{"id":13618,"date":"2014-07-10T07:39:00","date_gmt":"2014-07-10T06:39:00","guid":{"rendered":"http:\/\/www.fjala.info\/?p=1399"},"modified":"2014-07-10T07:39:00","modified_gmt":"2014-07-10T06:39:00","slug":"nje-mashtrues-i-pafajshem-kater-romane-te-mehmet-krajes","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/nje-mashtrues-i-pafajshem-kater-romane-te-mehmet-krajes\/","title":{"rendered":"NJ\u00cb MASHTRUES I PAFAJSH\u00cbM. KAT\u00cbR ROMANE T\u00cb MEHMET KRAJ\u00cbS"},"content":{"rendered":"

Nga ZIJA \u00c7ELA<\/strong><\/p>\n

1. Do t\u00eb doja t\u2019i b\u00ebja disa pyetje Mehmet Kraj\u00ebs p\u00ebr kat\u00ebr romanet e ribotuara nga Onufri: \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d (2004), \u201cIm at\u00eb donte Adolfin\u201d (2005), \u201cSelvit\u00eb e Tivarit\u201d (\u201c2007) dhe \u201cHotel Arb\u00ebria\u201d (2010). Do t\u00eb doja ta pyesja, p\u00ebr sh\u00ebmbull, si dreqin arrite t\u2019i shkruaje vet\u00ebm n\u00eb gjasht\u00eb vjet kat\u00ebr romane t\u00eb k\u00ebtij niveli?!<\/p>\n

\"\"<\/p>\n

Mir\u00ebpo i p\u00ebrmbahem mendimit t\u00eb njohur, atij q\u00eb thot\u00eb se v\u00ebshtrimi kritik i nj\u00eb vepre nuk mund t\u00eb arrihet duke u konsultuar me orakullin, autorin e saj. E po ashtu, me gjith\u00eb diversitetin q\u00eb sjellin leximet vetjake, besoj se asnj\u00eb p\u00ebrfundim objektiv nuk mund t\u00eb arrihet duke dal\u00eb jasht\u00eb sfer\u00ebs q\u00eb sugjeron vet\u00eb autoriteti i vepr\u00ebs dhe ku mrekullisht, e p\u00ebrs\u00ebris \u2013 mrekullisht, gjallon pseudo-objektiviteti i shkrimtarit t\u00eb fiksionit. Kraja \u00ebsht\u00eb i llahtarsh\u00ebm n\u00eb k\u00ebt\u00eb objektivitet t\u00eb g\u00ebnjesht\u00ebrt. (M\u00eb falni p\u00ebr eufemizmin, mund t\u00eb thoja kopil.) Gjasmues, iluziv, i pafytyr\u00eb dhe gjithsesi i pafajsh\u00ebm si gjith\u00eb v\u00ebllaz\u00ebria e tij e p\u00ebrbotshme, ai mashtron pa pik\u00ebn e droj\u00ebs, sepse trillon n\u00eb m\u00ebnyr\u00ebn m\u00eb t\u00eb besueshme e m\u00eb t\u00eb sh\u00ebndetshme, duke kaluar p\u00ebrmes asaj fijes s\u00eb holl\u00eb q\u00eb ndan irealen me realen dhe, n\u00eb nj\u00eb fqinj\u00ebsi kaq t\u00eb afruar, lexuesi i g\u00eblltit pa uj\u00eb edhe m\u00ebdyshjet q\u00eb i lindin. N\u00eb sfondin e zhvillimeve bashk\u00ebkohore, kjo \u00ebsht\u00eb nga shprehjet m\u00eb dometh\u00ebn\u00ebse t\u00eb p\u00ebrgjegj\u00ebsis\u00eb krijuese p\u00ebr \u201cmosp\u00ebrgjegj\u00ebsin\u00eb\u201d e trillit n\u00eb let\u00ebrsi.<\/p>\n

E k\u00ebshtu, pa e pyetur autorin, po jap nj\u00eb p\u00ebrgjigje se \u00e7far\u00eb shkrimtari \u00ebsht\u00eb Mehmet Kraja. E di se tek ne mjaft autor\u00eb e presin si mujshar\u00eb \u00e7astin q\u00eb krijimtarin\u00eb e tyre dikush ta cil\u00ebsoj\u00eb postmoderne, thua se postmodernizmi \u00ebsht\u00eb m\u00eb shum\u00eb lavdi sesa kalendar. Thjesht, sipas meje, ndoshta Kraja \u00ebsht\u00eb nj\u00eb postrealist. Me nj\u00eb fjal\u00eb, shkrimtar i integruar plot\u00ebsisht n\u00eb nivelin m\u00eb t\u00eb p\u00ebrparuar europian.<\/p>\n

N\u00ebse kat\u00ebr romanet do t\u2019i p\u00ebrfytyroja si nj\u00eb kuartet me kat\u00ebr instrumente, at\u00ebher\u00eb \u201cIm at\u00eb donte Adolfin\u201d do t\u00eb ishte pianoja, \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d viola, \u201cHotel Arb\u00ebria\u201d violon\u00e7eli dhe \u201cSelvit\u00eb e Tivarit\u201d violina. Por sido q\u00eb t\u2019i rendit\u00ebsh dhe pavar\u00ebsisht nga ndryshimi i partiturave, gjith\u00eb s\u00eb bashku luajn\u00eb muzik\u00eb dhome, ku nuk mungon balada p\u00ebr t\u00eb gjall\u00ebt, nj\u00eb requiem p\u00ebr t\u00eb vdekurit dhe nj\u00eb skerco p\u00ebr t\u00eb gjall\u00ebt e t\u00eb vdekurit bashk\u00eb.<\/p>\n

