{"id":12418,"date":"2013-02-11T09:09:22","date_gmt":"2013-02-11T08:09:22","guid":{"rendered":"http:\/\/fjala.info\/?p=922"},"modified":"2013-02-11T09:09:22","modified_gmt":"2013-02-11T08:09:22","slug":"ernesto-sabato-shkrimtari-i-fundit","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/ernesto-sabato-shkrimtari-i-fundit\/","title":{"rendered":"Ernesto S\u00e1bato, shkrimtari i fundit?"},"content":{"rendered":"

\"\" (P\u00ebrkthyer nga Anila Xhekaliu<\/strong>)<\/p>\n

Ernesto S\u00e1bato<\/strong> dans la Zone.
\nTexte en fran\u00e7ais (Anila Xhekaliu n’a traduit dans sa langue, l’albanais, que la premi\u00e8re partie de mon texte, consacr\u00e9 au Tunnel, le reste de mon article \u00e9tant disponible sur le site de la revue \u00c9tudes).
\nTraductions de plusieurs de mes articles en espagnol, portugais, anglais ou italien.<\/em><\/p>\n

Pa aparatin e sh\u00ebnimeve, ja nj\u00eb pjes\u00eb e artikullit tim t\u00eb m\u00ebparsh\u00ebm i publikuar n\u00eb numrin e dhjetorit 2011 te \u00c9tudes.<\/p>\n

Nuk do t\u00eb ishte aspak e \u00e7uditshme n\u00ebse qysh nga vdekja e Ernesto S\u00e1batos, ne t\u00eb kemi humbur shkrimtarin e fundit t\u00eb madh t\u00eb p\u00ebrmas\u00ebs nd\u00ebrkomb\u00ebtare, i aft\u00eb p\u00ebr t`i dh\u00ebn\u00eb nj\u00eb frym\u00eb metafizike dhe angazhim po aq ekzistencial sa shpirt\u00ebror letersis\u00eb. I lindur n\u00eb Argjentin\u00eb, n\u00eb krahin\u00ebn e Buenos Aires, n\u00eb 1911, shuar 30 prillin e shkuar, pes\u00ebdhjet\u00eb e pes\u00eb dit\u00eb para se t\u00eb festonte 100 vjetorin e tij, Ernesto S\u00e1bato, nj\u00eb koh\u00eb i p\u00ebrkushtuar karrier\u00ebs shkencore, \u00ebsht\u00eb sidomos i njohur p\u00ebr shkrimin e tre romaneve datat e shfaqjes t\u00eb s\u00eb cilave shtrihen nga 1948, p\u00ebr Tuneli deri n\u00eb 1974, viti kur u publikua \u00cbngj\u00eblli i err\u00ebsir\u00ebs, vazhd\u00eb e p\u00ebrfundim i Alejandra (m\u00eb von\u00eb p\u00ebrkthyer n\u00eb fr\u00ebngjisht, duke respektuar se pari titullin origjinal, me Heronj e varre, romani i dyt\u00eb i trilogjis\u00eb duke datuar, ai, i vitit 1961.<\/p>\n

K\u00ebto tri vepra t\u00eb t\u00eb vler\u00ebsuara si nj\u00eb p\u00ebrmbledhje mrekullisht bashk\u00ebkohore kan\u00eb ushtruar ndikim shtalp\u00ebror mbi nj\u00eb num\u00ebr t\u00eb madh shkrimtar\u00ebsh, jo vet\u00ebm p\u00ebr cil\u00ebsin\u00eb e tyre t\u00eb kulluar letrare por edhe sepse ato kan\u00eb hedhur iden\u00eb e bot\u00ebs dhe vendin q\u00eb njeriu z\u00eb n\u00eb t\u00eb, nj\u00eb vizion q\u00eb do t\u00eb mund ta besonim t\u00eb zi, krejt d\u00ebshp\u00ebrues e q\u00eb nuk \u00ebsht\u00eb tjet\u00ebr p\u00ebrve\u00e7se tragjik, qen\u00ebsor n\u00eb pyet\u00ebsorin e tij t\u00eb pafundm\u00eb.<\/p>\n

