Picture of author.

Ismaïl Kadaré (1936–2024)

Author of Broken April

195+ Works 6,983 Members 282 Reviews 31 Favorited

About the Author

Ismail Kadare is the most prominent of contemporary Albanian writers. He has written poetry, short stories, literary criticism, and seven novels. His works have been translated and published in more than two dozen countries. An internationally known figure, he has visited and lectured in many show more countries. He was also a representative to Albania's People's Assembly. In 1990 Kadare left Albania for Paris where he became openly dissident. (Bowker Author Biography) show less
Image credit: wikimedia commons

Series

Works by Ismaïl Kadaré

Broken April (1982) 722 copies, 31 reviews
The Palace of Dreams (1993) 640 copies, 20 reviews
Chronicle in Stone (1971) 571 copies, 23 reviews
The General of the Dead Army (1963) 521 copies, 11 reviews
The Siege (1981) 447 copies, 17 reviews
The Successor (2003) 440 copies, 23 reviews
The Three-Arched Bridge (1993) 357 copies, 16 reviews
The File on H. (1981) 338 copies, 14 reviews
Spring Flowers, Spring Frost (2002) 336 copies, 9 reviews
The Pyramid (1992) 254 copies, 12 reviews
The Accident (2008) 222 copies, 15 reviews
The Ghost Rider (1980) 212 copies, 12 reviews
Three Elegies for Kosovo (1998) 190 copies, 8 reviews
The Fall of the Stone City (2009) 164 copies, 8 reviews
The Concert (1988) 160 copies, 2 reviews
The Traitor's Niche (1978) 151 copies, 9 reviews
Twilight of the Eastern Gods (1978) 144 copies, 5 reviews
Agamemnon's Daughter: A Novella and Stories (2006) 132 copies, 6 reviews
A Girl in Exile: Requiem for Linda B. (2009) 91 copies, 6 reviews
A Dictator Calls (2023) 62 copies, 3 reviews
The Doll (2015) 52 copies, 1 review
Leven, spel en dood van Florian Mazrek (2004) 47 copies, 4 reviews
Het monster (1991) 46 copies, 5 reviews
Le Grand Hiver (1973) 41 copies, 2 reviews
De versteende bruidsstoet (1981) 40 copies, 2 reviews
De dochter van Agamemnon ; De opvolger (2006) 38 copies, 1 review
Het donkere jaar (1980) 37 copies
Albanian Spring: The Anatomy of Tyranny (1991) 32 copies, 1 review
L'Aigle (1995) 27 copies, 1 review
Spiritus (1996) 25 copies
Clair de lune (1993) 24 copies
Novembre d'une capitale (1991) 18 copies
La figlia di Agamennone: romanzo (2003) 15 copies, 1 review
El firmán de la ceguera (1994) 12 copies, 1 review
La provocación (2014) 11 copies
Die Schleierkarawane (1987) 10 copies, 1 review
The Shadow (1994) 9 copies
The Wedding (1968) 9 copies
L'Envol du migrateur : Trois récits (2001) 4 copies, 1 review
Princesha Argjiro (2001) 4 copies
Vepra (2002) 3 copies
Œuvres. Tome septième (1999) 3 copies
Ca pika shiu ranë mbi qelq 3 copies, 1 review
Œuvres. Tome premier (1993) 3 copies
Œuvres. Tome douzième (2004) 3 copies
Legend of the Legends (1996) 3 copies
Œuvres. Tome cinquième (1993) 3 copies
Œuvres. Tome huitième (1999) 3 copies
Œuvres. Tome neuvième (2000) 2 copies
Ibret Tasi (2013) 2 copies
Œuvres. Tome troisième (2014) 2 copies
Rüyalar Sarayi (2022) 2 copies
Œuvres. Tome quatrième (1996) 2 copies
DIALOG ME ALAIN BOSQUET (2002) 2 copies
Vepra 14 (2013) 2 copies
Œuvres. Tome deuxième (2014) — Author — 2 copies
Œuvres. Tome onzième (2002) 2 copies
Następca (2008) 2 copies
Œuvres. Tome dixième (2001) 2 copies
MOSMARREVESHJA 2 copies
Tas Kentin Dususu (2015) 2 copies
Kadare, Ura Me Tri Harqe (2004) 2 copies
Le spiagge d'inverno (1996) 2 copies
Œuvres. Tome sixième (2014) — Author — 2 copies
Qyteti pa reklama: Roman (2001) 2 copies
VEPRA 5 1 copy
VEPRA 15 1 copy
VEPRA 13 1 copy
VEPRA 12 1 copy
VEPRA 11 1 copy
VEPRA 10 1 copy
VEPRA 9 1 copy
VEPRA 8 1 copy
VEPRA 7 1 copy
VEPRA 6 1 copy
VEPRA 3 1 copy
VEPRA 17 1 copy
VEPRA 2 1 copy
VEPRA 1 1 copy
Palata snova 1 copy
VEPRA 16 1 copy
VEPRA 18 1 copy
Kater Perkthyesit (1991) 1 copy
VEPRA 19 1 copy
Cetatea 1 copy
KRISTAL 1 copy
VEPRA 20 1 copy
La Grande Muraille (1993) 1 copy
Vepra 3: Rrethimi (2007) 1 copy
Umbra 1 copy
2002 1 copy
KOSOVA'YA UC AGIT (1999) 1 copy
@0153uvres (1993) 1 copy
Kusheriri i engjejve (2005) 1 copy
Ëndërrime 1 copy
UNAZA NE KTHETRA (2001) 1 copy
Her er Tirana! (1982) 1 copy
KOHE BARBARE 1 copy
La Bambola 1 copy
Tas Kentin Kronigi (2021) 1 copy
התאונה (2012) 1 copy
Kırık Nisan (2023) 1 copy