E k\u00ebto rrin\u00eb me nj\u00ebra-tjetr\u00ebn, sepse n\u00eb proz\u00ebn e Kraj\u00ebs mbisundojn\u00eb gjendjet paraverbale t\u00eb personazheve, kryesisht trazimet e paz\u00ebshme me sy hapur dhe jermet e \u00ebndrrave me sy mbyllur. Jan\u00eb gjendje q\u00eb mund t\u00eb ken\u00eb qen\u00eb jasht\u00eb e jan\u00eb b\u00ebr\u00eb t\u00eb brendshme, si dhe t\u00eb brendshme q\u00eb m\u00ebtojn\u00eb t\u00eb artikulohen p\u00ebr t\u00eb dal\u00eb jasht\u00eb. Kjo d\u00ebshmi pohon se n\u00eb krijimtarin\u00eb e Mehmet Kraj\u00ebs, para se nj\u00eb zanat q\u00eb m\u00ebsohet, let\u00ebrsia \u00ebsht\u00eb autenticitet shpirt\u00ebror. Dhe n\u00eb intonimin estetik t\u00eb k\u00ebtij autenticiteti, si ve\u00e7ori autoriale ka edhe ngjyra, edhe nd\u00ebrthurje. Bie fjala dramatikja, tipari m\u00eb spikat\u00ebs i shkrimtarit, bashk\u00ebjeton me humorin e buzagazit, por shfaqet edhe m\u00eb r\u00ebndsh\u00ebm kur pik\u00ebllimi helmues tretet me sarkazm\u00ebn p\u00ebrmbyt\u00ebse.<\/p>\n

2. \u00c7far\u00eb i \u00ebsht\u00eb dashur autorit, para se t\u2019ia niste pun\u00ebs p\u00ebr secilin nga romanet?<\/p>\n

Disa troje t\u00eb njohura, Prishtina, Shkodra, Tivari, Tirana etj. Fabula dhe shum\u00eb personazhe t\u00eb panjohura, \u00e7ka i fantazon me leht\u00ebsi. Pastaj ndonj\u00eb dokument historik, apokrif n\u00eb t\u00eb v\u00ebrtet\u00eb, bllok a fletore me sh\u00ebnime q\u00eb dikush i paska mbajtur dikur, por q\u00eb vet\u00ebm sa p\u00ebrmenden, pasi nuk luajn\u00eb rolin e faktit. \u00c7far\u00eb tjet\u00ebr m\u00eb pas? M\u00eb pas asgj\u00eb, kaq i kan\u00eb mjaftuar. Si prozator i rac\u00ebs, t\u00eb gjitha t\u00eb tjerat Kraja i ka vet\u00eb. Duke e pasur karburantin p\u00ebrbrenda, ai \u00ebsht\u00eb ndodhur i gatsh\u00ebm p\u00ebr shk\u00ebndijat q\u00eb i kan\u00eb r\u00ebn\u00eb nga jasht\u00eb. Dhe rezultati? Te mjeshtri nuk gjejm\u00eb pantallona t\u00eb kuqe t\u00eb qepura me fill t\u00eb bardh\u00eb, si shfaj\u00ebsim i ekstravaganc\u00ebs s\u00eb artistit. Por as n\u00eb duart e artistit nuk shihen shenja t\u00eb prangave prej despotizmit t\u00eb mjeshtrit.<\/p>\n

Mehmet Kraja, n\u00eb radh\u00eb t\u00eb par\u00eb, \u00ebsht\u00eb prozator i leteralitetit t\u00eb dhuntish\u00ebm, atij t\u00eb lindurit, genuin-it. Prandaj nuk \u00ebsht\u00eb e rastit q\u00eb, duke pasur vet\u00ebmjaftueshm\u00ebrin\u00eb e zhvillimit, ka ardhur duke e pasuruar romanin shqiptar jo n\u00eb statistik\u00eb, por atje ku sot \u00ebsht\u00eb balli m\u00eb cil\u00ebsor i k\u00ebtij zhanri. Natyrisht, gjithkush p\u00ebrjeton rrethanat e veta, ndoshta edhe autori u ndihmua nga rrethanat e jashtme. Por m\u00eb tep\u00ebr se kombinim rrethanash, \u00ebsht\u00eb rasti kur p\u00ebrparimi arrihet duke u shfaqur theksh\u00ebm fuqia vetjake. Kraja i ka lexuar dhe i lexon n\u00eb vijim\u00ebsi prozator\u00ebt shqiptar\u00eb, por n\u00eb k\u00ebto romane nuk ndihet hija e asnj\u00eb pararend\u00ebsi. Prandaj \u00ebsht\u00eb kaq neto vlera q\u00eb sjell n\u00eb let\u00ebrsin\u00eb ton\u00eb, \u00e7ka e b\u00ebn po aq t\u00eb ep\u00ebrm edhe respektin e autorit p\u00ebr individualitetet e tjera.<\/p>\n

3. N\u00ebse do ta ndaja kuartetin duke i p\u00ebrafruar sipas meje tiparet, nj\u00ebfar\u00eb binjak\u00ebzimi do t\u00eb ishte: \u201cSelvit\u00eb e Tivarit\u201d me \u201cIm at\u00eb donte Adolfin\u201d si nj\u00eb koncert p\u00ebr violin\u00eb e piano; \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d dhe \u201cHotel Arb\u00ebria\u201d si nj\u00eb koncert p\u00ebr viol\u00eb dhe violon\u00e7el. Binjak\u00ebt e fundit kan\u00eb shum\u00eb dhimbje, jo vet\u00ebm p\u00ebr dramat q\u00eb sjellin, por edhe p\u00ebr thikat q\u00eb shqiptar\u00ebt ia ngulin nj\u00ebri-tjetrit. Nd\u00ebrsa dy t\u00eb par\u00ebt, romane q\u00eb i kam m\u00eb p\u00ebr zem\u00ebr, krahas dhimbjes dhe ravgimeve njer\u00ebzore, kan\u00eb aq kapri\u00e7io t\u00eb narrativ\u00ebs, sa mb\u00ebrrijn\u00eb edhe kulme.<\/p>\n

