Monday, June 13, 2011

Tifkira tal-poeta Rev. Mons. Amante Buontempo f’għeluq is-seba’ snin minn mewtu

Fil-21 ta’ Ġunju 2011 jitfakkar is-seba’ anniversarju mill-mewt tar-Rev. Mons. Amante Buontempo. Huwa kien il-fundatur u l-President tal-Għaqda Poeti Maltin, imwaqqfa fl-1975, u aktar tard il-President Onorarju tal-istess Għaqda. Jiena kelli x-xorti niltaqa’ miegħu xi tliet darbiet id-dar tiegħu stess fi Triq San Pawl il-Belt Valletta. Kien ikun dejjem imdawwar bil-bosta kotba li kienu tant għal qalbu u kien il-gost tiegħu jitkellem għal ħinijiet twal ma’ żgħażagħ bħali (għallinqas hekk kont dak iż-żmien!) dwar kull tip ta’ suġġett. Kien bniedem ta’ kultura vasta, ta’ prinċipji sodi u ħsibijiet ċari, anki jekk ta’ aktar minn 80 sena.

Amante Buontempo twieled l-Isla fil-15 ta’ Ottubru 1920, iżda ħa l-ewwel trobbija tiegħu f’Bormla fejn għex flimkien ma’ familtu sakemm kellu 18-il sena. Wara marru joqogħdu l-Belt Valletta u waqt il-gwerra x-Xagħra, Għawdex. Ta’ erbatax-il sena daħal is-Seminarju u aktar tard studja wkoll fil-Vatikan. Kien membru tal-Kunsill tax-Xirka għat-Tixrid tal-Ilsien Malti. Kiteb diversi poeżiji bil-Malti, bit-Taljan u bl-Ingliż li jibdew sa mill-1940, u dan għamlu biex iwassal ħsibijietu barra minn art twelidu. Il-poeżiji tiegħu dehru fil-gazzetti Maltin kollha f’kull żmien. Kiteb ukoll xi drammi żgħar u novelli bil-Malti li s’issa għadhom ma ġewx ippubblikati. Id-dramm Il-Kuraġġ ta’ Missier huwa maqsum fi tliet atti, u qisu awtobijografija tal-awtur innifsu moħbija wara bosta xbihat, episodji u ġrajjiet li huma u jinqraw jinħass li hemm ħafna verità, il-ħajja nnifisha ta’ familja li għaddiet minn bosta tiġrib u inkwiet.

Il-għalqa li fiha ħadem l-iżjed hija dik tal-poeżija. Fil-librerija personali tiegħi għandi għaxar antoloġiji poetiċi miktuba minnu fit-tliet ilsna marbuta ma’ gżiritna (fosthom Ġejt imsejjaħ - 1967, Si vis pacem cane semper - 1973, Wishful thoughts - 1975, Lacrime di speranza - 1977 u Mix-xquq ta’ qalbi - 1987), u fis-sena 2000 huwa kompla jagħni l-produzzjoni tiegħu permezz ta’ ġabra poetika oħra bl-isem ta’ Quid Retribuam? li tiġbor fiha mal-150 poeżija bil-Malti, bl-Ingliż u bit-Taljan, flimkien ma’ ittri u noti qosra li jixħtu dawl fuq il-mixja tiegħu jum wara jum l-aktar mis-Snin Disgħin ’l hawn. It-temi li nsibu fi Quid Retribuam? huma bosta: storja personali u familjari, l-aspett soċjali u storja kontemporanja ta’ Malta; fidi u reliġjon; il-mewt u l-aspett eleġijaku; il-poetika u ż-żmien.

Kiteb ħafna versi ddedikati lill-Madonna, fosthom sunett bl-isem ta’ Sultana tal-paċi u poeżija bit-Taljan Regina Apostolarum (1968). Kien il-fundatur tal-Għaqda Poeti Maltin li twieldet fl-1975. L-Għaqda hija frott tal-ħidma qawwija li wettaq l-istess Buontempo flimkien ma’ għadd ta’ nies iddedikati li ħadmu qatigħ fuq bażi volontarja. L-għanijiet tal-Għaqda għadhom sal-lum dawk li xxerred il-poeżija f’Malta u barra minn Malta, tgħin lil ħaddieħor jifhem u japprezza l-vera poeżija, bir-responsabbiltà li teduka u tuża l-poeżija bħala mezz biex ikun hemm ċittadini tajbin u kolti. L-Għaqda torganizza l-Konkors Nazzjonali tal-Poeżija kull sena, u ttella’ minn żmien għal żmien attivitajiet soċjali u kulturali. Fl-imgħoddi kienet torganizza l-avveniment internazzjonali tal-Premio Città di Valletta li għandu rikonoxximent mill-ogħla Awtoritajiet Maltin u li kien jingħata kull sena lil artist Malti li jkun iddistingwa ruħu fl-għalqa artistika tiegħu flimkien ma’ numru ta’ letterati u artisti Taljani. L-Għaqda toħroġ ukoll ir-rivista Versi, u kull tant żmien kotba bħal Diwi fl-ispazju (1975-1985), Msiebaħ Mediterranji (1975-1995), Riflessi Fiddiena (2000) u Arkadja (2004). L-Għaqda torganizza wkoll Serati ta’ Ġieħ, fosthom il-lejla mużiko-letterarja li fl-1994 ingħatat b’ġieħ Ġużè Chetcuti f’għeluq it-tmenin sena tiegħu.

