 si një version i ri i romanit, natyrisht me disa kompromise të vogla, të cilat prapë nuk e kënaqën kritikën zyrtare, por as nuk e dëmtuan dukshëm veprën; assesi romani nuk arriti të deformohej siç e donte doktrina socrealiste. Ndryshe nga Shuteriqi, Musaraj, Abdihoxha etj., që glorifikonin revolucionin dhe socializmin; ndryshe nga idealisti Petro Marko që udhëhiqej nga ideja e internacionales komuniste; ndryshe nga Dritëro Agolli që kritikonte lëshimet e sistemit, por jo sistemin, – Ismail Kadare me romanin e parë kishte injoruar stilin socrealist, kishte shmangur heroin pozitiv, kishte harruar qëllimisht rolin e Partisë në zhvillimet aktuale dhe kishte treguar se mund të shkruhej roman edhe pa e përmendur Partinë dhe pa pasur nevojë për mësimet e Gorkit, të cilat ai i kishte konceptuar si vdekjeprurëse për letërsinë e vërtetë. Ashtu si e kishte injoruar ai Partinë, edhe Partia do ta injoronte atë. Në shkrimet kritike që bëhen gjatë viteve '60, Kadare herë "këshillohet" si duhet të shkruajë në të ardhmen, herë përmendet kalimthi, e më shpesh injorohet fare. Derisa shkrimtarët zyrtarë të Shqipërisë, ndiheshin komod me sistemin dhe shkruanin për diellin ideologjik që i ngroh të gjithë komunistët njësoj, Kadare nuk ia hiqte retë as shiun tokës shqiptare. Përballë zhvillimit industrial të vendit, përballë peizazheve urbane dhe motit të mirë që proklamonte Partia dhe letërsia e saj, në romanet e Kadaresë ishte një truall i vështirë dhe vazhdimisht bënte mot i keq.
^abRubin, Merle (24 October 1990)."Albanian Revenge".The Christian Science Monitor.Archived from the original on 25 April 2021. Retrieved25 April 2021.
^Kuçuku, Bashkim (1999). "Kryevepra e fshehur: odise kadareane". In Kadare, Ismail (ed.).Pallati i ëndrrave (in Albanian). Onufri. pp. 199–200.ISBN99927-30-31-5.
^Sinani, Shaban (2011).Letërsia në totalitarizëm dhe "Dossier K". Naim Frashëri. p. 100.
^abIsmail Kadaré. Oeuvres; introduction et notes de présentation par Eric Faye; traduction de l'albanais de Jusuf Vrioni ... [et al.] Paris: Fayard, 1993–2004
^Detrez, Raymond (2001)."Albania". In Jones, Derek (ed.).Censorship: A World Encyclopedia. Routledge. p. 27.ISBN978-1-136-79864-1.Archived from the original on 3 July 2024. Retrieved30 June 2020.
^Jose Carlos Rodrigo Breto (2018).Ismail Kadare: La grand estratagema (in Spanish). Barcelona: Ediciones del Subsuelo. pp. 199–204.ISBN978-84-947802-0-2.
^abKuçuku, Bashkim (2015).Kadare në gjuhët e botës (in Albanian). Tirana: Onufri. p. 18.Kudo ku pati talente të fuqishme, të burgosur ose të paburgosur, në disa vende haptazi dhe me guxim, ndërsa në disa të tjera tërthorazi nëpërmjet simbolikës dhe alegorisë e kapërcyen atë. Ismail Kadareja nuk është ndonjë përjashtim. Vepra e tij që, në përgjithësi, ka qenë në kundërshtim teorik dhe praktik me realizmin socialist, është pjesë e asaj letërsie të madhe, që u krijua dhe u botua nën censurën e tij. Paradoksi i dytë që shoqëron kontekstin e leximit të saj, është se ajo është ngjizur në shtratin e një letërsie të vogël, thuajse, të panjohur më parë në Evropë dhe në kontinente të tjera.
^Kuçuku, Bashkim (2015).Kadare në gjuhët e botës (in Albanian). Tirana: Onufri. pp. 8–9.
Morgan, Peter (2011) "Ismail Kadare's Inner Emigration", in Sara Jones & Meesha Nehru (Eds.),Writing under Socialism, (pp. 131–142). Nottingham, UK: Critical, Cultural and Communications (CCC) Press.
Morgan, Peter (2011) "Greek Civilisation as a Theme of Dissidence in the Work of Ismail Kadare",Modern Greek Studies (Australia and New Zealand), 15, 16–32.
Morgan, Peter (2010)Ismail Kadare: The Writer and the Dictatorship 1957–1990, Oxford: Legenda, 2010, Albanian translation 2011.
Morgan, Peter (2010)Kadare post Communism: Albania, the Balkans and Europe in the Work of Ismail Kadare, 1990–2008, Australian Research Council (ARC)/Discovery Projects (DP).
Morgan, Peter (2005) "Ismail Kadare: Creativity under Communism",The Australian Newspaper.
.jpg)
.svg)
.jpg)