N\u00eb k\u00ebndv\u00ebshtrimin e ligj\u00ebrimit t\u00eb rr\u00ebfyesit dhe bot\u00ebs s\u00eb brendshme t\u00eb personazhit, Lindita Tahiri i ka kushtuar nj\u00eb studim t\u00eb mpreht\u00eb stilistik romanit \u201cIm at\u00eb donte Adolfin\u201d. Ajo pohon se me m\u00ebnyr\u00ebn e paraqitjes s\u00eb realitetit historik, Kraja krijon metafiksionin historiografik, t\u00eb cilin lexuesi nuk e pranon me skepticizmin q\u00eb do t\u2019i ishte qasur historis\u00eb, sepse dometh\u00ebn\u00ebnia e rr\u00ebfimit nuk mb\u00ebshtetet n\u00eb dokumentimin faktik t\u00eb t\u00eb dh\u00ebnave t\u00eb imagjinuara, por n\u00eb nd\u00ebrlidhjen e k\u00ebtyre t\u00eb dh\u00ebnave me ligj\u00ebrimin e rr\u00ebfimit. (Libri \u201cMonolugu\u201d, fq. 133) Si\u00e7 shihet, \u00ebsht\u00eb nj\u00eb dep\u00ebrtim n\u00eb thelbin e specifik\u00ebs s\u00eb fiksionit t\u00eb Mehmet Kraj\u00ebs. Po kujtoj kalimthi se, kur ekzistojn\u00eb studime t\u00eb qeliz\u00ebs letrare si ky q\u00eb p\u00ebrmenda, nj\u00eb autor ka shansin p\u00ebr ta njohur m\u00eb gjakftoht\u00eb vetveten, pasi n\u00eb procesin e studimit ka ndodhur nj\u00eb transformim i \u00e7uditsh\u00ebm, n\u00ebnvet\u00ebdija e shkrimtarit \u00ebsht\u00eb b\u00ebr\u00eb vet\u00ebdija e kritikut.<\/p>\n

Por un\u00eb po ndalem te \u201cSelvit\u00eb\u201d. N\u00eb let\u00ebrsi ka mjaft romane q\u00eb i bashkon nj\u00eb arketip: shkrimtari zbret n\u00eb f\u00ebmij\u00ebrin\u00eb e tij dhe, nga pozitat naiviste t\u00eb asaj moshe, rr\u00ebfen bot\u00ebn p\u00ebrreth. Mir\u00ebpo n\u00ebn ndikimin e nj\u00eb rezultati sundues, mjaft autor\u00eb p\u00ebrfundojn\u00eb pa dashje ose n\u00eb let\u00ebrsi imituese, ose n\u00eb let\u00ebrsi bastarde si epigon\u00eb t\u00eb pandreqsh\u00ebm. P\u00ebr nga origjinaliteti i mbrojtur (i konservuar), befasimet artistike dhe k\u00ebnaq\u00ebsia e leximit, \u201cSelvit\u00eb e Tivarit\u201d i vihet p\u00ebrkrah modelit m\u00eb t\u00eb fort\u00eb q\u00eb kan\u00eb dh\u00ebn\u00eb n\u00eb k\u00ebt\u00eb rast letrat tona, \u201cKronik\u00ebs n\u00eb gur\u201d t\u00eb Kadares\u00eb.<\/p>\n

Tek \u201cAdolfi\u201d paragrafi i par\u00eb i rr\u00ebfimit nis me: \u201cIm at\u00eb\u2026\u201d. Krijohet k\u00ebshtu iluzioni i menj\u00ebhersh\u00ebm se gjith\u00e7ka q\u00eb do t\u00eb rr\u00ebfehet \u00ebsht\u00eb reale, p\u00ebrvoj\u00eb fort mir\u00eb e njohur nga autori, pasi k\u00ebt\u00eb e p\u00ebrcakton lidhja e gjakut, plus t\u00eb famshmet sh\u00ebnime (sic!) q\u00eb na qenkan mbajtur dikur me holl\u00ebsi. Mir\u00ebpo \u00e7far\u00eb ndodh letrarisht? Mbasi ka trilluar t\u00eb atin (ngjarjet zhvillohen n\u00eb sfondin e Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore), autori trillon edhe t\u00eb birin, pra f\u00ebmij\u00ebrin\u00eb e vet. Por f\u00ebmij\u00ebrin\u00eb e dyt\u00eb ama, sepse ai nuk do t\u00eb ndalet, do ta trilloj\u00eb edhe tjetr\u00ebn. P\u00ebr nga kronologjia kohore, f\u00ebmij\u00ebrin\u00eb e par\u00eb do ta gjejm\u00eb te romani pasues \u201cSelvit\u00eb e Tivarit\u201d, me ngjarje q\u00eb zhvillohen shum\u00eb m\u00eb her\u00ebt, rreth vitit 1878. Dhe pak v\u00ebmendje p\u00ebr paradoksin tani, sepse k\u00ebtu kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb trill t\u00eb pazakont\u00eb, kur p\u00ebr nga mosha i biri \u00e7ertifikohet m\u00eb i madh se i ati. N\u00ebse autori ka qen\u00eb dhjet\u00eb ve\u00e7 kur b\u00ebhet pjes\u00ebmarr\u00ebs n\u00eb ato ngjarje, rezulton se librin (sipas sh\u00ebnimit n\u00eb fund: Prishtin\u00eb, janar-n\u00ebntor 2010) e ka shkruar kur ka qen\u00eb 123, nd\u00ebrsa sot, megjith\u00ebse i dit\u00eblindjes 1952, shkrimtarit i bie t\u00eb jet\u00eb 136 vje\u00e7. (!) \u00c7udia \u00ebsht\u00eb se, sado tep\u00ebr fantaste dhe e guximshme kjo loj\u00eb trefish e fsheht\u00eb me koh\u00ebn, letrarisht mbetet prap\u00ebseprap\u00eb e pranueshme.<\/p>\n