Paul Gadenne shkruante, p\u00ebr t\u00eb karakterizuar p\u00ebrgjegjshm\u00ebrin\u00eb q\u00eb artisti modern nuk duhej t\u00eb friket m\u00eb, tash e tutje, p\u00ebr ta marr\u00eb p\u00ebrsip\u00ebr : \u00abQysh prej 80 vitesh e m\u00eb tep\u00ebr, let\u00ebrsia shkruhet para xhelatit\u00bb. P\u00ebrgjegjshm\u00ebri shkrimtari para t\u00eb cil\u00ebs nuk mund tu p\u00ebrmbahesh rregullave dhe konceptim, po aq i lart\u00eb sa i fis\u00ebm, simbas t\u00eb cilit roli m\u00eb i ep\u00ebrm i krijuesit ka t\u00eb b\u00ebj\u00eb me demaskimin e tmerrit duke mos patur frik\u00eb p\u00ebr ta zbuluar mbret\u00ebrin\u00eb e tij, jan\u00eb, besoj, dy nga p\u00ebrmasat m\u00eb t\u00eb dukshme t\u00eb vepr\u00ebs s\u00eb Ernesto Sabatos, i cili p\u00ebrve\u00e7 k\u00ebsaj, pothuaj fjal\u00eb p\u00ebr fjal\u00eb dhe n\u00eb m\u00ebnyr\u00eb turbulluese, i p\u00ebrgjigjet Paul Gadenne duke shkruar : \u00abNj\u00ebri prej misioneve t\u00eb let\u00ebrsis\u00eb s\u00eb madhe : t\u00eb zgjoj\u00eb njeriun q\u00eb rend drejt gijotin\u00ebs\u00bb.<\/p>\n

Tuneli<\/strong><\/p>\n

\u00abQ\u00eb bota t\u00eb jet\u00eb e tmerrshme, \u00ebsht\u00eb nj\u00eb e v\u00ebrtet\u00eb q\u00eb s`ka nevoj\u00eb p\u00ebr shpjegime\u201d, shkruan Ernesto S\u00e1bato q\u00eb n\u00eb faqet e para t\u00eb romanit t\u00eb tij t\u00eb par\u00eb, Tuneli. Acaruese n\u00eb pik\u00eb t\u00eb fundit dhe e orientuar drejt fundit t\u00eb saj tragjik, kjo vep\u00ebr po aq e rrahur sa \u00cbngj\u00eblli i err\u00ebsir\u00ebs do t\u00eb jet\u00eb prolikse e baroke, shum\u00eb e shkurt\u00ebr risht\u00eb n\u00ebse do ta krahasojm\u00eb me dy romanet pasuese, ka t\u00eb gjitha fuqit\u00eb, si nj\u00eb gjarp\u00ebr para pres\u00eb s\u00eb tij, p\u00ebr t\u00eb shtangur lexuesin.<\/p>\n

Intriga e saj, e zhveshur deri ne fund, \u00ebsht\u00eb prej nj\u00eb thjesht\u00ebsie t\u00eb denj\u00eb parabole, jo aspak e shndritshme si ato t\u00eb shp\u00ebtuara nga Krishti por e zez\u00eb: Juan Pablo Castel \u00ebsht\u00eb nj\u00eb piktor q\u00eb takon gjat\u00eb nj\u00eb ekspozite t\u00eb tabllove t\u00eb tij nj\u00eb grua t\u00eb re, Maria Iribarne, t\u00eb cil\u00ebn do ta vras\u00eb mbasi t\u00eb jen\u00eb b\u00ebr\u00eb dashnor\u00eb. N\u00ebse tonaliteti i hatash\u00ebm i romanit \u00ebsht\u00eb shfaqur si fillim loje dhe theksohet p\u00ebrgjat\u00eb faqeve gjersa krijon nj\u00eb atmosfer\u00eb mbyt\u00ebse, tema kryesore e vepr\u00ebs q\u00ebndron tek kjo fjali e vog\u00ebl e pashpirt\u00eb : \u00ab\u00cbsht\u00eb dikush q\u00eb mund t\u00eb m\u00eb kuptonte. Por \u00ebsht\u00eb, pik\u00ebrisht, njeriu q\u00eb kam vrar\u00eb.\u00bb<\/p>\n

