THE WORLD MUSE IN ALBANIAN

"NACIONAL” PUBLISHING HOUSE, TIRANA, RELEASES THE INTERNATIONAL ANTHOLOGY “THE WORLD MUSE IN ALBANIAN”, TRANSLATED BY ANGELA KOSTA

By: Dr. MUJË BUÇPAPAJ 

Dr. MUJË BUÇPAPAJ

The publishing house “Nacional” is pleased to announce the release of the poetry anthology The World Muse in Albanian, a representative work that brings into the Albanian language the poetic voices of 45 contemporary authors from across the globe. This anthology has been published in both print and electronic formats and represents a significant act of cultural and translational intercommunication within the Albanian literary space.

The selection, translation, and inclusion of biographical notes for each author have been carried out with exceptional professional dedication by the renowned translator and international literary promoter, Angela Kosta. On this occasion, I extend my deepest appreciation for her careful, high-quality, and generous work, which has enabled the realization of this publication to a high artistic and cultural standard.

The cover of the book was masterfully created by the internationally acclaimed Albanian-American painter, Nazmi Hoxha, to whom we extend our heartfelt thanks.

Due to space limitations in this first volume, a number of authors could not be included; however, they will be featured in a second anthology, currently in preparation and scheduled for publication later this year, as a natural continuation of this international literary project.

This anthology features poets from diverse countries and cultures, including:

• Italy: Regina Resta, Francesca Gallello, Maria Errico, Serenella M. Siriaco, Gabriella Picerno, Anna Maria Lombardi, Arianna Mosconi, Elisabetta Bonaparte, Antonietta Micali, Concetta La Placa, Marianna Iannarone, Sabrina Morelli, Anna Ferriero

• Turkey: Arslan Bayir

• South Korea: Kim Mi Hyung, Yang Geum-Hee, Yoon Jong-Nam

• China (Shanghai): Anna Keiko

• Brazil: Mario Belolli

• New Zealand: Christine Peiying Chen

• Israel: Iris Calif

• Azerbaijan: Tarana Turan Rahimli

• Morocco: Mohamed Ellaghafi, Hassane Yarti

• Denmark: Farzaneh Dorri

• Wales: Peter Thabit Jones

• Taiwan/China: Dr. Tzemin Ition Tsai

• India: Dr. Jernail Singh Anand, Dr. Shailesh Gupta Veer

• Kenya: Parvinder Nagi

• England: Strider Marcus Jones

• Poland: Antonina M. Wiśniewska

• Venezuela: Mariela Cordero

• Congo: Charles Lipanda Matenga

• Pakistan: Nasir Aijaz

• Bangladesh: Hasan Nashid

…and others.

In the preface, translator Angela Kosta writes:

"As you will discover in this anthology, the selected poets convey important and universal messages about life. They address contemporary social issues with sensitivity, express hope for a better life and future, and reflect the dilemmas that accompany it. The poetic material in this book resembles an encounter with fate, the future, and the uncertainty and anxiety that accompany our lives and world—alongside the challenges and hopes for a better humanity. Therefore, this book deserves to be read."

Aligned with its cultural vision and mission to disseminate universal values through literature, “Nacional” Publishing House places special emphasis on bringing into the Albanian language the most distinguished voices of world poetry and literature. The translation and publication of international poetry is not only a vital cultural act for enriching the national literary corpus, but also a powerful tool for the aesthetic, linguistic, and spiritual development of the Albanian reader.

These initiatives aim to foster sustained interaction with international literature, offering Albanian readers a vibrant window into contemporary poetic thought in its broadest dimensions.

In a world increasingly troubled by political, social, and ecological crises, the voices of poets and writers remain among the most sincere and necessary advocates for peace, promoters of humanism, and builders of bridges of understanding among peoples. Poetry, as the language of the soul and conscience, transcends national and linguistic boundaries and becomes a form of aesthetic resistance to violence, indifference, and oblivion.

In this context, anthologies such as The World Muse in Albanian serve as crucial instruments of intercultural dialogue and the safeguarding of fundamental human values through the art of the written word.

As the publisher of this work, I feel deeply honored to share this significant literary project with the Albanian public. Beyond its artistic value, it stands as a profound act of intercultural dialogue. For me—as a publisher, poet, and scholar of literature—it is essential to build bridges of communication with diverse poetic voices from around the world, in the service of peace, human love, and mutual understanding.

I hope this anthology will be received with attention and interest throughout the Albanian-speaking regions in the Balkans and beyond. May this work serve as an inspiring example of the power of the written word to unite cultures, enlighten the mind, and enrich the soul.

(Tirana, Albania – September)

ANGELA KOSTA’S TRANSCENDENCE OF NATURE AND LIFE

- Dr. KOO MYONG-SOOK

Angela Kosta’s poetry collection PEARL OF LOVE has been newly reborn in Korea as "The Pearl of Love" through the Korean translation of Dr. Kang Byeong-Cheol. I offer my heartfelt joy and congratulations. Thanks to Dr. Kang’s graceful Korean rendition, I too have been able to read with ease the works of the world-renowned poet Angela Kosta.

It is evident that most of Angela Kosta’s poems begin with nature. Images of forests, rivers, winds, and stars do not remain as mere landscapes; rather, they move as existential symbols. The star, for instance, emerges as a lamp that illuminates transcendent hope. Through nature, her poetry explores the fundamental solitude of human beings, as well as solidarity and the reasons for existence.

Her works also unfold the cyclic vitality of life—birth and extinction, life and death. In particular, her language is imbued with a distinctively feminine voice, evoking a gentle yet firm strength of life. She sings of the tearful will to protect life to the very end, even as she embraces human suffering. This is not mere sentimental femininity, but rather a force that affirms existence to the fullest.

Ultimately, her poetry transcends simple sensory description and conveys mystery and spirituality, leading readers to reflect on the fundamental meaning of life. Angela Kosta’s poems do not remain within lyrical impressions; they expand into the spiritual dimension. Through starlight, they console human sorrow; in the flow of the river, they reveal the cycle of life; in the breath of the forest, they evoke time and memory. For the reader, her work is not merely a “reading experience” but an invitation to meditative contemplation. Hence, Kosta’s poetry often resonates as prayer, hymn, or meditation.