Rr\u00ebfyesit i kan\u00eb thyer prej s\u00eb hershmi rregullat e koh\u00ebs duke informuar n\u00eb distanc\u00eb, madje duke ditur edhe \u00e7far\u00eb ka ndodhur para lindjes s\u00eb tyre. Por zakonisht kjo b\u00ebhet duke e respektuar honin ndar\u00ebs n\u00ebp\u00ebrmjet neutralitetit t\u00eb vetes s\u00eb tret\u00eb. Kurse te \u201cSelvit\u00eb\u201d lexojm\u00eb: \u201cEdhe tani, kur e sjell n\u00eb p\u00ebrfytyrim pamjen e atij vendi, m\u00eb duket sikur sjell n\u00eb kujtes\u00eb nj\u00eb gravur\u00eb t\u00eb vjet\u00ebr\u2026 Nuk \u00ebsht\u00eb se kjo pamje vet\u00ebm tani m\u00eb duket e till\u00eb. Gjat\u00eb atyre dit\u00ebve t\u00eb larg\u00ebta dilnim shpesh mbi muret e kalas\u00eb dhe nuk b\u00ebnim asgj\u00eb, ngjiteshim mbi kull\u00ebn e princit\u2026\u201d (Fq. 112) Shihni si guxon autori t\u00eb rr\u00ebfej\u00eb n\u00eb vet\u00ebn e par\u00eb, si e kalon v\u00ebshtir\u00ebsin\u00eb e saj dhe \u00e7far\u00eb rrengu na ngre \u201cqafiri\u201d, duke aktivizuar nj\u00ebherazi koh\u00ebn e ngjarjes, koh\u00ebn kur shkruan dhe at\u00eb relativen kur do t\u00eb na drejtohet ne, si p\u00ebrputhje me koh\u00ebn e leximit.<\/p>\n

Ve\u00e7se kjo loj\u00eb nuk do t\u00eb mund t\u00eb mbahej gjat\u00eb m\u00eb k\u00ebmb\u00eb, n\u00ebse nuk do t\u00eb harmonizohej n\u00eb m\u00ebnyr\u00eb simultane gjat\u00eb t\u00ebr\u00eb romanit me mjete t\u00eb tjera t\u00eb stilistik\u00ebs, duke treguar t\u00eb nj\u00ebjtin guxim dhe t\u00eb nj\u00ebjt\u00ebn mjesht\u00ebri unifikuese. Asnj\u00eb mbret n\u00eb faqe t\u00eb dheut, me gjith\u00eb fuqin\u00eb q\u00eb i pati dh\u00ebn\u00eb froni, nuk mundet q\u00eb prej nj\u00eb distance kohore nj\u00eb shekull e gjysm\u00eb ta shoh\u00eb veten n\u00eb m\u00ebnyr\u00eb aktive n\u00eb kalan\u00eb e tij, si l\u00ebviz, \u00e7far\u00eb sheh e \u00e7far\u00eb p\u00ebrjeton. Por shkrimtari edhe t\u00eb pamundur\u00ebn e b\u00ebn t\u00eb mundur, duke d\u00ebshmuar se \u00e7far\u00eb fuqie krijuese kan\u00eb princat e letrave n\u00eb mbret\u00ebrin\u00eb e p\u00ebrjetshme t\u00eb artit.<\/p>\n

4. P\u00ebr nga kompozicioni romanet e Kraj\u00ebs kan\u00eb disi form\u00ebn e shtjell\u00ebs. \u00cbsht\u00eb kapur m\u00eb par\u00eb nj\u00eb nuk\u00ebl potencial, di\u00e7ka si syri i ciklonit, pastaj ka filluar p\u00ebrhapja e rrath\u00ebve duke e rritur diametrin. K\u00ebto rrath\u00eb her\u00eb priten kusht\u00ebzuesh\u00ebm nj\u00ebri me tjetrin, her\u00eb vet\u00ebm takohen n\u00ebp\u00ebr lakore ose ruajn\u00eb pavar\u00ebsi, por gjith\u00eb s\u00eb bashku harmonizohen n\u00eb nj\u00eb mozaik. Tek \u201cIm at\u00eb donte Adolfin\u201d k\u00ebt\u00eb rol e luan babai, tek \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d \u2013 Kakami, te \u201cHotel Arb\u00ebria\u201d \u2013 Sk\u00ebnder Berisha. Nd\u00ebrsa te \u201cSelvit\u00eb\u201d fug\u00ebn fillestare e nis kurva profesioniste Zuke Kalimani, p\u00ebr t\u00eb p\u00ebrfshir\u00eb pastaj n\u00eb shtjell\u00eb t\u00ebr\u00eb Tivarin e p\u00ebrtej Tivarit, ushtrin\u00eb e Dovletit, at\u00eb t\u00eb Krajlit t\u00eb Cetinj\u00ebs dhe flot\u00ebn angleze t\u00eb Stjuartit t\u00eb \u00e7al\u00eb. Por \u00e7far\u00eb tabloje e paharrueshme krijohet, \u00e7far\u00eb personazhesh t\u00eb larmishme g\u00eblojn\u00eb. Ato jo vet\u00ebm e pasurojn\u00eb nj\u00ebri-tjetrin, por kontrastet theksojn\u00eb edhe profilet brenda vepr\u00ebs: Samiu dhe Sani Kanduri, Ilham Shaqir Suma, Cuf Idrizi, Beqir Demi, Shuab Damoni, Jehud Doraci, Xhemilja e Habib Katan\u00ebs, Ymer Efendia, gjakoni Ded\u00eb Zarishti, Pad\u00ebr Shtjefni, Nik\u00eb Pjet\u00ebr Jungu, Lami i Kas\u00ebm Demirit, Johan fon Bergmani, Nel Gjeshku me mushk\u00ebn e tij, boshnjakja e Hetem Hoxh\u00ebs, Lami i Kas\u00eb Demirit, Selim \u00c7erkezi, Sebernazja e Beqir Demit dhe deri te gjasht\u00eb burrat e Tivarit, Kabili e Rahili, Sabiti e Hamiti, Aliu e Veliu, q\u00eb hyjn\u00eb n\u00eb bisedime p\u00ebr kufijt\u00eb me ushtrit\u00eb e huaja. Dhe ndon\u00ebse me k\u00ebta gjasht\u00eb burra vepr\u00ebs po i afrohet fundi, krer\u00ebt 34-36 vazhdojn\u00eb t\u00eb ngrihen, ato kthehen n\u00eb dram\u00eb p\u00ebr nga tensioni, n\u00eb grotesk universal p\u00ebr nga p\u00ebrmbajtja dhe n\u00eb poem\u00eb p\u00ebr nga stili.<\/p>\n