Amante Buontempo kiteb bosta poeżiji ta’ imħabba patrijottika u ta’ ispirazzjoni reliġjuża. Ironikament, bħal kif jiġri bosta drabi fost il-poeti, għal Buontempo żmien il-gwerra serva bħala ispirazzjoni għall-kitba tiegħu. L-ewwel żewġ kotba ta’ poeżija kienu Ġejt imsejjaħ (1967) u Irbaħt (1968). Minkejja li huwa wieħed mill-poeti Maltin li kitbu qatigħ bi tliet ilsna, rebaħ bosta premjijiet fl-Italja kollha u f’bosta pajjiżi oħra, u attenda għal bosta kungressi dinjin dwar il-poeżija, għadha qatt ma saritlu l-wirja ta’ kitbietu. Huwa kien jistqarr li huwa magħruf aktar barra minn xtutna milli f’Malta stess li qatt ma radditlu l-ġieħ li jistħoqqlu. Ħafna mill-poeżiji tiegħu għandhom sfond politiko-soċjali u dan għamlu aktar bħala qassis li jkollu qalbu muġugħa minħabba min ikun offenda b’xi mod il-Knisja. Poeżiji bħal dawn huma reazzjoni ta’ poeta għal dak li jkun qed jiġri jew jingħad madwaru.

Bħala President ad vitam tal-Għaqda Poeti Maltin Buontempo dejjem kiteb fil-fuljett Leħen il-Għaqda Poeti Maltin. F’Marzu tal-1997 appella biex il-membri tal-kumitat u l-membri ġenerali jirsistu biex jagħmlu mill-aħjar tagħhom ħalli jmexxu lill-Għaqda ’l quddiem. F’Dicembru tal-istess sena kiteb li l-poeżija “hi ikel bnin ta’ l-intellettwali, mediċina tal-morda fil-qasam soċjali, sfog u serħan tal-imdejqin... Fuq kollox il-poeżija vera tferraħ u thenni mhux biss lill-poeti li jiktbuha, imma wkoll lil dawk li mhumiex poeti, lill-mexxejja tal-popli, li għandhom bżonn l-aħjar ikel, li jżommhom ’il fuq mit-tajn u mill-ħmieġ tal-inġustizzja... Il-poeta m’għandux jorqod... hu osservatur ta’ kulma jiġri f’kull qasam tal-ħajja”. F’Settembru 1998 kiteb hekk: “Il-poeżija m’hijiex ħajja fl-istorja biss li tfakkarha, iżda wkoll f’kull poeta li għadu jista’ joħloqha, kemm illum u kemm fil-ġejjieni. JUM IL-POEŻIJA jitfakkar biex il-poeti ma jinsewx li l-poeżija għad għandha potenzjal li jista’ jtejjibha u jwassalha fi qċaċet li qatt ma jintlaħqu... Jum il-poeżija m’għandux jitwaħħad ma’ jum xi poeta, li għax twieled għad jikber u jmut, ukoll jekk jixjieħ; iżda l-poeżija ma tixjieħx u ma tmutx sakemm jibqa’ min jiktibha”. F’Versi tal-1997 kiteb hekk: “Li kieku jiddependi minni ma niffissax jum wieħed għall-poeżija, imma s-sena kollha, u flok jum kont insejjaħlu “Żmien il-Poeżija”... għax hu minnu tassew dak li jgħid Kohelet fil-Kitba Mqaddsa, meta jelenka d-diversi żminijiet tat-twelid u tal-mewt, tat-tħawwil u tal-ħsad, tal-qtil u tal-fejqan... kull wieħed minn dawn il-waqtiet hu għajn ta’ ispirazzjoni għall-poeta”.

Kitbietu f’forma ta’ poeżiji dehru wkoll regolarment fir-rivista Versi. Fosthom insibu Kieku ma żammejtnix (1996), poeżija li kiteb f’għeluq il-ħamsin anniversarju tiegħu bħala reliġjuż; Inqastek wisq, Ħabib (1998), eleġija li nqrat fi tmiem il-Quddiesa tal-funeral ta’ Br. Michael, membru onorarju ieħor tal-Għaqda; Natale 1992 (1999), poeżija msejsa fuq kwartini b’rima mqabbża; u Lil Ġorġ Pisani (wara mewtu) (1999), saffika. Poeżiji oħra ta’ Buontempo jinsabu fl-antoloġija Msiebaħ Mediterranji (1995): f’Min naqqas ġieħ il-mara? jikteb b’ċerta qawwa dwar l-abort, il-prostituzzjoni u l-kontraċettivi li waqqgħu fil-baxx ġieħ il-mara; f’Inbiddlu kollox! jikteb b’ironija dwar il-mezzi tal-komunikazzjoni li ma jwasslu xejn ħlief gideb, vjolenza sensazzjonaliżmu u aħbarijiet irħas; Xewqat bla temma hija għajta favur it-tixrid tal-“kultura tal-ħajja” u kontra l-kultura tal-gwerer, il-materjaliżmu u l-abort. Fl-aħħarnett Ipokrisija ambjentali hija poeżija b’messaġġ soċjali ieħor: Amante Buontempo jrid “ambjent nadif biex jaqdi l-bniedem”. Ir-rwol ta’ Buontempo f’dan il-ktieb kien ukoll dak ta’ traduttur mill-Malti għat-Taljan.

Xi wħud mill-aspetti li jixirfu fil-versi ta’ Buontempo.

L-aspett soċjali:

It-tema li taħkem l-aktar fi Quid Retribuam (2000) hi bla dubju dik soċjali. Hemm mill-inqas 50 poeżija li jittrattaw dan l-aspett li jista’ jinqasam fi tliet kategoriji: Malta; l-Italja; u d-dinja in ġenerali. Huwa evidenti li Amante Buontempo jsegwi regolarment dak li qed iseħħ madwaru u kważi kważi xejn ma jaħrab il-kumment analitiku tiegħu li jagħmlu permezz tal-poeżija. Għalhekk il-poeżiji tiegħu huma miżgħuda b’referenzi, ħsibijiet u kummenti dwar il-problemi li jolqtu lis-soċjetaċ moderna bħall-Aids, l-abort, id-droga li ġġib firda fil-familja, il-korruzzjoni, it-terroriżmu, il-piena kapitali, id-divorzju, il-prostituzzjoni, l-infedeltà, it-tfal li qed imutu bil-ġuħ, jew dawk mibgħuta għall-gwerra, jew il-kummerċ tal-minorenni u l-pedofilija, id-differenzi bejn il-klassijiet soċjali, il-kriminalitaċ u l-gwerra (bħal dik li għaddejja fl-Alġerija jew l-ex-gwerra ta’ Sarajevo u fl-Albanija) u t-theddida nukleari.

