In the medieval city of Gjirokastër, located in southern Albania, history has been a constant cycle of change, with the city frequently finding itself “Under New Management.” From its first mention in 1336 as a Byzantine possession, to its incorporation into the Ottoman Empire in 1418, and its subsequent occupations by the Greeks, Italians, and Germans during the Second World War, Gjirokastër has seen it all. This city, with its rich and tumultuous history, is also the birthplace of the renowned Albanian novelist Ismail Kadare, born in 1936.
Kadare’s novel “Chronicle in Stone,” published in Albanian in 1971 and in English in 1987, draws heavily from his childhood experiences during the war. Despite the horrors it describes, the novel is imbued with a sense of joy and humor. The young narrator, wide-eyed yet sophisticated, recounts the events of the war with a blend of irony and warmth. The novel’s irony, a hallmark of Kadare’s later works like “The Concert” and “The Successor,” is already evident in this early piece.
The novel captures the absurdity of war through the eyes of a child. Italian and British bombings, followed by the alternating occupations by Greek and Italian forces, are depicted with a touch of farce. Kadare, however, is more interested in the timeless stories of the town, filled with spells, witches, ghosts, and legends. The young narrator’s obsession with “Macbeth” and the superstitious reactions of the townspeople to ordinary events add layers of depth to the narrative.
One memorable scene involves a group of old women discussing a neighbor’s son who has started wearing spectacles, an event they treat as an ominous sign. Xhexho, one of the women, describes her experience with the glasses in a way that blends superstition with humor. This blend of the ordinary and the extraordinary, the past and the present, is a testament to Kadare’s skill in creating a rich, immersive world.
Throughout the novel, the townspeople’s commentary on everyday events serves as a form of resistance to the novelty of the occupation. Kadare masterfully blends the city’s ancient atmosphere with the rapid changes brought by the war. The air-raid siren, described by Xhexho as a mourner wailing for everyone, is a poignant example of this blend.
Kadare’s use of realistic storytelling, interspersed with elements of Balkan legend and magical occurrences, is a hallmark of his work. His novels often feature playful narrative styles and multiple paths to the same material. In “Chronicle in Stone,” brief sections titled “Fragment of a Chronicle” read like newspaper reports or diaries, adding to the novel’s layered texture.
The novel also hints at the future shadow of Enver Hoxha, the Communist leader who ruled Albania with an iron fist for forty years. Hoxha, also born in Gjirokastër, is mentioned only once in the novel, but his presence looms large. The novel’s depiction of the townspeople’s deportation by the Italians and the Communist partisans’ actions foreshadows the oppressive regime that would follow the war.
Kadare’s survival under Hoxha’s regime is a testament to his cunning and subtle resistance. Some of his works, like “The Palace of Dreams,” published in 1981, were banned for their obvious antagonism towards the regime. This novel, set in an imprecise past, depicts a dystopian world where a government ministry decodes citizens’ dreams to aid the Sultan’s rule. The surreal dystopia mirrors the secret-police apparatus of modern Albania, making it clear why Hoxha’s censors found it threatening.
Kadare’s ability to navigate the treacherous waters of totalitarianism while producing profound and impactful literature is a testament to his resilience and genius. His works, rich with historical and cultural references, offer a unique window into the Albanian experience under totalitarian rule. Through his novels, Kadare not only survived but thrived, leaving an indelible mark on world literature.
Source: The New Yorker