N\u00eb kuptimin e mir\u00ebfillt\u00eb, te \u201cSelvit\u00eb\u201d nuk ka ndonj\u00eb tem\u00eb q\u00eb mund t\u00eb formulohet, gati-gati as subjekt q\u00eb mund t\u00eb tregohet n\u00eb m\u00ebnyr\u00eb lineare. Ve\u00e7se nuk ka aty situata ku t\u00eb ndihet sht\u00ebrzimi i k\u00ebrkimit, por burime t\u00eb bollshme ku imagjinata buis vetvetish\u00ebm. Autori \u00ebsht\u00eb ndodhur mu n\u00eb am\u00ebn e l\u00ebnd\u00ebs s\u00eb past\u00ebr letrare (les lettres pures), \u00e7ka i ka dh\u00ebn\u00eb krejt romanit at\u00eb q\u00eb quhet frym\u00eb, dhe pik\u00ebrisht fryma ka qen\u00eb p\u00ebrcaktuese n\u00eb kahjen e k\u00ebsaj let\u00ebrsie luminishente. N\u00eb k\u00ebt\u00eb roman, bashk\u00eb me \u201cIm at\u00eb donte Adolfin\u201d, Kraja ngrihet n\u00eb nivelin e asaj krijimtarie ku realja s\u2019i p\u00ebrket aq realitetit, sesa fantazmagoris\u00eb s\u00eb tij. Me nj\u00eb fjal\u00eb, \u00e7far\u00eb ka n\u00eb p\u00ebrditshm\u00ebrin\u00eb e vdekshme t\u00eb nj\u00eb kohe mund t\u00eb mos gjendet n\u00eb vep\u00ebr, por gjendet aty \u00e7far\u00eb p\u00ebrfaq\u00ebson shpirtin e pavdeksh\u00ebm t\u00eb koh\u00ebs. Duket sikur autori i ka fshir\u00eb nga mendja romanet e tjera q\u00eb ka shkruar, p\u00ebr t\u2019i krijuar vetvetes nj\u00eb kondensim t\u00eb ri, por edhe shenj\u00ebn m\u00eb konkurruese p\u00ebr vazhdim\u00ebsin\u00eb e tij n\u00eb t\u00eb ardhshmen.<\/p>\n

5. N\u00eb pasurin\u00eb, lirin\u00eb dhe eleganc\u00ebn e p\u00ebrdorimit, Kraja \u00ebsht\u00eb nj\u00eb nga kampion\u00ebt e gjuh\u00ebs letrare. N\u00eb t\u00eb gjith\u00eb historin\u00eb e letrave tona, prej fillimit e deri m\u00eb sot, haset rrall\u00eb ndonj\u00eb shkrimtar q\u00eb ekspresionizmin e mjedisit dhe natyr\u00ebs ta ket\u00eb n\u00eb nivelin e k\u00ebtij autori. Ai nuk e ka p\u00ebr gj\u00eb t\u00eb trash\u00ebgoj\u00eb nga romantik\u00ebt (q\u00eb sot shum\u00ebkush i shpall krejt\u00ebsisht anakronik\u00eb) afeksionin p\u00ebr gjith\u00ebsin\u00eb, p\u00ebr qiellin e horizontet e tij, p\u00ebr diellin, h\u00ebn\u00ebn, yjet, etj. dhe t\u2019i risjell\u00eb n\u00eb modernitet me shijen e koh\u00ebs. Kur skenat i kan\u00eb t\u00eb pranishme k\u00ebta trupa qiellor\u00eb, n\u00eb tekst farfurin drita. Sapo shtrihen hijet, p\u00ebrshkrimi b\u00ebhet ther\u00ebs.<\/p>\n