Associated Works

Granta 91: Wish You Were Here (2005) — Contributor — 137 copies, 1 review
Found in Translation (2018) — Contributor, some editions — 39 copies
Die ogen en de dood (1974) — Afterword, some editions — 19 copies
Behind the Sun [2001 film] (2001) — Original novel — 10 copies, 2 reviews
Don Quijote: Alrededor Del Mundo (2005) — Contributor — 7 copies

Tagged

Common Knowledge

Canonical name
Kadaré, Ismaïl
Legal name
Kadaré, Ismaïl
Birthdate
1936-01-28
Date of death
2024-07-01
Gender
male
Nationality
Albania
Birthplace
Gjirokastër, Albania
Place of death
Tirana, Albania
Cause of death
heart attack
Places of residence
Gjirokastër, Albania (birth)
Paris, France
Education
University of Tirane (Languages and Literature)
Gorky Institute of World Literature (Moscow)
Occupations
novelist
poet
journalist
Member of Parliament
Relationships
Kadare, Helena (wife)
Awards and honors
Man Booker International Prize (2005)
Prince of Asturias Prize (2009)
Ovid Prize (2003)
Académie des sciences morales et politiques (1996)
The Order of Legion of Honour (2016)
Jerusalem Prize (2015)
Agent
Bujar Hudhri (editor)
Short biography
In the fall of 1990 Ismail Kadare left Albania in a gesture of protest against the actions and policies of the Albanian government and was granted asylum in France.

Members

Reviews

I read this as I'm working my way through winners of the Booker International, and also because I visited Tirana a couple of years ago and found it a really interesting place with a fascinating and difficult history. This book is a little confusing, there is the story of Mark, an artist, trying to get along with the changing times, and there are other chapters which are myths and stories. I kind of went with the flow and enjoyed reading it, but not sure I entirely understood it!
 
Flagged
AlisonSakai | 8 other reviews | Aug 15, 2024 |
The library had a display of Ismail Kadare's books as he sadly died a month ago. I borrowed this unfamiliar title at random. Everything I've read by him has been beautifully written and [b:Spring Flowers, Spring Frost|223669|Spring Flowers, Spring Frost|Ismail Kadare|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1369859385l/223669._SY75_.jpg|2270068] was no exception. It weaves together myth, art, and mundane reality to illustrate the disorientation of Albania just after communism ended:

In chains, with eyes swollen from beatings, the prisoner is dragged right to the top of Olympus. Rubberneckers congregate to get a look, and all around they exclaim, "So it was Tantalus who did this monstrous thing!"

[...]

When it wakes up again, Olympus seems all sleepy-eyed. After its indeterminate absence, dawn doesn't quite know how to come upon the world, having lost its old habits. Here and there you can see a few puddles of night lying around, with rubbish collectors trying to shovel it up as if it were night soil. The whole place is buzzing with rumours about immortality. Some people think of it as an infinite number of particles spread around the body; others imagine it as a device that can be redirected towards the impossible; but most people see it as a key to some secret door. But these ramblings do not last long. By noontime, the stories have become utterly muddled... In the taverns, people say that Tantalus was less greedy for immortality than he was for food and drink. The crimes he committed - which still cannot be named - should be put down to his insatiable appetite. They even say he's going to be sent down to hell for voracity.