In her poem "A Piece of Bread", she sings of survival and sharing. Bread symbolizes the smallest unit of survival and everyday life. Kosta views bread not as mere food, but as the minimum of love and hope that sustains existence. Through the meaning of “a piece of bread,” she celebrates the dignity, sacredness, and transcendence of life revealed in the smallest of things.

When one reads Life, it does not appear as a straight line, but as a “flow” and “cycle.” 

Life flows like a river, interweaving light and darkness, hope and despair. Kosta does not regard life solely as suffering, but emphasizes its cycles, lessons, and awakenings.

In "The Apotheosis of Beelzebub", she turns to the critique of desire and evil. Ultimately, her voice embraces human suffering and love, social critique and spiritual reflection, marking her as a true world poet. “Man kneels before the shadow of his own making, and calls upon the name of Beelzebub as if it were God.” 

With such striking imagery, she denounces the worship of power and the corruption of desire in modern society. Yet this is not mere religious satire; it can be read as a modern fable urging spiritual awakening and ethical resistance. 

Kosta’s language is concise, yet rich in imagery and symbolism, immeasurable in depth and breadth, while always offering the reader a refreshing sense of newness.

- Dr. KOO MYONG-SOOK 

Poet, Ph.D. in Philosophy (Bielefeld University, Germany), Visiting Professor at Soka University (Japan), Visiting Professor at Waseda University (Japan)

Currently: Professor Emerita at Sookmyung Women’s University, Executive at the Korean National Literature Museum, President of Seocho Cultural Center

Silver Arcs of Thought: A Meditative Reading of the Crescent Moon/Review by Dr. Jachindra Rout

(Reviewer: Dr. Jachindra Rout)

Dr. Alok Kumar Ray stands as a distinguished bilingual poet whose lyrical compositions in both Odia and English have earned him international acclaim. Rooted deeply in cultural ethos of Odisha , yet attuned to the refined cadence of British English , his verse bridges the local and the global with effortless grace. Ray’s poetry, elegant and evocative, often delves into the profound subtleties of emotion, nature and human existence, reflecting a sensibility that is both classically inspired and modern in thought. His mastery over language, coupled with a philosophical depth, renders his work, intellectually resonant and aesthetically rich. Writing in the tradition of lyrical elegance and introspective nuance, Ray exemplifies the art of poetic bilingualism- preserving the soul of his native tongue while embracing the expressive potential of English with finesse. His voice contributes significantly to the contemporary literary landscape, marking him as a poet of rare insight and enduring relevance. 

Kalijahna( Black Moon) is a luminous anthology that gathers seventy six Odia poems, including nine by the inimitable Dr. Alok Kumar Ray , alongside contributions from distinguished Odia voices and seven Hindi poets. The collection is further enriched by thirty English poems, thirteen of which are penned by Ray himself under various titles, each bearing his signature elegance and contemplative grace. This trilingual bouquet offers a rare confluence of regional depth and universal appeal. The poems traverse vast emotional and philosophical landscape from the intimate to the cosmic, from the ephemeral to the eternal. Ray’s work, in particular, stands out for its refined diction, Eliotian undertones and introspective cadence. His bilingual presence serves as a unifying force, a binding the diverse linguistic threads into a singular poetic vision. Kalijahna is more than an anthology; it is a literary constellation, where myriad voices reflect the shared moonlight of creative expression across cultures and tongues. 

First poem of the anthology is Akhira Sahare Kalijahna or in the City of Eyes, the beloved’s tender promise glimmers like moonlight upon restless waves. The lover overwhelmed by joy, trembles between disbelief and ecstasy. The poem waves an Oceanic echo- love’s vow reverberating through silence- capturing a moment where hope outshines doubt. 

In the hauntingly lyrical piece, Kalijahna arrives unseen under the riverbank, merging with the lover’s body and soul like a whispered enchantment. The wind, wild and whimsical, mimics the elusive beloved, playing a sensual game of hide and seek. The poet entranced , dreams her presence in the solitude of bed. 

The third poem , Kalijahniar Kaladhala Andhar reflects the style of the poet in Eliot’s pattern. In true Eliotic fashion , the poem unfolds as a meditation on memory and longing. The poet, upon reading his beloved’s letter , is drawn into a reverie-time, collapses , and the past reawakens. Wandering through once-shared spaces, every image is stepped in nostalgia, echoing love’s ghost in measured , the melancholic cadence. 

In the same anthology , a poem bearing the title Boki Jhia( Foolish Daughter) of Sunanda Das Mohapatra crafts a stark and stirring commentary on the social structures that encircle womanhood, particularly the vulnerable path a daughter must tread in a world often hostile to her being. The title , deceptively simple-Foolish Daughter betrays the gravity of its concerns: that innocence, if unguided , they become peril in a society so quick to blame the victim and so slow to nature understanding.

The poem is less a reproach and more a lament , disguised as instruction. With disciplined lyricism, it voices a father’s or society’s – stern counsel, shaped by centuries of fear, experience, and inherented caution. There is no room for whimsical rebellion, for each mister in attire, gesture, or movement might provoke unseen dangers- not due to the predatory vigilance of a society ever poised to trespass. 

Sunanda’s lines, though simple in their Odia idioms, resonate with the tension between love and fear. They echo a collective anxiety, urging the daughter to blend caution with grace, silence with discernment, to be ever- watchful, to ‘manage’ life rather than merely live it. The tone neither gentle nor cruel, strikes of chord of sorrowful realism-highlighting not only the burden of being a daughter but the cruel absurdity of having to wear restraint as a second skin. 

Yet the poem subtly critiques its own morality. Beneath the voice of instruction lies the shadows of regret, the poet’s quiet ache that such lessons must even exist. This poem thus operates as both a cultural document and a poetic lament. It is a mirror held to society that teaches its daughters to fear the night rather than teaching its sons not to become shadows. 