Edhe pse nga nj\u00ebri roman te tjetri shkrimtari sikur e ka hang\u00ebr disi natyr\u00ebn, \u00e7do rimarrje sjell ca rr\u00ebqethje dhe ca ndjesi q\u00eb mbesin flu. Kjo flu, kjo mjegull aq e shpesht\u00eb n\u00eb romanet e tij, nuk \u00ebsht\u00eb thjesht lag\u00ebshtira e motit. Por kryesisht nebuloza prej s\u00eb cil\u00ebs \u00ebsht\u00eb krijuar universi i kat\u00ebr romaneve, nj\u00eb tis vibrues q\u00eb as e ka l\u00ebn\u00eb autorin t\u00eb shoh\u00eb gjith\u00e7ka qart\u00eb qysh prej fillimit, si\u00e7 shohin skematik\u00ebt, as t\u00eb ec\u00eb qorrazi jasht\u00eb hullive t\u00eb veprave, si\u00e7 ecin profan\u00ebt. Ndoshta s\u2019\u00ebsht\u00eb e rastit q\u00eb edhe leximi i Kraj\u00ebs t\u00eb l\u00eb nj\u00ebfar\u00eb mjegulle n\u00eb kok\u00eb. Ajo nis t\u00eb zhdavaritet pasi mbaron libri, sepse pik\u00ebrisht at\u00ebher\u00eb, i persekutuar nga dilemat e aktualitetit, qytetari i sot\u00ebm \u00e7on gishtin n\u00eb t\u00ebmth dhe, si\u00e7 ka shtruar vargan pyetjesh autori, nis t\u00eb pyes\u00eb edhe vet\u00eb: A thua k\u00ebshtu gjithmon\u00eb paska qen\u00eb jeta, e lakmueshme, ndjell\u00ebse, e brisht\u00eb, absurde, marramend\u00ebse, sureale dhe shpesh idiote nj\u00ebkoh\u00ebsisht?!<\/p>\n

6. Nuk mund t\u00eb thuhet se vet\u00eb thelbi i artit ka ndryshuar shum\u00eb p\u00ebrgjat\u00eb historis\u00eb. Ka substanca q\u00eb sikur ngrijn\u00eb, sepse p\u00ebr paprekshm\u00ebrin\u00eb e tyre koha i trajton disi n\u00eb m\u00ebnyr\u00eb frigoriferike. E till\u00eb \u00ebsht\u00eb let\u00ebrsia e antikitetit, e cila edhe pas shum\u00eb shekujsh ka mbetur sa klasike, aq moderne nj\u00ebkoh\u00ebsisht. \u00c7far\u00eb ka ndryshuar m\u00eb tep\u00ebr ndoshta \u00ebsht\u00eb tipografia dhe leximi i let\u00ebrsis\u00eb. S\u2019jam kund\u00ebr, le ta respektojm\u00eb sovranitetin dhe lirin\u00eb e lexuesit n\u00eb k\u00ebt\u00eb epok\u00eb t\u00eb multikulturalizmit. Por n\u00ebse kultura \u00ebsht\u00eb b\u00ebr\u00eb konsum, fenomen q\u00eb ka prirje v\u00ebrshuese, at\u00ebher\u00eb pjes\u00ebs m\u00eb t\u00eb denj\u00eb t\u00eb let\u00ebrsis\u00eb i duhet t\u00eb b\u00ebj\u00eb rezistenc\u00eb p\u00ebr t\u00eb q\u00ebndruar n\u00eb kultur\u00ebn e fisme, kultur\u00ebn e lart\u00eb si\u00e7 thuhet sot.<\/p>\n

K\u00ebto romane t\u00eb Kraj\u00ebs i kund\u00ebrvihen konfuzionit kulturor dhe ushqejn\u00eb mendim, ndjeshm\u00ebri e spiritualitet te lexuesi. Por pa i varur shpresat te \u00e7do lloj lexuesi, pasi rrenat populiste kan\u00eb filluar t\u00eb na dalin p\u00ebr hund\u00ebsh. Let\u00ebrsia e Kraj\u00ebs, duke i kthyer shpin\u00ebn mediokritetit, let\u00ebrsis\u00eb s\u00eb shurupit dhe t\u00eb mediatizimit stinor, b\u00ebhet m\u00eb e p\u00eblqyeshme vet\u00ebm p\u00ebr ata q\u00eb ngrihen n\u00eb nivelin e saj.<\/p>\n

Ka njer\u00ebz t\u00eb letrave t\u00eb tjera q\u00eb shkruajn\u00eb edhe romane, pa qen\u00eb romancier\u00eb t\u00eb mir\u00ebfillt\u00eb. Por ka edhe romanancier\u00eb safi q\u00eb, kur ua do puna, nuk u l\u00ebn\u00eb kurrgj\u00eb mangut njer\u00ebzve t\u00eb atyre letrave. I till\u00eb \u00ebsht\u00eb Mehmet Kraja. Shkrimtar plot k\u00ebrkime, v\u00ebzhgime inteligjente dhe qortime t\u00eb hidhura p\u00ebrball\u00eb nd\u00ebrgjegjes komb\u00ebtare. Eseist n\u00eb let\u00ebrsi. Analist n\u00eb politik\u00eb. I flakt\u00eb n\u00eb publicistik\u00eb. Ai \u00ebsht\u00eb v\u00ebrtet mizor dhe i pam\u00ebshirsh\u00ebm nganj\u00ebher\u00eb. Por i pam\u00ebshirsh\u00ebm sidomos ndaj vetes, sepse marazi kund\u00ebr konformizmit dhe nervi i mospajtimit me padrejt\u00ebsit\u00eb s\u2019e lejojn\u00eb t\u00eb p\u00ebrdor\u00eb p\u00ebr goj\u00ebn shtup\u00ebn e heshtjes.<\/p>\n