Gjith\u00e7ka ndodh sikur Juan Pablo Castel, si Djalli sipas Charles Baudelaire, ishte d\u00ebnuar duke iu dashur t\u00eb duroj\u00eb, krejt gjat\u00eb egzistenc\u00ebs s\u00eb tij dhe p\u00ebr ta shijuar, nj\u00eb kuvendim sk\u00ebterre, pa asnj\u00eb mund\u00ebsi t\u00eb ofruar p\u00ebr tu \u00e7liruar nga burgu i tij i paduksh\u00ebm. Nj\u00eb \u00e7ast, ai ka besuar se gruaja e re q\u00eb ka shikuar p\u00ebr her\u00eb t\u00eb par\u00eb nd\u00ebrsa ajo sodiste nj\u00ebr\u00ebn prej pikturave t\u00eb tij, do t\u00eb kishte mundur p\u00ebr t`ia ofruar k\u00ebt\u00eb rastin e pashpres\u00eb p\u00ebr t`u arratisur nga burgu i tij: \u00abAjo ndjeu mbase [\u2026]nevoj\u00ebn time t\u00eb bashkimit : hap\u00ebsir\u00ebn e nj\u00eb \u00e7asti, shikimi i saj u zbut dhe u duk sikur hodhi nj\u00eb ur\u00eb mes nesh; por ndjeva se ishte ur\u00eb e p\u00ebrkohshme dhe e brisht\u00eb e varur mbi nj\u00eb gremin\u00eb\u00bb.<\/p>\n

Breng\u00eb humbur, ngaq\u00eb ta pret mendja \u00ebsht\u00eb shum\u00eb e pamundur, sipas ligjeve t\u00eb tragjedis\u00eb t\u00eb cilave Tuneli u detyrohet, t\u00eb arrij\u00eb p\u00ebr tu \u00e7liruar prej zinxhir\u00ebve t\u00eb vet. N\u00eb fakt, kjo \u00ebsht\u00eb mbase pik\u00ebrisht q\u00ebllimi i zemr\u00ebs s\u00eb ferrit n\u00eb t\u00eb cilin shkrimtari ka dashur ta vendos\u00eb heroin e tij q\u00eb deklaron se gjendet : \u00abn\u00eb nj\u00eb shkret\u00ebtir\u00eb t\u00eb zez\u00eb, i torturuar nga nj\u00eb lukuni kafsh\u00ebsh t\u00eb bab\u00ebzitura e t\u00eb panum\u00ebrta q\u00eb m\u00eb shqyenin zorr\u00ebt\u00bb, dhe \u00ebsht\u00eb madje djalli n\u00eb form\u00eb njeriu q\u00eb ka ardhur t\u00eb ndihmoj\u00eb t\u00eb zgjedhurin e tij, i cili \u00abi pushtuar nga nj\u00eb sjellje e dhunshme\u00bb, pyet veten mos \u00ebsht\u00eb djalli ai q\u00eb \u00abtani e tutje ka pushtuar shpirtin e tij, dhe p\u00ebrgjithmon\u00eb\u00bb. Ndikimi djall\u00ebzor nuk \u00ebsht\u00eb pa dyshim nj\u00eb hipotez\u00eb e rast\u00ebsishme dhe i duhet t`i dor\u00ebzohet k\u00ebsaj dukje t\u00eb trisht\u00eb : personazhi i piktorit nuk ka asnj\u00eb arsye t\u00eb vlefshme p\u00ebr ta vrar\u00eb gruan q\u00eb dashuron, me p\u00ebrjashtim t\u00eb dyshimeve t\u00eb vagullta t\u00eb mosbesnik\u00ebris\u00eb t\u00eb cilat, shum\u00eb shpejt, do t\u00eb ushqejn\u00eb nj\u00eb xhelozi q\u00eb po b\u00ebhet po aq e p\u00ebrbind\u00ebshme sa shkat\u00ebrrimtare.<\/p>\n

K\u00ebshtu, jan\u00eb \u00abpersonazhet e panjohura, hijet q\u00eb ajo nuk i kishte p\u00ebrmendur kurr\u00eb\u201d dhe q\u00eb Juan Pablo Castel i ndjen \u00abmegjithat\u00eb t\u00eb l\u00ebvizin qet\u00eb dhe err\u00ebt n\u00eb jet\u00ebn e saj\u00bb, q\u00eb e torturojn\u00eb, meq\u00eb ngjallin n\u00eb shpirtin e tij s\u00ebmbues, shum\u00eb shpejt sigurin\u00eb se \u00abana e keqe e Maris\u00eb [\u00ebsht\u00eb] pik\u00ebrisht e lidhur me k\u00ebto hije anonime\u00bb t\u00eb cilat, n\u00eb dy romanet q\u00eb do t\u00eb vijojn\u00eb, do t\u00eb z\u00ebn\u00eb nj\u00eb vend qendror dhe me t\u00eb v\u00ebrtet\u00eb djall\u00ebzor.<\/p>\n