Ma’ dan kollu jintrabtu poeżiji bħal Massacrati in Algeria fejn Buontempo jikteb: “Le tante guerre inutili,/ che stan lasciando morti/ su terre ormai distrutte,/ spingon fratelli all’odio”; I gesuiti chiedono perdono, fejn jistaqsi: “Non sarebbe meglio/ conoscere i perché di guerre interne,/ che stanno sconvolgendo la Politica?”; f’The language of my heart jikteb kontra n-nukleari: “And saner are mad cows than many men:/ who, knowing the effects of Chernobyl,/ still keep their nuclear experiments”. F’Alle soglie del duemila joħodha qatta bla ħabel kontra dawk li, fuq ir-radju u t-televiżjoni u fil-ġurnali, bi prużunzjoni kbira jħalltu l-libertaċ mal-permessivitaċ u x-Xjenza mal-Fidi, filwaqt li f’Famine or slavery jikteb “The world is in decay”, u jistaqsi x’inhu l-aħjar, jekk hux li t-tfal imutu bil-ġuħ jew jinbiegħu bħala skjavi?

Il-qarrej tal-versi ta’ Amante Buontempo jrid jammetti li dal-poeta-qassis li għex parti kbira mill-ewwel nofs tas-seklu għoxrin u għadu jikteb sal-ġurnata tal-lum jaf ikun kontroversjali, anki għaliex ħaġa waħda mal-preċetti tal-Knisja. Basta wieħed jaqra versi bħal What a horrid world! u Min naqqas ġieħ il-mara?

Hawnhekk joħroġ b’saħħtu Buontempo bħala moralist u difensur tat-tajjeb. Dawn il-problemi kollha jnisslu vojt fil-bniedem proprju għaliex ma ħalliex post għal Alla. Hekk jikteb f’Hemm Alla llum ukoll!:

“Fittixt it-tajjeb: sibt il-ġenn tal-ħżiena!. . .

Sakemm ma nfittxux ’l Alla f’kull għemil,

insibu gwerer biss u serq u qtil!”

Anki f’We’re soldiers of true peace ixidd il-libsa ta’ dak li jiġġieled favur il-Paċi u l-Ġustizzja, filwaqt li jikteb: “’No War’ is not true Peace, but in the Arts,/ the best that come from pure and loving hearts!”. Huwa interessanti li t-tifsira ta’ dak li jrid jgħid Buontempo toħroġ aħjar fil-verżjoni Taljana tal-istess poeżija li ġġib l-isem ta’ Siamo soldati della pace vera: “’Non Guerra’ non vuol dire pace vera,/ ma i grandi artificieri della Pace/ sono i maggiori delle Belle Arti:/ i Poeti, che il mondo ascolta e tace!”. Mela huma l-poeti li jistgħu jagħtu kontribut siewi favur il-paċi.

Referenzi għal personaġġi differenti:

Dawk ta’ Buontempo m’humiex versi maqtugħin mir-realtà kif diġà ntwera hawn fuq. Huma mimlija b’referenzi għal personaġġi importanti ta’ statura internazzjonali. Il-Papa Ġwanni Pawlu t-Tieni huwa figura rikurrenti fil-versi tiegħu. F’Il vero paparazzo jikteb hekk dwar Lady Diana: “Fu bella e dolce ed esemplare amica/ dei poveri e malati in tutto il mondo”. Lil Gorbachov isejjaħlu “squisito sognator della ‘preistoika’” fi Questo pazzo pazzo mondo! Isemmi ukoll żewġ każi li qajmu skandlu bħal sexgate f’For heaven’s sex, u ż-żwieġ pirata tal-kardinal Milingo f’Another Church’s triumph. Personaġġi kontemporanji oħra msemmija fil-poeżiji ta’ Buontempo huma Thacher (“la donna, ahimè, di ferro”), Sgarbi (“che non vede che ignoranti/ tra ladri e mascalzoni del passato/ nel mondo dei politici presenti”), Falcone u Borsellino, żewġ maġistrati li għax għamlu xogħolhom u ġġieldu kontra l-Mafia sfaw maqtula minnha stess.

Storja personali:

Il-versi ta’ Amante Buontempo jitfgħu bosta dawl fuq l-istess ħajtu. A fugitive eternal feeling tikxef l-għarfien tal-poeta li huwa qassis (“For I was born to serve, not to be served:/ since God has made me man to be a priest”), filwaqt li My fifty years of priesthood ifakkar il-ħamsin anniversarju minn meta ordna saċerdot. Is-saċerdozju huwa ppreżentat bħala triq twila li mhux kulħadd kapaċi jterraq sal-aħħar f’Kieku ma żammejtnix. Fi Xi trid minni, Mulej? jistqarr li “Is-saċerdozju m’hux bħal kemxa flus,/ li, jekk taħbiha sew, ħadd ma jikxifha./. . .dil-għotja jew tħaddimha jew titlifha!”.

Motiv personali ieħor li jirrikorri spiss fil-versi ta’ Buontempo huwa l-għarfien li l-mewt hija qrib. Dan jidher f’poeżiji u f’versi bħal Lil Pierre William f’jum l-għerusija tiegħu, fejn jikteb, “Għedt ‘forsi’. . .għax jien xjeħt u wisq ma fadallix”; Hekk jafu jħallsu n-nies!, fejn jikteb, “Bħal ħafn’oħrajn bħal donni għext nistenna/ li l-mewt ma tasal qatt bla qatt ma nsejtha”; u Ma tlabtek xejn għalija! fejn jistqarr, “Il-mewt qed tersaq lejja b’pass imgħaġġel;/ jekk trid, imsaħli d-dmugħ qabel ma mmut”. Welcome home, holy father!, miktuba għat-tieni miġja tal-Papa Ġwanni Pawlu t-Tieni f’Malta, Buontempo jistqarr li hemm bosta karatteristiċi komuni bejnu u bejn il-Papa msemmi:

“Holy Father, my heart is with yours:

we were born and ordained the same years.