Sidoqoft\u00eb, nga jeta plot travaja e shkrimtar\u00ebve mbeten librat m\u00eb t\u00eb mir\u00eb. E kam th\u00ebn\u00eb, k\u00ebto jan\u00eb diamantet q\u00eb l\u00ebn\u00eb pas vdekjes, por q\u00eb n\u00eb t\u00eb gjall\u00eb na jan\u00eb dhuruar modestisht. Dhe t\u00eb mendosh pastaj se \u00e7far\u00eb heq edhe vet\u00eb toka, ama e tyre, p\u00ebr t\u2019i krijuar. I krijon aq thell\u00eb, sa prej kufijve t\u00eb zjarrit nganj\u00ebher\u00eb i nxjerr n\u00eb sip\u00ebrfaqe bashk\u00eb me llav\u00ebn e vullkaneve.<\/p>\n

http:\/\/gazeta-nacional.com\/<\/p>\n

BIBLIOGRAFIA DHE \u00c7MIMET P\u00cbR VEPR\u00cbN E MEHMET KRAJ\u00cbS<\/p>\n

Romanet:<\/p>\n

1. \u201cGjurm\u00eb n\u00eb trotuar\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1978;
\n2. \u201cPortali i per\u00ebndive t\u00eb fyera\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1980;
\n3. \u201cMoti i Madh\u201d, \u201cRilindja\u201d Prishtin\u00eb 1981;
\n4. \u201cUdh\u00ebzime p\u00ebr kap\u00ebrcimin e detit\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1984; \u201cNaim Frash\u00ebri\u201d, Tiran\u00eb 1987;
\n5. \u201cS\u00ebmundja e \u00ebndrrave\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1987;
\n6. \u201cNet bizantine\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1990;
\n7. \u201cMuri i mjegull\u00ebs\u201d, \u201cToena\u201d, Tiran\u00eb 1998;
\n8. \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d, \u201cOnufri\u201d, Tiran\u00eb 2004;
\n9. \u201cIm at\u00eb donte Adolfin\u201d, \u201cOnufri\u201d, Tiran\u00eb 2005.
\n10. \u201cSelvit\u00eb e Tivarit\u201d, \u201cOnufri\u201d, Tiran\u00eb 2007
\n11. \u201cHotel Arb\u00ebria\u201d, \u201cOnufri\u201d, Tiran\u00eb 2010<\/p>\n

Tregimet:<\/p>\n

1. \u201cDritat e mesnat\u00ebs\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1974;
\n2. \u201cVdekja pa em\u00ebr\u201d, \u201cEurorilindja\u201d, Tiran\u00eb 1995; \u201cDukagjini\u201d, Pej\u00eb 1996;
\n3. \u201cPortat e qiellit\u201d, \u201cToena\u201d, Tiran\u00eb 1996; \u201cBuzuku\u201d, Prishtin\u00eb 1997;
\n4. \u201cNj\u00ebzet tregime p\u00ebr koh\u00ebn e shkuar\u201d, \u201cDukagjini\u201d, Pej\u00eb 2001;
\n6. \u201cHija e qershis\u00eb n\u00ebn drit\u00ebn e h\u00ebn\u00ebs\u201d, Toena\u201d, Tiran\u00eb 2006.<\/p>\n

Dramat:<\/p>\n

1. \u201cTri drama\u201d (\u201cPrinci i hijeve\u201d, \u201cOnufri i Neokastr\u00ebs\u201d, \u201cH\u00ebna prej letre\u201d), \u201cRilindja\u201d, Prishtin\u00eb 1987;
\n2. \u201cPes\u00eb ide p\u00ebr loj\u00eb skenike\u201d (\u201cMuri I, ose ora e shiut\u201d, \u201cMuri II, ose lavjerr\u00ebsi i r\u00ebr\u00ebs\u201d, \u201cMuri III, ose fluturat e bardha\u201d, Muri IV, ose \u00ebnd\u00ebrr qeni\u201d, \u201cMuri V, pse nj\u00eb h\u00ebn\u00eb tjet\u00ebr prej letre\u201d), \u201cToena\u201d, Tiran\u00eb 1999;
\n4. \u201cKrishti q\u00ebndroi tri dit\u00eb n\u00eb Kosov\u00eb\u201d, \u201cJeta e re\u201d, Prishtin\u00eb 2002;
\n3. \u201cGrafitet\u201d, \u201cJeta e re\u201d, Prishtin\u00eb 2005;
\n4. \u201cIm at\u00eb donte Adolfin\u201d, dramatizim, Prishtin\u00eb 2007;
\n6. \u201cH\u00ebna prej letre\u201d, version i ri, Prishtin\u00eb 2007;<\/p>\n

Kritik\u00eb dhe publicistik\u00eb:<\/p>\n

1. \u201cShoq\u00ebrime\u201d, \u201cRilindja\u201d, Prishtin\u00eb 1997
\n2. \u201cVite t\u00eb humbura\u201d, \u201cEurorilindja\u201d Tiran\u00eb 1995, \u201cRozafa\u201d, Prishtin\u00eb 2003;
\n3. \u201cMirupafshim n\u00eb nj\u00eb luft\u00eb tjet\u00ebr\u201d, \u201cRozafa\u201d, Prishtin\u00eb 2003.
\n4. \u201cE shtuna ime\u201d, PEN Qendra e Kosov\u00ebs, Prishtin\u00eb 2009
\n5. \u201cIdentiteti kosovar\u201d, PEN Qendra e Kosov\u00ebs, Prishtin\u00eb 2011<\/p>\n