The narrative is carefully oblique and mysterious. Is the protagonist deeply implicated in the crimes of the fallen regime, or is he just an artist? Does the collapse of communism herald a return to past traditions, rapid modernisation, or both? Are the secrets of the past lost forever? There are no simple answers in this brief novel.
… (more)
 
Flagged
annarchism | 8 other reviews | Aug 4, 2024 |
'Broken April' is a short novel examining the Kanun, a set of traditional laws that dominate life in the Albanian mountains. They codify nearly all interpersonal behaviour, including the pretexts for and progression of blood feuds. I've no idea to what extent Kadare fictionalised a set of laws that genuinely existed, but the consequences of the Kanun as depicted are blood-curdling. The narrative gives the perspectives of several characters, whose lives intersect only briefly. The first is Gjorg, a man embroiled in a blood feud which started due to no action of his family and has already claimed 44 lives when the book begins. After murdering the man who killed his brother, Gjorg travels to pay the blood tax. He views the Kanun as one trapped by its most brutal dictates and unable to break free. The next perspectives are external, from a couple who have travelled into the mountains for their honeymoon. Both have read about the Kanun, but not seen it in practise before. Despite their social distance from what they observe, both are more moved by practical reality of blood feuds than they can articulate to themselves, let alone each other. The briefest perspective, yet for me the most memorable, is that of Mark Ukacierra, steward of the blood. His role reminded me very much of [b:The Gormenghast Novels|39058|The Gormenghast Novels (Gormenghast, #1-3)|Mervyn Peake|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1362402890l/39058._SX50_.jpg|38776]. He collects the blood tax and worries that murders and thus revenue have declined. While he attempts to repress awareness of the appalling inhumanity of his job, this emerges via symptoms of physical illness.

The plot of the novel is slender, although it is bookended by violent deaths. There are no twists or surprises, as the Kanun renders events inexorable. Kadare explores with great delicacy how an ostensibly horrific legal system can be understood and upheld. Here, the newly married couple discuss guesthood:

"A guest is really a demi-god," he went on after a while, "and the fact that any one at all can suddenly become a guest does not diminish but rather accentuates his divine character. The fact that this divinity is acquired suddenly, in a single night simply by knocking at a door, makes it even more authentic. The moment a humble wayfarer, his pack on his shoulder, knocks at your door and gives himself up to you as your guest, he is instantly transformed into an extraordinary being, an inviolable sovereign, a law-maker, the light of the world. And the suddenness of the transformation is absolutely characteristic of the nature of the divine. Did not the gods of the ancient Greeks make their appearance suddenly and in the most unpredictable manner? That is just the way the guest appears at an Albanian's door. Like the gods he is an enigma, and he comes directly from the realms of destiny or fate - call it what you will. A knock at the door can bring about the survival or extinction of whole generations. That is what the guest is to the Albanians of the mountains."
"But that's terrible," she said.
He pretended not to have heard her and simply smiled, but with the cold smile of someone who intends to skirt what might well be the real subject of discussion.


And the steward of the blood contemplating his work:

At times, Mark had thought of mad things that he dare not confess to anyone. Oh, if only the women as well as the men were subject to the rules of blood-letting. Then he was ashamed, even terrified - but that seldom happened, only sometimes at the end of the month or quarter, when he felt despondent because of the figures in the ledger. Weary as he was, he would try to put those ideas from him, but his mind could find no respite and he went back to them. But this time, in going back to them, it was not to blaspheme the Kanun but simply to give vent to his astonishment. He thought it very strange that weddings, which were usually occasions for joy, often brought about quarrels which led to feuding, while funerals, which were necessarily sad, never led to anything of the kind. That led him to compare the ancient blood-feuds with those of recent times. On both sides of the comparison, there was both good and bad.