Both are poets, and drink from same source:

You’re the Pope, I’m the humblest of peers”.

Tagħrif awtobijografiku ieħor insibuh f’poeżiji oħra bħal Il-Kunċizzjoni ta’ Bormla fit-Tarzna, fejn jikteb hekk: “jiena l-akbar fost ħdax mill-ulied”; “kont Int/ li nebbaħtli fiċ-ċokon is-Sejħa/ għall-qdusija li biha żżejjint” (hawnhekk qed jirreferi għall-Madonna), u “Kien fit-tarzna missieri li rabba/ tant ulied”. Buontempo jikteb ukoll dwar fatt li għadu jweġġgħu sal-ġurnata tal-lum, jiġifieri l-fatt li l-Maltin ma għarfuhx bħala poeta. Dan narawh f’Lil Malta tiegħi (“qisni għarib, barrani f’dar missieri”), u f’Art twelidi m’għarfitnix fejn jikteb hekk:

“Għarfuni truf l-irkejjen tal-kittieba,

li leħħnu ħsibijiethom qalb il-ġnus;

imm’art twelidi baqgħet mal-ħassieba

ma tafx ’l hemm jien ukoll li mlejtha vrus”.

Metafora simpatika nsibuha f’Qed nilgħab l-aħħar logħba, fejn Buontempo ta’ tmenin sena jimmaġina ħajtu bħala logħba futbol fl-extra time:

“Qed nilgħab l-aħħar logħba fl-“extra time”,

Tawwalli l-ħin mingħajr ma qalli b’kemm. . .

Il-ħajja logħba: tiegħi ta’ tmenin,

mhux ta’ minuti biss, ’mma ta’ snin!”

Il-mewt u l-eleġija:

Amante Buontempo poeta ma jibżax jikteb dwar il-mewt li bħal donnha kienet sieħba regolari tiegħu u għalhekk jittrattaha b’ċerta kunfidenza. F’Il-mewt ma tbeżżagħnix kien iħoss li l-mewt hija fil-qrib, imma jsib faraġ fil-fatt li huwa poeta (“Sakemm id-dinja fl-hemm tibqa’ tismagħni,/ la jien għannejt fid-dmugħ kważi kuljum,/ ħalluni bla tfixkil immut kuntent”). Buontempo jaf li fit-twelid stess hemm iż-żerriegħa tal-mewt. Dan jiktbu fi Tħallix, Mulej!: “Sikwit ħassejtha ’l bogħod il-mewt minn ħajti,/ għalkemm hi dejjem qrib ta’ min jitwieled”, u f’The seed od death: “Since men are born, ’t is life the seed of death,/ and dying the beginning of man’s life”. Il-mewt hija mifhuma bħala “il-waqt ta’ żmien is-serħ” f’Lin-neputi tiegħi Roberto, filwaqt li hija ppreżentata bħala sabiħa meta msaħħa mit-Twemmin (ara Kemm hi sabiħa l-mewt!).

Insibu wkoll għadd sabiħ ta’ eleġiji ddedikati lil persuni differenti bħal Ġużè Aquilina (“konna fl-istess żmien,/ infittxu l-ġieħ ta’ Lsienna kullimkien/. . . Ħabib tal-Malti kbir, għalliem setgħani,/ ma barrejt qatt u mkien ilsien barrani/. . . wieħed mill-aqwa wlied ta’ dawn il-Gżejjer”); Bro. Michael Buttiġieġ (“ħabib kbir tal-Poeżija w tiiegħi. . . Il-qalb li tħobb u l-moħħ imnebbaħ bl-għana/. . . għamluh għalliem u ħabib kbir t’eluf”); Ġorġ Pisani (“Int bħal kull wild temmejt iż-żmien ta’ ħajtek,/ ‘mma jibqa’ wirtek”); u Wallace Gulia (“Għax kont poeta, kont ħabib is-Sewwa”).

Stil ta’ kitba u teknika:

Minkejja li poeta kontemporanju, Amante Buontempo ta’ Quid retribuam? stilistikament jintrabat mal-metrika u mal-prosodija tal-ewwel nofs tas-seklu 20. Ma ninsewx però illi Buontempo ħaddem ukoll il-vers ħieles f’ġabriet poetiċi oħra minn tiegħu. Bħala tul ta’ strofa taħkem il-kwartina bir-rima mqabbża u l-vers maħlul li jissejjes fuq il-vers riflessiv tal-endekasillabu. F’poeżiji oħra jħallat it-terzini mas-sestini, u l-ottavi mal-kwartini, jew il-kwartini mat-terzini biex spiss jispiċċa b’distiku finali (żewġ versi li jirrimaw bejniethom li jtemmu l-poeżija). Forom metriċi oħra mħaddma minnu huma s-sunett kemm Taljan kif ukoll Ingliż. Bħala versifikazzjoni, b’mod ġenerali, apparti l-endekasillabu jħaddem ukoll is-settenarju u d-dekasillabu. Lessikalment jixrob minn bosta għejun: minn dak morali u reliġjuż sa dak legali, xjentifiku u ġurnalistiku.

Referenza testwali li tkompli tippreżenta tajjeb lil Mons. Amante Buontempo poeta hija meħuda minn Quando non puoi dormire, fejn jiddefinixxi ruħu bħala “un vecchio malsano che ha voglia/ di vivere ancora”. Iva, minkejja l-età tiegħu Buontempo wriena biċ-ċar li baqa’ luċidu u osservatur mill-aqwa, u dan bis-saħħa taż-żagħżugħ li baqa’ jħeġġeġ ġewwa fih sal-aħħar.