Shfaqjet e realizuara:<\/p>\n

1. \u201cPrinci i hijeve\u201d, realizuar n\u00eb Teatrin Popullor Krahinor n\u00eb vitin 1984, me regji t\u00eb Agim Sopit dhe n\u00eb Teatrin e Gjilanit n\u00eb vitin 1985;
\n2. \u201cH\u00ebna prej letre\u201d, realizuar nga Teatri i Gjakov\u00ebs n\u00eb vitin 1988, n\u00eb regji t\u00eb Fadil Hysajt;
\n3. \u201cOnufri i Neokastr\u00ebs\u201d, nga Tetari Amator \u201cEmin Duraku\u201d i Gjakov\u00ebs n\u00eb vitin 1987 n\u00eb regji t\u00eb Nimon Mu\u00e7ajt;
\n4. \u201c\u00cbnd\u00ebrr qeni\u201d, realizuar n\u00eb Teatrin Komb\u00ebtar t\u00eb Prishtin\u00ebs n\u00eb vitin 2001, n\u00eb regji t\u00eb Is\u00eb Qosjes;
\n5. \u201cGrafitet\u201d, realizuar n\u00eb Teatrin \u201cOda\u201d t\u00eb Prishin\u00ebs, n\u00eb vitin 2005, n\u00eb regji t\u00eb Is\u00eb Qosjes;
\n6. \u201cOnufri i Neokastr\u00ebs\u201d (version i ri), realizuar nga nj\u00eb grup artist\u00ebsh t\u00eb lir\u00eb t\u00eb Gjakov\u00ebs, n\u00eb vitin 2006, n\u00eb regji t\u00eb Nimon Mu\u00e7ajt;
\n7. \u201cH\u00ebna prek letre\u201d (version i ri), realizuar n\u00eb Teatrin Komb\u00ebtar t\u00eb Prishtin\u00ebs, n\u00eb vitin 2007, n\u00eb regji t\u00eb Fadil Hysajt;
\n8. \u201cIm at\u00eb donte Adolfin\u201d, realizuar si shfaqja e par\u00eb profesioniste e Teatrit t\u00eb Prizrenit, n\u00eb vitin 2007, n\u00eb regji t\u00eb Agim Sopit.
\n9. \u201cRekuiem\u201d, realizuar nga Teatri i Qytetit t\u00eb Gjilanit, 2010<\/p>\n

\u00c7mimet:<\/p>\n

1. \u00c7mimi vjetor i Shoqat\u00ebs s\u00eb Shkrimtar\u00ebve t\u00eb Kosov\u00ebs p\u00ebr vepr\u00ebn m\u00eb t\u00eb mir\u00eb (p\u00ebr romanin \u201cMoti i Madh\u201d, 1981);
\n2. \u00c7mimi \u201cHivzi Sulejmani\u201d i Shoqat\u00ebs s\u00eb Shkrimtar\u00ebve t\u00eb Kosov\u00ebs p\u00ebr proz\u00ebn m\u00eb t\u00eb mir\u00eb (p\u00ebr p\u00ebrmbledhjen e tregimeve \u201cVdekja pa em\u00ebr\u201d, 1995);
\n3. \u00c7mimi i sht\u00ebpis\u00eb botuese \u201cToena\u201d p\u00ebr proz\u00ebn m\u00eb t\u00eb mir\u00eb nga pes\u00ebqind titujt e botuar (p\u00ebr romanin \u201cMuri i mjegull\u00ebs\u201d, 1998);
\n4. \u00c7mimi \u201cPjet\u00ebr Bogdani\u201d i Shoqat\u00ebs s\u00eb Shkrimtar\u00ebve t\u00eb Kosov\u00ebs p\u00ebr vepr\u00ebn m\u00eb t\u00eb mir\u00eb (p\u00ebr romanin \u201cMuri i mjegull\u00ebs\u201d, 1999);
\n5. \u00c7mimi \u201cPjet\u00ebr Bogdani\u201d i Shoqat\u00ebs s\u00eb Shkrimtar\u00ebve t\u00eb Kosov\u00ebs p\u00ebr vepr\u00ebn m\u00eb t\u00eb mir\u00eb (p\u00ebr p\u00ebrmbledhjen \u201cNj\u00ebzet tregime p\u00ebr koh\u00ebn e shkuar\u201d, 2001);
\n6. \u00c7mimin \u201cAzem Shkreli\u201d t\u00eb Ministris\u00eb s\u00eb Kultur\u00ebs s\u00eb Kosov\u00ebs p\u00ebr vepr\u00ebn m\u00eb t\u00eb mir\u00eb (p\u00ebr romanin \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d, 2004).
\n7. \u00c7mimi \u201cMitrush Kuteli\u201d i Ministris\u00eb s\u00eb Kultur\u00ebs t\u00eb Shqip\u00ebris\u00eb (p\u00ebr p\u00ebrmbledhjen e tregimeve \u201cHija e qershis\u00eb n\u00eb drit\u00ebn e h\u00ebn\u00ebs\u201d, 2007)
\n8. \u00c7mimi \u201cPetro Marko\u201d i Ministris\u00eb s\u00eb Kultur\u00ebs t\u00eb Shqip\u00ebris\u00eb (p\u00ebr romanin \u201cSelvit\u00eb e Tivarit, 2008)<\/p>\n","protected":false},"excerpt":{"rendered":"

Nga ZIJA \u00c7ELA 1. Do t\u00eb doja t\u2019i b\u00ebja disa pyetje Mehmet Kraj\u00ebs p\u00ebr kat\u00ebr romanet e ribotuara nga Onufri: \u201cEdhe t\u00eb \u00e7mendurit fluturojn\u00eb\u201d (2004), \u201cIm at\u00eb donte Adolfin\u201d (2005), \u201cSelvit\u00eb e Tivarit\u201d (\u201c2007) dhe \u201cHotel Arb\u00ebria\u201d (2010). Do t\u00eb doja ta pyesja, p\u00ebr sh\u00ebmbull, si dreqin arrite t\u2019i shkruaje vet\u00ebm n\u00eb gjasht\u00eb vjet kat\u00ebr […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,7,10],"tags":[],"yoast_head":"\nNJ\u00cb MASHTRUES I PAFAJSH\u00cbM. 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