In a tradition reminiscent of British moral verse-yet darker, more intimate-Sunanda’s work captures the tragedy of constrained girlhood, rendered in plaintive, restrained lines that speak volumes. A poem that teaches, warns, weeps, and endures- Boki Jhia remains not just a poem about the daughter, but an elegy for all.

In Darpan O Mun, the poet renders a deeply introspective soliloquy, a modern Odia lament infused with the shadowed resonate of Eliotan despair and feminine resilience. It is a poem of absence of betrayed trust, and of an identity fractured by unjust suspicion. 

The speaker stands before the mirror not in vanity but in existential reckoning- Mo Rupare Mun Nai ( I find not myself in my own reflection)- echoing Eliot’s own “ I have measured out my life with coffee spoons.” The mirror is not a surface but a portal to memory, a silent witness to the poet’s slow erosion under the weight of unjust love. Once cherished, now accused, she bears the burden not to sin, but of being misread, misjudged, and ultimately caste away. 

The beloved who once swore tenderness, now sees shadows where there is light. It is suspicion, irrational yet absolute- becomes the blade that severe, not just the bond, but her own sense of self. He thought me guilty, yet I was not- a line that encapsulates the injustice with a stark , tragic dignity. The poem moves through seasons of remembrances: moments once tender now recur like phantoms. She recalls the quiet laughter, the class of hands, breath the moonlight, the shared silence more eloquent than speech. These fragments, like Eliot’s fragment “ I have shored against my ruins, “ now lie scattered across the room of her memory, cold and gleaming each time. Confronts she, constraints it- She is concerned her absence: Darpanare . In front of mirror, she searches her woman she once was-untainted, innocent, whole- but finds only the cutline of someone weathered by betrayal. 

This is no mere a personal lament. The speaker elevates her sorrow to a metaphysical plane- the poem becoming a study of perception, judgement, and the female soul in exile. Her separation is not merely physical but metaphysical- her soul adrift, her image uncertain, her reflection estranged. This poem of Paramita is a lyrical elegy, a feminine wasteland where memory and mirror conspire to tell the truth, history denied. In exquisite restraint and lyrical austerity, the poem reclaims purity from the ashes of suspicion, and identify from the finest sense, modern poetry’s quiet triumph.

The Poem, Bou (Mother) by Bijan Ray, evokes deep nostalgia through tender recollections of a mother silent, tireless labour. The emotive language stirs sincere sentiment while the poet’s response reveals psychological depth. The past is not mere remembered but relived- each image a pulse of buried affection. Her simple acts- waking early, cooking, waiting at the door, shouldering as sorts of strain and pain, enduring as sufferings become sacred rituals in the poet’s memory, filled with unspoken love. The tone restrained yet poignant, reflects affective sincerity, a core tenet in I.A. Richard’s theory of poetic value. The reader, too, is drawn into this emotional resonance. 

In the poem Bandhupriti (Love for a Friend) of Saroj Dash, renowned bilingual poet, the fleeting encounter between the two estranged friends across a road becomes a moment charged with existential weight. Interpreted through Jean-Paul Sartre’s existentialist lens, the poem captures the anguish of freedom, choice, and the burden of memory. The two friends, once closed , now pass one another “ like shadows” , not out of malice, but from the quiet torment of past choices unspoken. Neither acknowledges the other- not due to forgetfulness, but because of recognition would summoning a reckoning they cannot endure. The poet presents this scene with aching simplicity, yet beneath it lays the complex Sartrean truth: we are condemned to be free, yet often retreat into “bad faith” to escape the responsibility of our past. The road between them becomes symbolic- a chasm of time, regret, a silence. Dash subtly unveils how memory imprisons, and how love, once unclaimed, becomes a quiet exile. 

In Premara Spandan ( The Vibration of Love) , Sunanda Mishra Panda , a noted bilingual poet , renders love as a divine, all-pervading force- a delicate, radiant, and transformative-much in the romantic spirit of P.B. Shelley. The poem glides through three luminous perceptions of love: the poet’s spiritual kinship with Earth and soil, the devoted and unspoken affection of a dedicated soul, and the eternal, unconditional embrace of a mother. Each form of love is ephemeral in presence yet eternal in essence, like “ dew drops that silently wet the heart.” – a metaphor echoing Shelley’s own ethereal imagery. Panda’s language is lyrical and airy, yet deeply rooted in emotional truth allowing the mundane to rise into the realm of sublime. Just as Shelley viewed love as a divine principle uniting man and nature so too does Mishra Panda weave an intricate tapestry of attachment, sacrifice, and tenderness, where love breathes quietly yet profoundly in every line. 

In the poem Hunger( Bhoka) Sumati Mund poignantly unveils the ceaseless craving that afflicts mankind- both bodily and existential. Her verse , austere hunting, captures the universality of want, rendering hunger as an eternal human condition. With stark imagery and unembellished diction, she indicts a world where fulfilment is elusive, and man , insatiably yearning, remains perpetually immersed in soul and stomach alike.

According to T.S. Eliot poetry is the union of thought and feelings, calling for a fusion of intellect and emotion in poetry. The poem of Mrs. Mund binds the universal thought with her personal feelings. Greatest critics of English literature opine that poetry should be harmonious fusion of emotion and intellect, expressed with precision, economy, and depth, it must evoke feelings, provoke thought, and reveal truth through rich imagery, rhythm and form, what the poet Mund acquired. Actually great poetry distils experience into language that resonates with the universe, enduring beyond the time.

The poem of Vijay Moharana , Jahnaku Chanhile( If I look at the Moon) crafts Keatsian dreamscape , where love and longing intertwine in Moonlight.The poet beholds the Moon not merely nature’s lamp, but as the mirror of his beloved’s soul. Her voice calls him through the lunar glow , and every glance at the night sky becomes a dialogue of hearts much like Keats’ “ Bright Star” , the Moon in this poem is a constant presence, evoking eternal love pain wrapped in beauty .The ache of separation transforms into a pleasure –pain , echoing the Romantic belief in sweet sorrow.

The beloved becomes omnipresent , in silence, in shadows, in the curve of the Moon’s smile. Moharana’s diction is gentle , sensuous, and musical, evoking a soft melancholy. The poem is a delicate ode to love eternal where celestial longing meets earthly devotion, and the Moon becomes the shrine of a lover’s soul.