Għeluq:

Il-kontribut ta’ Amante Buontempo huwa bla qies minkejja li ismu s’issa ma jidhirx fl-antoloġiji poetiċi tal-mument. Forsi għad jasal żmien meta l-folja tinqaleb u xogħlu joħroġ għad-dawl u jingħata l-ġieħ li jixraqlu.

Patrick Sammut

Saturday, June 11, 2011

Kitba ohra tieghi fuq Il-Gens online

Din id-darba l-kitba tiegħi jisimha "Tbissima serħan". Araw din il-link:


Kitba oħra tiegħi f'rabta mal-letteratura ssibuha f'dan il-link:


Hija dwar il-poeta u fundatur tal-Għaqda Poeti Maltin, ir-Rev. Mons. Amante Buontempo, li f'dan ix-xahar jagħlaq 7 snin mejjet.

Sunday, June 05, 2011

Poem for WORLD ENVIRONMENT DAY - 5th June

Poet Dr. T. Ashok Chakravarthy from Hyderabad, India wrote the following:

Dear Environment Protectors and Well-wishers

I am pleased to celebrate the occasion of WORLD ENVIRONMENT DAY (on 5th June) with an exclusive poem to commemorate the event, held under the stewardship of United Nations Environment Programme (UNEP).

I am sure, you will go through the ATTACH POEM and transmit the same to like-minded people and sites that partake in the WORLD ENVIRONMENT DAY.

Assuring of ever-ready cooperation for the welfare of people and the world.

Poetically yours

Dr. T. Ashok Chakravarthy, D.Lit.,

Universal Peace Ambassador

International Poet-Review Writer

# 16-2-836/L, Plot-39

Madhavnagar, Saidabad

HYDERABAD – 500 059 (AP) INDIA

www.poetrywaves.com / tacvarthy@gmail.com


Kitba oħra fuq Il-Ġens online

Kitba oħra minn tiegħi fuq Il-Ġens online, taqsima IL-ĦAJJA MADWARNA, bl-isem ta' XTUT OPPOSTI. Araw dan il-link:

Wednesday, June 01, 2011

International Poetry Competition “SEEKING FOR A POEM”

Italy & Bosnia and Herzegovina

You are invited to submit a poem for the International Poetry Competition “SEEKING FOR A POEM”, organized by the Association 'La Stanza del Poeta’ from Formia/Gaeta (Italy) and DIOGEN pro culture magazine from Sarajevo (Bosnia and Herzegovina).

Please read ‘How to Guide’ below.

Step One

(1) Submit one poem of your choice and your short Biography, including your photo ((color and/or black-white, 300 dpi, format 1200 x 800 pixels) by 30/10/2011. Submission should be sent to seekingpoem@yahoo.com . The results will be published by 31/1/2012.

Please note that you are required to provide a valid email address. All communications with you will be exclusively in writing and via email. It is important that you keep your email address valid and active during the selection process so that we can communicate with you.

Step Two

(2) Your poem will be evaluated by our judges: poets Giuseppe Napolitano from Italy and Sabahudin Hadžialić from Bosnia and Herzegovina. Having read and assessed your poem, the judges will make a decision to either publish it or decline publication.

Step Three

(3) The poems selected for publication will be uploaded on the competition website and the top three poems will be announced. All contestants are invited to visit the website and review the results.

Step Four

(4) The top three poems will be also announced on web site of the Association’ La Stanza del Poeta ‘ and DIOGEN pro culture magazine and published in the annual DIOGEN pro culture magazine No. 2. edition in February 2012.

The winners will be offered the opportunity to be the judges for the next year’s competition.

Each winner will be presented with the opportunity to publish 20 poems of their choice in the second edition of DIOGEN pro culture magazine.

We would like to thank you in advance for your devotion to the development of creative writing endeavors

Additional Contest Information

Who is Eligible?

Poets of all ages are eligible and all styles of poetry are acceptable.

How and When to Submit?

We ask that you submit your writings by November 30, 2011. Submissions are accepted via email to seekingpoem@yahoo.com

Submission Requirements

Poems must be original works.

Poems should be submitted in English, or the English translation should accompany the original
The poet's full name and email address must be provided.
The poet must be able to be notified via email if their poem has been selected for publication.

Guidelines

The judges will be looking for originality, rhythm, rhymes, and audience appeal.

The judges will be looking for poet’s passion about the subject topic of the poem or a novel approach to every day topics.

http://diogen.weebly.com

http://stanzadelpoeta.wordpress.com/

Monday, May 30, 2011

Referendum, andiamo a votare


Andiamo a votare, il 12 e 13 giugno, ai referendum. Non ci lasciamo sfuggire questo scampolo di democrazia. Si tratta di un voto di grande importanza per il nostro futuro.

Un “Sí” contro le centrali nucleari, che mettono a rischio il futuro nostro e dei nostri figli. Due “Sí” contro la privatizzazione dell’acqua: provvedimento che ci ruba il piú importante dei beni comuni per cederlo a pochi furbi. Un “Sí” alla soppressione di un decreto che discrimina i cittadini, un decreto in base al quale la legge non è piú uguale per tutti.

Si sta parlando poco dei referendum? È proprio questo che deve insospettire: non vogliono che andiamo a votare e, se anche non ci fossero altri motivi, basterebbe questo per spingerci ad andarci.

Il referendum costituisce uno di quei pochi momenti di democrazia diretta, di vera democrazia, quando siamo noi, i cittadini comuni, a decidere, senza intermediari, senza delegare politici, i quali spesso fanno strame del nostro voto.

Sì, non facciamoci sfuggire l’occasione: il 12 e 13 giugno andiamo tutti a votare e votiamo quattro “Sí”.

Amerigo Iannacone

[Il mio amico e poeta Amerigo Iannacone di Isernia mi ha fatto ricordare il dovere sacrosanto degli scrittori, poeti inclusi, di interessarsi, di impegnarsi, di partecipare attivamente, esprimendo con forza anche la propria opinione, riguardo fatti di importanza sociale e politica nazionale.