This is a bleak, haunting, and beautifully written novel. It read to me as a fable, but could be closer to historical fiction than I'd like to think.
… (more)
 
Flagged
annarchism | 30 other reviews | Aug 4, 2024 |
'General of the Dead Army' is a meditation on the physical, mental, and spiritual legacy of war. It follows an Italian general sent to Albania to collect the bodies of Italian soldiers who died there twenty years before, in the Second World War. The general himself did not fight in the war and struggles to understand the implications of his task, which is both bureaucratic and existential. He is bringing back bodies for families to bury, but also rehabilitating a defeated army. There is a great deal of discussion between the general and the priest that accompanies him on the quest. Usually the general drinks too much then they both attempt to make sense of the war and their task. The priest is ostensibly clearer-eyed, yet also prone to pomposity, overgeneralisation, and xenophobia.

"Do you remember those two lieutenants who were reduced to looking after sheep in that Albanian village? What division were they from? Weren't they from one of the alpine regiments?"
"I don't remember," the priest said.
"What an odd phenomenon that was," the general mused. "And it happened right through our forces in Albania. Really curious. Or rather shameful, I should say!"
"Absolutely," agreed the priest. "Some ridiculous things happened."
"We ourselves have come across instances of this kind. The times we've blushed for shame as we heard stories of our troops being reduced to washing clothes or minding some poultry for Albanian peasants. Just two hours ago some shepherd or miller, I can't recall, had my blood boiling..."
The priest nodded once more in assent.
"You say ridiculous things happened. But they are worse than ridiculous, these incidents, they are worrying."
"In war it is always difficult to say exactly what is tragic and what is grotesque, what is heroic and what is worrying."


I think the narrative makes it very clear that the answers depend entirely on your personal situation. The general and priest are comfortably ignoring that the army they are recovering bodies from was defeated, whereas the diary of a soldier who deserted to become a labourer makes very clear why someone would do so. The general in particular is discomforted with the reality of war that recovering bodies brings to light, as this doesn't accord with his ideas of how it should be conducted.

"What is this loathsome task we have been burdened with?" the general suddenly said, as though he were continuing some interrupted discussion. "I feel it would be easier to dig out the pharaohs still buried in the depths of their great pyramids than to excavate a mere two feet of earth in order to retrieve these soldiers of ours."
"You can't tear your mind away from the subject, can you? Perhaps that is why you are feeling unwell."
"The war here wasn't like other wars," the general went on. "There were no proper fronts, no direct confrontations. The war simply insinuated itself all over the country, like a breeding worm burrowing into the country's every cell. That's why it was so different from the sort of war that's fought elsewhere.
"That's because the Albanians are given to war by their very nature," the priest said.


By way of contrast, the dead and surviving soldiers periodically interject their perspectives on the war and the task of returning bodies home. Women are not forgotten, indeed the most powerful sequences in the book explore the impact of war on women. The denouement at the wedding is shocking and intense, after gradually building dread for 25 pages. An elderly woman throws the corpse of a colonel at the feet of the general; she killed him after he raped her daughter. This scene brings the whole motif of exhuming war's brutalities to a crescendo.

Kadare's writing style is lucid, insightful, and relentless, with occasional moments of dark humour. His analysis of war in hindsight is unsettling and profound. I also commend Derek Coltman, the translator of the 2008 edition I read. He worked from 'the French version of the Albanian' which seems like it should be distant from Kadare's original words but doesn't read that way in the least. Finally, the goodreads data for this 2008 edition claims it has an introduction, while the library copy of it contained no such thing. A pity, as some historical context about the Second World War in Albania would have been interesting.
… (more)
 
Flagged
annarchism | 10 other reviews | Aug 4, 2024 |

Lists

Awards

You May Also Like

Associated Authors

David Bellos Translator
Christine Amadou Translator
Jusuf Vrioni Translator
John Hodgson Translator
Jacqueline Sheji Translator
J. Hodgson Translator
Joachim Röhm Übersetzer
Barbara Bray Translator
Anna Casassas Translator
Derek Coltman Translator
Britt Arenander Translator
David Smiley Introduction
Marianne Eyre Translator
Aleks Buda Afterword
Karlijn Stoffels Translator
Agneta Rehder Translator
Francesco Bruno Translator
Joachim Röhm Translator
Jan Zwart Translator
Roel Schuyt Translator
Alexandre Zotos Translator
Oda Buchholz Translator
Wilfried Fiedler Translator
Kees Fens Co-referent
Marina Marinova Translator

Statistics

Works
195
Also by
6
Members
6,983
Popularity
#3,504
Rating
½ 3.7
Reviews
282
ISBNs
748
Languages
30
Favorited
31

Charts & Graphs