Bijan Ray’s Ornament is a lyrical meditation stepped in visual and sensory imagery, evoking the early hours of an autumnal morning. The poem opens with a striking metaphor- “ On the wall of the sky hanged who well decorated paining”-a bold personification that casts the sky as a canvas for divine artistry. This metaphor, though imaginative, suffers slightly from syntactical awkwardness , the phrasing could benefit from refinement to enhance clarity without diminishing poetic effect. The imagery of “ Slight cool wind”, veil of darkened night and ‘ reddish smile of the goldmohar successfully captures the delicate transition from night to dawn . The use of natural elements – particularly the blooming goldmohar and the fragrance of sandalwood-evokes a Wordsworthian sensibility, though the poem gestures toward a modernist abstraction also to Eliot in its layered symbolic suggestiveness. 

However, the poem remains more impressionistic than introspective-while the sensory appeal is rich, the emotional and philosophical underpinning feels underdeveloped. There is beauty in description , but it risks becoming static without a stronger internal movement of reflective depth. The ornamentation of language , though elegant, at times borders on the decorative, lacking the tension or contradiction that might propel the poem into more profound terrain. After all , this poem is a poem of aesthetic grace and sensual delicacy., yet its strength lies more in visual composition than in emotional or philosophical complexity. Ray’s craft would benefit from more structural clarity and thematic anchoring to fully transform imagine into insight. 

In Mustard Field’s Flame Mishra evokes the soul of rural passion and pastoral intimacy, transfiguring the beloved into a symbol of both sensual fire and ethereal grace. His imagery flows like Shelly’s West Wind – swift, tender , transformative. The “ Lip and Flame Tree” burns with both love and nature’s lush defiance. The poem’s world is not merely seen –it is breathed, worshipped, and almost dreamt into being “ Your feet and butterfly enigmatic letter of quieted night”. There is a yearning here. “ You are there I am here” reminiscent of Epipsychision, where distance becomes divine ache. And like Shelley’s eternal return, the “ Seventh Season” hides premise in a “ Secret nest”- a mystic haven of rebirth and reunion. 

The poem Last Page of Paramita Sadanghi is deeply introspective and a imaginative poem that captures the quiet unravelling of a relationship through metaphors of abandonment, stagnation, and unresolved longing. The title itself suggests a closure- but one that feels incomplete like a book stopped mid-thought. The poem opens with striking lines . Among the moments that you have deserted like changing clothes on the bed of relationship. Here emotional detachment is likened to something mundane habitual, showing how intimacy becomes routine, even disposable .

This metaphor sets the tone. For the rest of the poem – where love is no longer an active presence but a memory one dresses in occasionally like an old costume. The closing lines are philosophically rich. “ Because all know that only hard questions are served here to arrive at solution unknown."

This is the poem philosophical ,core an acknowledgement that in love and life , resolution is rarely achieved .It is the questioning that defines our existence., not the answer. Overall the Last Page is quietly powerful modernist meditation on emotional detachment , time ,and the unfinished nature of human relationships . Sadangi’s language is suggestive rather than explanatory, mocking the reader inhabit the silence between words. It is a poem that doesn’t declare – but reveals with restraint and poignant ambiguity. 

The last poem of the anthology Kalijahna is the poem of Bijoylaxmi Dash , Nausea Melancholy, is a haunting emotionally raw portrayal of inner collapse- a soul caught in the dimming twilight of existence. The title itself sets the tone: “ nausea “ evokes existential sickness, while “ melancholy” roots the emotion is quiet despair. Together they form a portrait of psychological erosion reminiscent of modern existential literature. The poem ‘s structure is disjoined and unpunctuated, mirroring the subject’s mental fragmentation. There is a complete alienation from self. Dash’s depiction of despair is stark and unrelenting “ Black clouds of despair evolves"- No attachment of life. These lines elevate the poem from mere lament to social critique- The poet calls not for pity, but for humane understanding- for an act of seeing someone in pain without judgement. 

In its form, tone , and theme, "Nausea Melancholy” aligns with modernist and existential traditions- echoes of Sylvia Plath and Jean Paul Sartre surface psychological clarity and spiritual exhaustion. It is a poem of shadowed depth- offering neither resolution nor redemption, but an honest stare into the abyss of a fading inner world. 

In the Crescent Moon – each poem becomes a sliver of human fragility , lit dimly against the sky of inner darkness. From Paramita Sadangi’s fractured temporality in the Last Page of Bijoylaxmi Dash’s psychological dissolution in Nausea Melancholy and sensual pastoral longing of Pinaki Mishra’s Mustard Field’s Flame, the anthology maps a terrain of solitude , yearning and existential twilight . 

Every and each poet of the anthology doesn’t merely write emotion- they inhabit it. The language often leans towards elliptical modernist cadences, yet grounded in deeply personal metaphors. Each poem is a pedestal where vulnerability stands exposed- not for pity, but for understanding.  

Like Crescent Moon itself , this anthology is not about fullness, but what remains unsaid in the thin, aching curve of light-Kalijahna is not a loud chorus- it is a nocturne of whispers , an elegy of fading things. And in that quite space, it reveals the most luminous truth: that even fractured light can hold a whole sky of meaning. 

□ Dr. Jachindra Rout

At- Gobandia, P.O. – Palai,

P.S. – Balichandrapur, 

Jajpur-754205, Odisha, Bharat. 

Mob- 7008758624, 9937128805

Characteristics of the novel “Imprisoned Soul” by author Angela Kosta : Preface by Kujtim Hajdari

Angela Kosta, now well-known by many people in her country and in other country around the world for her work as a journalist, writer, poet, promoter, and translator, stands out with her talent and the art of writing since in her early works, such is the novel “Imprisoned Soul” that leave impressions and bring to its pages, while simultaneously presenting to the reader events, descriptions, and dialogues that resonate fully with the reality of the time it describes. This makes the reader interact with this reality, and the characters she brings to life are as real as they are believable, so that at times the reader feels like one of them, going through experiences that not only become captivating and expressive but also leave a mark in their memory, falling in love with the characters and seeking to resemble them.