N\u00eb fakt, qysh n\u00eb romanin e par\u00eb, shkrimtari ngjall t\u00eb verb\u00ebrit, n\u00eb bot\u00ebn n\u00ebntok\u00ebsore e t\u00eb cilit nj\u00ebri prej personazheve t\u00eb romanit t\u00eb dyt\u00eb, Heronj dhe Varre, do t\u00eb guxoj\u00eb t\u00eb kuturiset. N\u00eb \u00e7ast, pa mundur ta sakt\u00ebsoj\u00eb shqet\u00ebsin\u00eb e tij e madje neverin\u00eb e tij, Juan Pablo Castel s`ka kurrfar\u00eb bezdie p\u00ebr ta rr\u00ebfyer faktin q\u00eb \u00abnuk i do aspak t\u00eb verb\u00ebrit e q\u00eb i ngjallin t\u00eb nj\u00ebjt\u00ebn p\u00ebrshtypje si disa kafsh\u00eb me gjak t\u00eb ftoht\u00eb, t\u00eb lag\u00ebta e t\u00eb heshtura, si neperkat\u00bb.<\/p>\n

Kjo shprehje e t\u00eb Keqes do t\u00eb mund t\u00eb na qet\u00ebsonte, por nuk \u00ebsht\u00eb ve\u00e7se mashtronj\u00ebse meq\u00eb Juan Pablo Castel pohon, si\u00e7 do t\u00eb b\u00ebjn\u00eb personazhet e tjera t\u00eb S\u00e1batos, q\u00eb ai ka pjes\u00ebn e tij t\u00eb p\u00ebrgjegjshm\u00ebris\u00eb n\u00eb kafsh\u00ebrin\u00eb universale e madje vet\u00eb ai \u00ebsht\u00eb nj\u00eb kafsh\u00eb. Piktori yn\u00eb nuk \u00ebsht\u00eb tjet\u00ebr fundja p\u00ebrve\u00e7se trash\u00ebgimtar i nj\u00eb tradite t\u00eb gjat\u00eb t\u00eb kund\u00ebr-heroit i cili, si ata q\u00eb v\u00eb Dostoievski n\u00eb n\u00ebntok\u00ebn e tij apo Kamyja n\u00eb barin e tij nuk reshtin s\u00eb akuzuari veten p\u00ebr t\u00eb gjitha t\u00eb k\u00ebqijat, p\u00ebrfshi n\u00eb to dhe ato p\u00ebr t\u00eb cilat nuk jan\u00eb p\u00ebrgjegj\u00ebs : \u00abPrej sa veprimesh t\u00eb tmerrshme kjo ndarje e mallkuar e vet\u00ebdijes time nuk ka qen\u00eb fajtore!<\/p>\n

Nd\u00ebrsa nj\u00ebra pjes\u00eb e imja m\u00eb frym\u00ebzon nj\u00eb sjellje t\u00eb bukur, tjetra denoncon g\u00ebnjeshtr\u00ebn, hipokrizin\u00eb, bujarin\u00eb e rrem\u00eb\u00bb. Q\u00eb prej atij \u00e7asti, \u00ebsht\u00eb vet\u00eb Juan Pablo Castel-i, duke qen\u00eb nj\u00ebher\u00ebsh vet\u00ebm dhe krenar gjer n\u00eb delir, q\u00eb kupton se vetmia e tij e thell\u00eb, vetmia e tij e sk\u00ebterr\u00ebs, nuk \u00ebsht\u00eb vet\u00ebm fryt i tersll\u00ebkut por rezultat i lig\u00ebsis\u00eb kur deklaron : \u00abvetmia ime ishte rrjedhoj\u00eb e asaj q\u00eb ishte m\u00eb e keqja tek un\u00eb, e posht\u00ebrsive t\u00eb mia. N\u00eb k\u00ebt\u00eb rast, ndjej se bota \u00ebsht\u00eb e p\u00ebshtir\u00eb, por kuptoj q\u00eb dhe un\u00eb jam pjes\u00eb e k\u00ebsaj bote [\u2026] dhe rindjej nj\u00ebfar\u00eb k\u00ebnaq\u00ebsie duke provuar posht\u00ebrsin\u00eb time t\u00eb mir\u00ebfillt\u00eb dhe duke pranuar q\u00eb nuk jam m\u00eb i mir\u00eb se p\u00ebrbind\u00ebshat e neveritsh\u00ebm q\u00eb m\u00eb rrethojn\u00eb.\u00bb<\/p>\n