Noi maltesi il sabato scorso, 28 maggio 2011, abbiamo votato al referendum che riguardava il Divorzio. Sono usciti il 72% dell'elettorato e la maggioranza (un 53%) ha votato "Sí", mentre il resto ha votato "No". Adesso quello che si e` fatto e` fatto. Ci sono quelli che domandano come mai in un'isola dove si vanta d'aver una cultura cattolica, dove metà della popolazione prega e l'altra metà bestemmia, ambedue con fervore, la maggioranza ha deciso per il fatidico "Sí"? Altri sono contentissimi e c'illuminano dicendo che adesso Malta sta veramente con il mondo civilizzato e progressista, proprio perché ha deciso "Sí" per il Divorzio. Popolo maltese, in bocca al lupo, anzi no, nell'assenza completa di montagne, in culo alla balena!

Riguardo i referendum in Italia. Abbiamo visto cosa e` successo in Giappone marzo scorso. E come tutti sanno, la storia mica e` finita lì! Dicono che quelli in Italia sono reattori nucleari più sicuri, persino tre volte più sicuri! Speriamo bene, anche perché se succede il peggio, non sara` solo l'Italia a patire le brutte conseguenze. Riguardo la privatizzazione dell'acqua. Si sa che questo esiste digà in certe parti nel meridione anche perché l'acqua e` gestita da organizzazioni criminali come la mafia. Sí, votare ai referendum e` un diritto civile. Basta che si voti per il meglio dei nostri figli e anche del proprio Paese.

Patrick Sammut]


Friday, May 27, 2011

Kitba ohra tieghi fuq Il-Gens online

Tkompli s-sensiela "Niftakar żmien..." (4) fuq il-Gens online:

Bil-ħajku Nsellimlek: Mill-Ġappun għal Malta u lura

Miġbura minn Terence Portelli

ISBN 978-99957-0-020-1

56 pagna

Il-ħajku hu poeżija qasira ta’ sbatax-il sillaba mifruxa fuq tliet versi li jaf il-bidu tiegħu fil-Ġappun. Ħafna drabi t-temi ewlenin tiegħu huma n- natura u l-bdil fil-ħajja mal-mogħdija tal-istaġuni.

Din il-ġabra ta’ aktar minn mitejn ħajku bil-Malti hi turija tas-solidarjetà li għoxrin kittieb jixtiequ juru mal-poplu Ġappuniż wara t-terremot u t-tsunami ta' nhar il-11 ta’ Marzu 2011.

Il-kittieba tal-ħajku f'din il-ġabra huma: Carmel Attard, Josette Attard, Louis Briffa, Anton Buttigieg, Manwel Cassar, Franco Debono, Victor Fenech, Joe Friggieri, Oliver Friggieri, Sergio Grech, Maurice Mifsud Bonnici, Manwel Nicholas-Borg, Ġorġ Peresso, John P. Portelli, Terence Portelli, Anselm Sciberras, John Sciberras, Joseph Sciberras, Lino Spiteri, u Frank Zammit.

Il-qligħ kollu minn din il-pubblikazzjoni se jmur għas-Soċjetà tas-Salib l-Aħmar. Jinsab għall-bejgħ mingħand l-Agenda Bookshops u xi ħwienet oħra tal-kotba.

Sunday, May 22, 2011

MALTA TIPPARTEĊIPA F’KONFERENZA DWAR IL-LINGWI U FIL-KOMPETIZZJONI TONGUE STORIES.



(Fir-ritratti Therese Pace tidher mal-Ambaxxatur Malti u l-Konslu Ġenerali (Fuq);

u waqt iċ-Ċerimonja tal-Għoti tal-Premji (Taħt) )


Il-multilingwiżmu u l-importanza tat-tagħlim tal-lingwi kien is-suġġett ta’ konferenza li nżammet dan l-aħħar fi Brussell bħala attività speċjali abbinata maċ-ċerimonja tal-għoti tal-premjijiet lir-rebbieħa nazzjonali tal-konkors Tongue Stories. Dan il-konkors ġie mniedi mill-Kummissarjat tal-Edukazzjoni, Kultura, Multilingwiżmu u Żgħażagħ tal-Unjoni Ewropea fejn il-pajjiżi membri ġew imħajra jipparteċipaw permezz ta’ storja ċkejkna, fotografija jew video li jtellgħu fuq l-internet biex juru kif il-lingwi għenuhom fil-ħajja tagħhom. Kulħadd seta’ jivvota għall-kontribut li l-iktar għoġbu u ġurija nternazzjonali ħadet ħsieb li kollox jimxi sew. Minn kull pajjiż membru, intagħżel rebbieħ nazzjonali li mbagħad ġie mistieden għal żjara fi Brussell biex jiltaqa’ u jitħallat mar-rebbieħa sħabu l-oħra u għaċ-ċerimonja tal-għoti tal-premjijiet li seħħet fil-Kamra Walter Hallstein tal-binja Berlaymont fejn isiru regolarment laqgħat biex jittieħdu deċiżjonijiet importanti għall-Ewropa. Dan l-avveniment li seħħ fl-10 ta’ Mejju 2011, intwera live fuq l-internet.