With this, the novelist achieves the high obligation that every artist and writer has, which is to reflect reality in a natural, credible, and artistically beautiful way, meaning creatively, expressing it with the ability and strength of her imagination, thus fulfilling the most important task of making her work an educational standard for the reader. In the novel, one finds not only a beautiful and accomplished description of this reality but also an analytical and psychologically convincing stance of the writer that not only stimulates the reader, in the good sense of the word, but also instills a moral obligation and pleasure to learn from the characters.

I would say that this characteristic is evident throughout the entire novel; the writer, like a good sculptor who carves his work with art and care, will observe with attention and the eye of an artist every scene, every event, every dialogue, and I would add every word in her work. It is difficult to find excessive elements in the novel or what we often call “filler.”  

Following the events with such care, both in the temporal and spatial dimensions, she often intervenes with her thoughts and analyses, revealing and better unraveling the world of the characters, reflecting the events and the theater of occurrences with more beauty and strength. What is quite positive is that she never burdens the narrative with her interventions; as an author, she acts as a companion, illuminating the paths and alleys where she wishes to traverse the characters of novel.

We see this as she carefully follows and guides the main character of the novel, Vilma, into the future. After losing her entire family in the tragedy of the Otranto Channel, along with her hope and desire to live, the author brings her into contact with good people and environment not only for herself but also for those who are no longer here, who would surely feel very proud and happy to see her like this. 

Before her passes the entirety of her past life in Albania, the tragedy of Otranto, the days in the hospital, the help of nurse Sabrina and her sister Barbara, the closeness and spiritual support above all from her friends Sara, Cinzia, etc. The refugee camp, with the responsible Loredana, is portrayed as both welcoming and concerned about helping her. The scene of indescribable pain in identifying the corpses makes her reflect, ringing the bells of her conscience that she must justify the sacrifices of everyone with her studies and work in her future. 

All of this opens the doors of hope, rekindles her desire and will, and she makes a vow not to disappoint anyone, first and foremost her family members who sacrificed their lives, then herself, and all the society that did so much for her. 

And she, with “Imprisoned Soul,” liberates herself from the pain (from which the title of the novel is derived) to take her life into her own hands. I won’t dwell on the details of the scenes so as not to take away the curiosity and pleasure of reading, but I wanted to clarify that by following the main character step by step and on the path she lights up, she simultaneously realizes two important and current ideas: that there are good people everywhere in the world who are predisposed to help others in times of misfortune, and indirectly, the call for everyone to view society through this lens to help and do what they can to assist others.

These ideas are realized through the secondary lines of the novel, such as that of Sabrina, the nurse, and her sister Barbara, who works in the refugee camp, as well as Loredana, the camp manager, and the state authorities who help her get her documents in order. 

In the novel, you will find scenes of events written with finesse that touch you with their culture and behavior, with the closeness and help they offer Vilma, alongside their own family problems that are present in every part of the world. 

The author skillfully presents these secondary lines, such as those of the sisters Sabrina and Barbara with their loves and misfortunes, as well as that of Sara with Antonio, which occupies a significant place in the novel and realizes important ideas of a modern society: that for the sake of vital family interests, some mistakes in relationships can and should be forgiven, especially when love is strong on both sides. With this line, the author reminds us that family should be seen as sacred, just as it should be as a cell of society.

  Similarly, the problems in the relationship of the other couple, Cinzia and Alexander, highlight that love must be nurtured and kept alive, alongside work and other family obligations; otherwise, it cools, fades, and ultimately ends. 

In conclusion, I would like to add something about the language of the novel and its syntax. In this work, you will not encounter random phrases, unnecessary repetitions, banalities, or barbarisms. Even though the author has lived abroad for decades, she maintains the purity of the Albanian language, carefully choosing her words from a lexical standpoint. You will not find heavy regionalisms that are difficult to understand or challenging dialectal words; she uses the pure official language, which she combines with the syntax of sentences and periods, making it as expressive as possible. 

From a syntactical perspective, it is also noteworthy that the sentences and periods do not tire the reader and are always placed in the service of the scenes and the amphitheater where the events unfold. 

Looking at the novel as a whole, it is a very accomplished work, interesting for anyone due to the messages it conveys and the importance of the values it holds, both social and literary-artistic. 

I wish the author success and hope for even more beautiful works in the future.

- KUJTIM HAJDARI 

OUR VOICE IS OUR ADVOCATE

Charles Lipanda Mahigwe: 

"I am immensely stocked with pleasure in my heart for not only that a mother, Angela Kosta, to me translated our previous book on Amazon into bilingual languages, Italian and Albanian and Hassane Yarti for the creation of the wonderful two cover. 

Dived into poetic critique by Angela Kosta and foreworded OUR VOICE IS OUR ADVOCATE :

“As soon as I had the book in my hands: "OUR VOICE IS OUR ADVOCATE", it was really exciting. Reading and seeing through the verses these young boys, I felt the inner strength that emanates and emits the great desire and light towards that path that leads them happily towards their creativity, the only one to bring to the surface, the unstoppable desire to have a better future and not only to them but also to all human beings in the world. Almost all the children in this book come from the refugee camp of Malawi, who live in truly miserable and terrifying conditions. Each young author of the AYAP group highlights, in these verses, not only the desire to write and create, but also to share, render and highlight a strong and clear message: poetry is everyone's salvation! Through poetry, we can cross the difficulties, adversities, boundaries and problems that life offers us and puts us in front of our everyday life.

It has nothing to do with the serious conditions they live in, since they know perfectly well what is positive that unites them, even if they are physically distant from each other, from us readers or from those who think in the same way as them.

I congratulate Charles, as well as Salvador, for having made possible, not only the realization of a great dream of these young people in publishing this book, which is spreading and being translated into multilinguals, but also for the great commitment, for the esteem and trust towards themselves, for the encouragement and solicitation in creating and implementing, what does not create discomfort and fear, towards a promising and prodigy future.