Vet\u00ebm nj\u00eb vras\u00ebs mund t\u00eb l\u00ebr\u00eb p\u00ebrshtypjen se shenjt\u00ebron karrier\u00ebn e \u00e7uditshme t\u00eb piktorit. \u00c7irak, Juan Pablo Castel nuk do ta vras\u00eb veten, mbase ngaq\u00eb rindjen sigurin\u00eb se asgj\u00ebja m\u00eb tep\u00ebr se vdekja pret at\u00eb q\u00eb l\u00eb k\u00ebt\u00eb bot\u00eb t\u00eb pashpirt\u00eb. U dor\u00ebzohet vet\u00eb polic\u00ebve dhe do t\u00eb jet\u00eb i burgosur por e dim\u00eb fort mir\u00eb q\u00eb kurr\u00eb kushtet e mbajtjes s\u00eb tij n\u00eb burg nuk do t\u00eb jen\u00eb t\u00eb krahasueshme me vetmin\u00eb sk\u00ebterr\u00eb n\u00eb t\u00eb cil\u00ebn, me kok\u00ebn e vet, duke pas\u00eb vrar\u00eb at\u00eb q\u00eb ka dashur dhe q\u00eb qe, simbas pohimeve t\u00eb tij, e vetmja qenie n\u00eb bot\u00eb qe ka rrokur kuptimin e vepr\u00ebs s\u00eb tij pikturale, ndryhet, sipas S\u00f6ren Kierkegaard, mbyllet n\u00eb hermetizmin diabolik si ai q\u00eb d\u00ebshiron t\u00eb nd\u00ebshkohet: \u00ab\u00cbsht\u00eb vet\u00ebm nj\u00eb njeri q\u00eb ta ket\u00eb kuptuar piktur\u00ebn time. Sa p\u00ebr t\u00eb tjer\u00ebt, k\u00ebto tabllo duhet tu pohojn\u00eb pa resht\u00eb pik\u00ebpamjen e tyre t\u00eb marr\u00eb. Dhe muret e k\u00ebtij ferri do t\u00eb jen\u00eb k\u00ebshtu \u00e7do dit\u00eb m\u00eb hermetike\u00bb.<\/p>\n

Tuneli duket megjithat\u00eb t\u00eb mos ket\u00eb mbushur mjaftuesh\u00ebm deri n\u00eb fund fletoren e p\u00ebrgjegj\u00ebsive t\u00eb fiksuara nga shkrimtari q\u00eb pohon : \u00abDetyra kryesore e romanit sot \u00ebsht\u00eb t\u00eb g\u00ebrmoj\u00eb njeriun, \u00e7ka do t\u00eb thot\u00eb t\u00eb g\u00ebrmoj\u00eb t\u00eb Keqen. Njeriu real egziston qysh nga r\u00ebnia. Nuk egziston pa Djallin : Zoti nuk mjafton.\u00bb Zbulimi nuk mund pra p\u00ebrve\u00e7se t\u00eb rinis\u00eb. Ai do t`i lejoj\u00eb Ernesto S\u00e1batos t\u00eb zbres\u00eb pak m\u00eb thell\u00eb n\u00eb vendin q\u00eb Huysmans e quajti atje.<\/p>\n

Pak fjale, ose koment (nga sguraziu)… dhe adresa per kontakt:<\/p>\n

Per ata qe dhe i publikojne keto materiale… per te kontaktuar perkthyesen perdorni adresen me poshte, te cilen po e corodis pakez me kllapa (per arsye te spam-roboteve dhe te crawler-ve internetik\u00eb, te tilla “krijesa” makinale s’mund te “lexojne ne headers” te emailave… por brenda neper tekste lexojne njejte sikur dhe ne vete, rendin me shpejtesine e elektroneve dhe i mbledhin adresat si te cmendur ;).<\/p>\n