Malta ipparteċipat f’dan l-avveniment permezz ta’ Therese Pace, kittieba ta’ poeżija b’diversi lingwi kif ukoll proża li għal din il-kompetizzjoni kitbet rakkont li seħħ tassew u li kien l-iktar ivvutat minn dawk Maltin. Għalhekk hija ġiet mistiedna biex flimkien mar-rebbieħa Ewropej l-oħra tieħu sehem f’din l-avventura kulturali. Hemmhekk, ir-rebbieħa żaru diversi binjiet li għandhom x’jaqsmu mal-Unjoni Ewropea kif ukoll attrazzjonijiet turistiċi tal-lokal. Il-qofol tal-programm li tħejja għalihom intlaħaq fiċ-ċerimonja nnifisha fejn wara li tħabbru r-rebbieħa ta’ kull pajjiż, tħabbru wkoll tliet rebbieħa Ewropej li l-kontribużżjonijiet tagħhom fil-konkors ġew meqjusa bħala l-aħjar. Hija ħadet l-opportunità biex kif tkun hemm, tagħmel żjara f’Dar Malta lill-ambaxxatur Malti fil-Belġju, is-Sur Pierre Clive Agius kif ukoll lill-Konslu Ġenerali Ms Annabelle Shawish Mifsud. Waqt din il-laqgħa kordjali Therese Pace ippreżentatilhom xi kotba tagħha kif ukoll ta’ Carmel G. Cauchi u ta’ Lina Brockdorf biex jintużaw fl-iskola Ewropea.

Fil-konferenza li ħadet sehem fiha Therese Pace, intqal dak kollu li l-Unjoni Ewropea għamlet jew tixtieq tagħmel biex tilqa’ l-isfidi tal-preżent u tal-futur, biex tippromwovi iktar l-importanza tat-tagħlim matul il-ħajja kollha kemm hi, biex tħeġġeġ iktar iċ-ċittadini jitkellmu b’diversi lingwi, biex tiftaħ, permezz tat-tagħlim, orizzonti ġodda għall-immigranti li qed ifittxu kenn fl-Ewropa, kif tkattar ix-xogħol permezz taċ-ċaqliq fl-impjiegi, kif tiġġieled il-fatt li ħafna tfal sfortunatament jitilqu mill-iskola kmieni wisq, kif tiżviluppa dottorati f’suġġetti relatati mal-industrija bħall-Matematika, Xjenza, Teknoloġija u Inġinerija, kif ittejjeb il-ħiliet taċ-ċittadini membri tagħha u diversi temi oħra. Wara, kien hemm it-testimonjanzi ta’ żewġ personalitajiet magħrufa li kienu Dani Klein, kantanta tal-band Vaya Con Dios u taċ-ċellist David Cohen, li t-tnejn stqarrew li l-lingwi tawhom imbuttatura kbira fil-karriera tagħhom għax kienu kapaċi jikkomunikaw skont il-bżonnijiet li ltaqgħu magħhom. Fl-aħħar, ir-rebbieħa tal-konkors ingħataw iċ-ċertifikat u t-trofew tagħhom u ttieħdu r-ritratti tal-okkażżjoni. Hija ġiet ukoll intervistata għal ġurnal Rumen u offruta traduzzjoni ta’ xi poeżiji tagħha.

Skont dak stess li stqarret Lisbeth Rossmeissl, il-moħħ wara dan il-proġett, l-avveniment serva biex iqarreb iktar iċ-ċittadin mal-irjus il-kbar u l-mexxejja tal-Unjoni għax hi temmen u tinsisti li l-Ewropa hija ċ-ċittadini kollha Ewropej u mhux Brussell biss u sewa wkoll biex ipoġġi fuq l-istess staffa l-pajjiżi membri kollha. Inizjattivi ta’ dan it-tip huma ta’ min ifaħħarhom u ta’ min jieħu sehem fihom għax it-taħlit tal-lingwi u tal-kulturi flimkien jagħmlu Ewropa iktar arrikkita soċjalment u mentalment kif ukoll ikattar it-tagħrif dwar il-pajjiżi membri f’ambjent san ta’ ħbiberija.


Ara dawn il-links:


http://www.foreign.gov.mt/default.aspx?MDIS=354

www.maltamedia.com

Saturday, May 21, 2011

Tkompli s-sensiela "Niftakar żmien..."

Din id-darba dwar it-tfulija u l-logħob tal-imgħoddi mhux daqstant imbiegħed. Araw il-link:

Friday, May 20, 2011

The poetry of Kristaq Shabani from Albania, as seen from an outsider

More than a year ago my fellow poet and teacher Kristaq Shabani from Gjirokaster, Albania, has sent me some of his poems collected in three of his poetry books: Humiliated Virtue, Chrysanthemum (Yellow-white Chrysanthemum), and Eol, I Pray Poems. I must admit that I found it very difficult to put things together after the first reading, primarily because I read Shabani’s poems not in the original but in the English translation versions. This is one of the reasons why I used the word “outsider” in the title of this essay: “outsider” in the sense that the English translations of Shabani’s poetry are kilometers away from the original meaning and beauty which the poet originally had in mind (the idea of the “traduttore traditore”). The second reason why I used the word “outsider” is the fact that I am not familiar with the history, culture and spirit of Albania and its people. These two facts acted as a deterrent at the beginning and I was very skeptical about writing this essay.

However, I wanted to persevere and read Shabani’s poetry more than once and concentrate on the parts which I could understand as a regular reader of contemporary poetry from all over the world. Poetry is that which generates in the reader’s mind numerous questions and reflections. Shabani’s verse managed to do this, and that’s why my essay here shall be posing many questions.

The poet, his nation and mankind

Kristaq Shabani’s love towards his native town is expressed at the beginning of his collection Humiliated Virtue, in his poem Magical Stony Town. Here Gjirokastra is humanized (“grey-haired”, “face”, “body”, “bloody veins”, “breathing”, “head”, “pain” and “fleshy hands”). However, Gjirokastra is also described as a “jeweled town”, “the first flower”, “philosopher town’, “a stony rose” and “labyrinth town”. Shabani insists on the one hand on the “stone” characteristics, and on the other on its human aspects. Thus Gjirokastra is a town of stone but made of human beings.

In Of Queen Sesile Shabani writes that everyone dances in Paris, in Rome and in Madrid, but exclaims that, “(Really, what is happening in TIRANA!)/ Acts are losing their order.” This idea of lack of order is felt in Shabani’s collection Eol, I Pray Poems, in Liking, where he writes: “The pompous person stands with his head cut./ (he likes his head cut)/ Attracts more attention,/ Than with the head on its place”.