As a bilingual translator of this book, both in Italian and also in Albanian, as long as different languages, in unison of the compositions, I am immersed in the ocean of their tormenting world, amorous and ambitious, in every single verse, in every single author, living with them, their emotions, their sufferings and burdens.

I touched with them, just that deep point, which made me catapult into the abyss, but despite everything, I was still together with them on the threshold of the door that spurs towards the next day. Nothing can erase, not even put barriers, to their desire to progress towards a portent future. 

I invite all readers to read these poems, which are not simply verses, but are the same consistency of each poet and poetess, who very much need our support. 

They do not need to use metaphors or rhetoric in their components, because they use allegory, which transpires and is the mirror of their existence.

Hunger and thirst immediately disappear from their eyes, because all together, hand in hand, they form the circle of the globe and begin to sing the song of peace and freedom. 

Their voice also becomes ours, their verses become a free song and, all this becomes their and our poetry, their and our defense.

Congratulations to these wonderful guys; may God bless them all, may they have so much luck in their lives. 

《By Angela Kosta Executive Director of MIRIADE Magazine, Academic, journalist, writer, poet, essayist, literary critic, editor, translator, promoter》

DISASTROUS SEPTEMBER : A NOVEL BY SKIFTER KELLICI

Skifter Këllici was born in Tirana, Albania and received a diploma in history and literature from the University of Tirana. He worked as a journalist, scholar, and sportscaster on radio and television. He is the author of several novels and nonfiction books, including the children’s books, “Memories of the Old Neighborhood” and “In the Footsteps” as well as the historical novels, “Assassination in Paris”, “The Murderer with the White Hands”, and “September Disaster.” He wrote the screenplay for “In the Footsteps” which won a special prize at the International Children’s Film Festival in Giffoni, Italy in 1979. He has lived in Boston, Massachusetts since 1999.

DISASTROUS SEPTEMBER A NOVEL BY SKIFTER KELLICI

In memory of the 2981 victims of the September 11, 2001 terrorist attacks on the World

Trade Center, among them three Albanians: Frrok Camaj, Mon Gjonbalaj and Simon Dedvukaj.

PART I: May 20, 2001 around 9 AM

A long line of passengers waited to go through one of the Terminal B security checkpoints at Logan International Airport in Boston, Massachusetts. An alarm sounded as a middle-aged man went through the metal detector.  He shrugged his shoulders with surprise and looked a little nervous. When the security employee asked him to walk through the metal detector again, he obeyed. The alarm went off a second time.  Therefore, he ordered the passenger to lift his arms above his head and spread his legs, while he patted him down with a wand.  A beep indicated an object in his jacket pocket. When the security employee asked the passenger to empty his pockets, he took out a small metal hammer. When the worker said he could not take the hammer on board, the passenger insisted it wasn't a weapon but a tool for carving small children’s toys.  The passenger’s shouting drew the attention of the other passengers. A few minutes later, two police officers arrived and

took him away. A medical examination confirmed he suffered from schizophrenia. After this incident, everything returned to normal, even

though the passengers were slightly shaken by the scene.

Two men with cups in their hands, who didn’t appear to be traveling anywhere, sat in the waiting area.  They watched the passengers as they prepared to board their flights and paid particular attention to the metal objects they carried.  They spoke in hushed tones.

"If we can make ourselves invisible and avoid getting caught like that idiot!" said Muhammad Ata, an Egyptian student.

"Don’t worry," said his friend, Marvan al Shehin, a student from the United Arab Emirates. "We don't have to

make ourselves invisible."

"Will we have weapons?!" Muhammad cried.

"Of course," said Marvan.

 "What kind of weapons?"

Muhammad sounded concerned. Marvan didn’t respond.

"Why don't you answer me?"

Marvan remained silent.

"You know a lot more than I do. You were close to Osama bin Laden, May God preserve him.  You know all about these weapons. Why won't you tell me anything?"

"Because I don't know anything," said Marvan. "Only Osama and Khalid Sheikh Muhammad,

his right hand man, know about them.  I can only imagine what they look like."

He smiled and reassured his friend everything would be fine.

"What matters is we will hijack the planes and wait for further instructions. This will be our greatest mission with Al Qaeda in the name of

Allah!"

Muhammad remained silent. He admired Marvan because he knew Osama bin Laden who had taught him how to hijack a plane. At the same time, he was proud to participate in this important mission.

▪Translated from the Albanian

By Carrie Hooper

Translator’s Note: I am thankful to Anitta Muharremi for her work on this project.

[Prepared Angela Kosta Executive Director of MIRIADE Magazine, Academic, journalist, writer, poet, essayist, literary critic, editor, translator, promoter]

A MYSTERIOUS ANGEL TO THE SECRETS OF THE UNIVERSE/THE PRINCESS OF THE UNIVERSE; IRIS CALIF

Article by: Herzl Hakak

About Iris Calif's poetry and her books "Daughter of God" Hadarim" publishing house - 2020 [122 pages]

And "A Pure Wild Moon" Eked" publishing house-2017- [68 pages]

Article translated to English by: Yarden Zehavi

Literary quotes translated to English by: Iris Calif- "all rights reserved"

[The cover of the book of "Daughter of God]

[The cover of the book of "A Pure Wild Moon"]

Nature and the universe are the realm of longing of the poet Iris Calif. Her poems merge with the changing of the seasons, with the vibration of the great forces of nature - and beyond the words, the reader feels the spirit of God hovering over the surface of this poetry. 

Indeed, before us is worldwide secret poetry.

In the poem 'The ocean of my life', Iris writes about her body:

"Stirring love across the ocean" – Iris Calif.

And we haven't forgotten that already in her previous book 'A Pure Wild Moon' the poet painted herself as part of the cosmos: already then we were amazed by her ability to sketch in private hieroglyphs the movements in every corner of the world, her being an internal element, apart from the changing world. The changes in her life, in her body – all these appeared and shook the pillars of the universe – the poet had become a poetic translator of the soul of existence. 

Her previous book introduced the foundation for her perception, we found in it poems that presented a poetic subtext around the relationship between humanity and the forces of the universe, the forces of nature.

"Embracing my silence in the hidden heaven of my world" – Iris Calif, page 61.