Anila, nje mike nga Tirana e ka postuar shkrimin-kontributin e vet ne faqen e ashtuquajtur “Stalker” dhe me njoftoi per t’iu qasur – Anila eshte nje perkthyese shuuuuume e respektuar (nga frengjishtja), perkthimet e saj mund te hasen e te lexohen gjithandej neper revistat dhe publikimet letraristike-eseistike, nervi i saj “feminist” ne eseistiken tone sjell mjaft gjera qe deri dje nuk i kishim ose fare pak, “intuita” dhe shija (le te shprehem keshtu \ud83d\ude09 rreth perzgjedhjeve tekstuale, te qenurit ne hap me kohen dhe njohja e literatures-publicistikes e bejne sikur te vecante me perkthimet e saja.<\/p>\n

Eseistika (letrare) franceze eshte ngjashem sic.. do te thosha ngjashem si dhe ajo shprehja per vete gjuhen frenge, duhet trajtuar ashtu si “me nje shall m\u00ebndafshi ta pershkosh prapanicen e nje bebe, dhe ate bebulush\u00e7e” -*citat ky – mendoj se s’ka pershkrim me te bukur dhe te sakte per frengjishten (une psh do ta njihja nje perkthim te saj menjehere, dhe kjo s’ka te beje vetem me bagazhin e fjaleve qe ajo perdore, me patronin gjuhesor unik), pa kontributin e saj pothuajse eshte e “pa imagjinueshme” ne qarqet letrare dhe te revistave moderne te letersise sone, jo se dhe ndokush tjeter nuk mund te perktheje si ajo (per fat te mire kemi dhe plot te tjere, natyrisht, sot kemi mjaft perkthyes te talentuar dhe te respektuar) por desha te them… perkthimi eshte dhe art njekohesisht, o e ke ate “rremb te lindur” o nuk e ke, kerkohet aq shume dashuri dhe vetedisipline, kompleksiteti eseistik nuk eshte kompleks vetem per shkak te shtjellimit por shpesh edhe per shkak te gjuhes, te natyres gjuhesore – bie fjala perkthim mekanik sot mund te ofroje dhe “google”, perkthimet qe kerkojne saktesi dhe qe jane te lidhura me “juridikat” (si shembull) sado qe kerkojne ekspertizen e duhur dhe zyrtaritetin skajshmerisht serioz, megjithate mund te thuhet se kerkojne “vetem saktesi terminologjike”, por perkthimi letrar eshte si nje “qenie e gjalle letrare”, duhet te ndjehet frymemarrja gjuhesore-artistike, perkthimi para se gjithash eshte dashuri e pashtershme ndaj gjuhes, ndaj artit te fjales dhe letersise se mir\u00ebfillt\u00eb, eshte dashuri ndaj gjuh\u00ebs s\u00eb madhe te krijuesve, eshte respekt dhe eshte njohuri letrare-artistike e “pemes letrare”, eshte ekspertize dhe ndjenje per gershetimin e artit dhe gjuhes ne te njejtin lastar… etj etj – pastaj Anila eshte shkrimtare, autore e disa librave, si dhe poete… shkruan po aq bukur dhe poezi.<\/p>\n","protected":false},"excerpt":{"rendered":"

(P\u00ebrkthyer nga Anila Xhekaliu) Ernesto S\u00e1bato dans la Zone. Texte en fran\u00e7ais (Anila Xhekaliu n’a traduit dans sa langue, l’albanais, que la premi\u00e8re partie de mon texte, consacr\u00e9 au Tunnel, le reste de mon article \u00e9tant disponible sur le site de la revue \u00c9tudes). Traductions de plusieurs de mes articles en espagnol, portugais, anglais ou […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"yoast_head":"\nErnesto S\u00e1bato, shkrimtari i fundit? - FjALA e LIR\u00cb - Arkivi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fjala.info\/2009-2015\/ernesto-sabato-shkrimtari-i-fundit\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ernesto S\u00e1bato, shkrimtari i fundit? - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"(P\u00ebrkthyer nga Anila Xhekaliu) Ernesto S\u00e1bato dans la Zone. 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