There we saw poetry that conquers water and sky, lines of a scroll of love, which revealed the secrets of the creation of the world, and already then we were fascinated by the secrets of the moon. The spirit of the creation took hold of everything: Iris Calif, as a priestess of existential mystical poetry, is floating in the same worlds: 

Here, in the poem 'Walls of the Moons', she sees with poetic X-ray eyes not only the solar eclipse, but also the eclipse of the night: "In the eclipse of the night I am liberating the spiritual walls of the mysterious moons" – Iris Calif, page 37.

The moon is a part of her soul, and she creates a plot of life across the galaxy in the cycles of the poems – "And in my cold body the moon undresses my soul/ In hidden wings" – Iris Calif, page 48. If you've thought for a moment that the sun is absent from the circles of sublime poetry, here is a magical medley from this wonderful poetry – "Barefoot in the heaven of my senses… In the forest of the night spirit the pure sun of my first desires is divided" – Iris Calif, page 49. She recreates herself not only as Iris Calif, but as a mythological Iris, the foundation of creation - a flower in the foundation of creation, the foundation of blossom and love. And so she writes: "I am the universal human Iris flower of the spiritual heaven land/ In the holy heaven silence I hunt your body" – Iris Calif.

And in the last stanza of the poem:

"I am the universal human Iris flower that is born

In the sight of the spiritual heaven worlds

I am dripping the tears of my land to the silence that carves innocence

Under holy slumbering skies" – Iris Calif, page 56. 

And in another poem on page 53 – "Behold, I am the Iris; the daughter of the living/ Naked in sight of the sands of the kingdom of above/ Adorned with gold and drops of moon light. / The sun in the clouds, and the rays wanders" – Iris Calif. All the forces of nature bow to her, bowing to the poetic cycle of life which she generates in the creation of the world. Look, how the night connects to the magical and mystical soul: "The night is heart breaking from time to time, Embroiders in the mountains to the Iris grace" – Iris Calif, page 53.

It's no wonder that in this poem of hers, the poet seems like a celestial priestess, and the name of her book indeed leads to this sacred status – 'Daughter of God'. The poet conveys through her poems the message that both her existence and her art are part of the creation, they are a noble light from above – and all of her poetry is 'the sermon of love' – as she presents it in her poem on page 57. 

"In the graceful wind of God I am breathing your sacred melodies/ In front of the sermon of love" – Iris Calif. And at the end of the poem - "A woman crosses with steps of the night/ To the season of Iris with the torn dress of her youth/ Under a human's moon/ Barefoot and silent to the bars of her life" – Iris Calif, page 57.

Here, before us, is bewitching female poetry, which connects to the secrets of the cosmos and turns the words into tubes of light, fractions of aura from the spheres that connect the sky and the earth. One poem connects to the other, and they all turn into both a global and lyrical cycle. Here there isn't poetry that drops some rhymes about the sea and nature and a lover that is fascinated by it. Iris floats in high spheres: this is poetry that tries to give us a feeling that the soul and the words and the indispensability of the blossom – all came to her as a gift from God, as if part of a celestial plan.

And I must mention here some lines from 'A Pure Wild Moon' that demonstrate the powerful connection between the poet and the forces of the creation, to the same feeling that this is the poetry of a daughter of God:

Here is an inspiring example:

"And in the ocean of my body

God

Creating

A field of love

And I am the human flower, the Iris of your heart

Flooded by breaths" – Iris Calif, page 34.

Already in her previous book we've seen how poetic ability becomes a ship in stormy waters and crises – and fascinated, we watched nature's ability to contain contrasts, to cause processes of energy explosion, cosmic change: 'The Heaven of the Sea' – 'Blue Flame' – 'Stalactite of Wind' – 

And like in Ezekiel's prophecy, where we watched the divine chariot and the energy of "the electricity", this is the word that appeared in the ancient book of prophecy, here too, in her poetry, there's a description of an electrical process:

A process of electrical exchange – the stalactite melts – and the sensational encounter reveals the pain, the merging becomes a fracture.

The loving poet's burning electricity dance connects to the forces of nature – to the divine entourage – and from this aspect in her poems – the lover and the beloved – are part of the forces of nature, they suckle from the flow of nature, from the life that's in it, from the breaths that break through it and grant it the eternal primordial powers.

Light and drops and spiritual forces – and in the center of the creation is that 'Iris of the land' – a mythological figure, created in a poetic-mystical manner: and that flower of creation – a new part in the forces of nature – a sublime poetic existence, which changed her life.

It's no wonder, that she wanders the galaxy and creates love with parts of universe.

"And I am naked from the wind threads of God

During the years covered in love" – Iris Calif, page 57.

Iris of the creation, princess of nature Instills in us magical pearls of poetry, and in front of us is a process of flow into the human spirit, like threads unraveling until the exposure.

And this is how she describes it in her own words:

"I am unraveling my pearl to the wind" – Iris Calif, page 57.

The biography of the author of the article: Herzl Hakak 

Writer, poet, literary critic. Published articles about various topics: literature, identity, Judaism. Served as the chairman of the Hebrew Writers Association between the years 2003-2005 and 2011-2015.

He wrote 10 poetry books and also published together with his twin brother books for children, books of criticism, a commentary on sacred poetry, a linguistic lexicon and articles in magazines, in the press and on the internet. Recently, a book of his poems, "The Song That Has Never Been Sung" was published by 'Shalhevet Jerusalem' publishing company. 

He received several awards over the years:

An award (the 'Harry Harshon' award) from the Hebrew University for the poetry book 'The Book of Lights of Love', 1972.

An award (the 'Harry Harshon' award) for review – on the book 'Chapters of Berdichevsky' by Herzl and Balfour Hakak, 1974.

An award (the Wallenrod award) – on behalf of the Hebrew Writers Association 1980.

Honorable Mention ("Rise and Fulfill") – Ministry of Education 2018.

The poetry award named after Uri Orbach of the Division for Jewish Culture –  the 1st of Nisan 2021.

The biography of Iris Calif:

Iris Calif is an international writer, poet, dancer, editor and translator of poetry to Hebrew. She is in charge of foreign relations in the online culture, literature and poetry magazine "In Direction of the Wind" ("Bekiovn Hroh") and is a translator and an editor of world-wide poetry in the magazine, as well as in the culture and lifestyle magazine "Mokasini" and in the "World Poetry" section on the literature website "Rooms" ("Hadarim"). She is also a member of the Composers' Association of Hebrew authors and publishers in Israel named "ACUM". 

Iris received the 2023 award for International Best Poets & POETS: THE JOURNAL OF RENDITION OF INTERNATIONAL POETRY (ITRC) [Multilingual] [China]. She also holds a diploma from the "Russian Professional Writers Union" and the international magazine "Arina NN", registered in the Ministry of Culture of Russia, for her contribution to the culture world "International Poetic Community" 2022.

Iris is the head of the Israeli liaison department of the Hong Kong Literature and Arts Magazine and a member of the Association of artists and writers of the World SAPS. She takes part in the editorial board of the World Poetry Yearbook 2024 (English edition) and holds an honorary doctorate from the International Forum for Creativity, Humanity and Coexistence, Kingdom of Morocco. 

Iris is a descendant of a lineage of Kabbalists, blessed with the prophecy of the spirit of the heart and the ability of communication and vision, which are expressed in her mystical and Kabbalistic writing, endowed with spiritual touches of holy upper and hidden worlds. For her, it is a blessing to shine with the spirit of the Jewish voice from the depths of love, life, and faith in the creator of the world- our father in heaven

"And as I soar with the flight of my spirit soul, I will carry the holy halo of the light of my Jewish loving voice, in the eternally world of the wings of the Dove of God spirit of the land-living peace"-Iris Calif

Three of Iris's books have already been published: "In a fascinating lane breathes Lolita" (2001), "A Pure Wild moon" (2017), and "The daughter of God" (2020), and she is currently working on her fourth book. Her poems have been published and read on the radio, on television, on the internet, in national and international magazines and newspapers and in anthologies around the world, and were translated by international poets into numerous languages such as Spanish, Bengali, Nepali, Arabic, Chinese, Turkish, Assamese, Russian, Albanian and Italian. 

Iris's poems were presented in many prestigious and international exhibitions in Israel such as "Crowns of Winter" (January 2023), where a poem of hers translated into Bengali was displayed alongside poems by seven international poets, each translated and edited into Hebrew by her. Also the exhibition "Black-Red-White" displayed Iris's translated versions of poems written by five international poets. Most recently, Iris's poems, also translated into Chinese, Italian, Spanish and Arabic, were presented in the universal exhibition "Butterflies of Peace", which also included the poems of 21 poets from around the world, translated by Iris into Hebrew.

Iris's poetry reflects the inner journey of her soul, which looks through love, dreams of life and breathes holy and hidden worlds. Her poetry is a symbol and an expression of her victory over anorexia and her courageous decision to choose life and love.

The land of my heavenly skies of my poetic worlds in the wind of the worlds of holy hidden life.

My poetry is in the heart of the soul of the heaven land of holy halo wind of light, and in the soul of the heavens and worlds of my created soul, which bows, dances and prays for the nature of life of God and illustrates my longings to the journey of worlds of wind, love, life, holiness and the hidden from the depth of the flame of the storm. From desire, light, pain, fracture, loneliness, fear, hope, purity, femininity, motherhood and the eternal girl that breathes in me eternal worlds of holy hidden life.

"And in my living Iris soul, my spirit dances the living voice of the holy God life"

- Iris Calif

MARIA TERESA LIUZZO AND HER NOVEL ''…AND NOW I'M TALKING!''

[Maria Teresa Liuzzo]

[Astrit Lulushi]

BY ASTRIT LULUSHI (Writer – Poet – Literary and Art Critic – Historical Essayist – Journalist of ''LA VOCE DELL'AMERICA'' - First Editor of the international culture magazine LE MUSE (Italy)

The novel E ADESSO PARLO! first of the famous and successful trilogy by the well-known writer in Italy and around the world, Maria Teresa Liuzzo, proposed for nomination for the Nobel Prize for Literature, is added to the foreign books in Albanian. The book tells of a life of suffering and domestic violence that has as its protagonist a little girl from southern Italy. Her name is Mary and she represents all the girls who are victims of such molestations wherever they are and during their lives. The nightmare of this tortuous and criminal treatment - pedophilia is a crime against humanity - is tattooed on her body as well as in her mind, like the branding of an animal. Mary decides to tell the world, despite the threats she has suffered, what really happens inside the domestic walls at the mercy of beasts and ogres under the eyes of complacent wives and mothers. The victim of the novel in order not to succumb to the continuous physical and moral torture and not to die, invents a life. The one she would have wanted, and from the ''cell'' where her jailers confined her, she managed to create an artificial paradise and even a love. She kept ''well preserved for herself only the flower of that rocky journey...''. Perhaps death spared her to force her to live a thousand more deaths. Maria Teresa Liuzzo dedicates this book to her son Davide, whom she loved even before he was born. ''He was in fact the light of her eyes, her only reason for living''; therefore, from the mother's womb that inseparable bond with the child is created, even before he faces the world, and even beyond. This wonderful human and spiritual bond is not just a sensation, but an osmosis of soul, body and blood! Davide participated unconsciously and actively in her life. He lived, an unaware and innocent spectator, as in a dramatic film all the phases of that horrible and shameful tragedy. An indispensable companion in a thousand difficulties, he observed under the microscope - like a scientist the cancer cell imagining a miracle drug that could defeat that invasive evil that leads to certain death, if not treated immediately. Mary is sure that without her David she would never have described these monstrosities and therefore, this novel would never have been born. She would not have had the strength to write it... because writing means reliving that cursed past. The book is part of the Classic Psychological Works that speak of painful memories, but also of courage, redemption, salvation "beyond the holy denunciation". The arrival of the novel "And now I speak!" in Albania is also an aid for the treatment of similar traumas in the Albanian world that even today is not far and different from "that world" experienced and described by the protagonist. The text is recommended for all ages. The novel published by TIRANA TIMES, will soon be exhibited in bookstores.