Many poems of Shabani deal with power and suppression of the weaker: thus the relation between the dog and the master, the prostitute and the customer, the bull and the gladiator, gods and man, is a regular presence in his poems. In The Writer the reader asks if the poem deals with the loss of identity and thus the humiliation not only at the individual level, but also at the national level. In such a situation Man tries to look for an answer from the Entity (God?) but to no avail, as “The Entity is silent with an unprecedented muteness.”

Shabani writes about the Prophet (maybe the Writer himself as the one having the power of seeing what others do not see?) and the Ape (perhaps a symbol of an uncivilized society?). Is this the reason why Shabani feels humiliated? This can be linked to “The thick-skinned man… the harsh one…” (the one who manages to survive in an Ape world?) in Trap. Man is given animal characteristics, while animals are given human characteristics in Shabani’s poetry. In The Story of the One who Committed Suicide the poet writes about friendship, or the lack of it, in our society. At times animals behave in a more humane way than humans themselves (“The eyes of tears/ From my dog”).

The Affliction of the Gods is a powerful piece. The words “pain” and “tears” are recurrent. Life is understood to be a bitter comedy where again “The Gods are wounded badly”, and where tears, pain and death accompany mankind to its final fall. There is a political (in the wide sense of the meaning) undercurrent in such poems. That of mankind today, as in the past days, is still a “shocking situation”, a situation where blood, pain and conflict rule (White Slavery). That’s why gods are still afflicted. In Wom… Shabani writes, “It’s very odd with what is happening today…/ “Man to break like a window and glass!”. Mankind remains always vulnerable. Shabani looks at all this either from the outside as an objective observer, or from the inside as an active participant.

Pain and disillusion are strongly present in Chrysanthemum (Yellow-white Chrysanthemum) – Paradoxes hajk and epigram, and this through words like “poison”, “torture”, “devilishly”, “elegies”, “blackens”, “ravine”, “dead body”, “smoke”, “blind labyrinth”, “catastrophe”, “cracks”, “suffered”, “tears”, “black-grey coffin”, and “abandonment”. Disillusion is also present in the collection Eol, I Pray Poems, especially in Ex Flower: “Nina, opens the feminine heart/ With the key of the eye…/ the room seems to be empty/ vase left without flowers/ Or with withered flowers!/ Midnight becomes a widow/ while being mocked by the knife/ which cut veins!”

All this has to do with the strong moral dimension of Shabani’s poetry. His poems are concerned with divine justice and mankind. In this matter, the poet has a primary role: in a way he is the voice of the gods, a voice which comes from the distant past but knows what the present is all about. In The Sign Shabani insists on the theme discussed in his first poem, that is, virtue today.

The Vicars is another “political” poem. Rulers come and go, but they are always made up of the same elements. “Thrones’ and “masks’ go together, and the race for power has no place for sincerity. Shabani frequently places side by side the words “play” and “throne”. In this sense power is also a question of being the best player in the game (Polydoras Versus Mourf). Many befriend hypocrisy just to embrace fame. However, for the poet such behavior is comical as he prefers to wander “the beautiful pastures and fields” (Conservatives). This links with what Shabani writes in another of his poems: ours is a society based on superficiality and artificiality. This contrasts the world of the poet, one of authentic beauty: “Beauty alone frees all the Poets”.

Style, structure and imagery

As a poet, in general Kristaq Shabani opts for concision. A great part of his verses are hermetic: the symbolic is placed in the foreground while the literal is found in the background. In his poems there are many direct and indirect references to legends, myths and the world of tales. One reads about the “tree of mysteries”, the gladiator and the bull, the shining “white teeth”, and the “magic bag of coins”.

In Eol, I Pray Poems, based on the hajku three-line structure, Shabani starts from things that are tangible and which we experience daily (“cigarette”, “flower”, “bridge”, “chimney”, “wave”), but the destination is much more detached from all that which is real and touches the philosophical, the intellectual and the spiritual.

Shabani also writes about positive elements such as virtue, beauty and dignity. He describes a world of sensual appeal: colors, tastes, sounds, touch, “fragrances”, “perfumes”, and “aromas” have a strong presence and role. This links also with the erotic component such as what we read in The Evidence where woman is presented as a temptress in these lines made up of heat, passion and temptation.

“Eyelids” are frequently mentioned in Shabani’s poems: many times they represent something much larger such as dawn or the birth of light through sunrise, “The dawn cannot open the eyelids, the extinguished dawn”.

Light is another strong image in Shabani’s poetry. One reads of “the charming eye” (Conservatives), “the magic eye” (Dream), “sparkling rays” and “Two eyes burn” (Of Queen Sesile), “two eyes inflamed”, and “eyes glitter” (Tiraide). The “burning fire” (in Descendant Poets) is not only that which has to do with passion, but also with inspiration. Becoming pregnant may thus also mean becoming inspired. “Birth” and “pregnancy” are also present in Every Book has its Luck. Such concepts are tied to the process of waiting and having patience. Does not this indirectly refer to the relation between the poet and inspiration/poetry? In Dream, Shabani meets Homer who “came out of the statue of the old parliament”. However, this magical moment is short-lived, and what remains is light shining brightly.

Conclusion

Reading Kristaq Shabani’s poems is not easy, primarily because the translation in English creates a solid distance from the original in Albanian. Reading Shabani’s poetry from the outside made me feel like trying “to find a needle in the Labyrinth” (The Rostere Prize). However, the persevering reader understands that Shabani’s poetry is an invitation to search in “the depths of the soul”, and the satisfaction is huge when s/he starts to put together the different pieces to form the final meanings.

Kristaq Shabani manages to “open columns of silence” through his pencil/verses in order to provoke the reader to react. It is a silence which is heavy with a sense of awe and thought-provoking. Real poetry manages to surpass the limits posed by languages and translation, thus reaching directly the heart of the reader. And this is what Kristaq Shabani’s poetry manages to do, thus surpassing the individual and national limits and reaching the universal.

See link: http://pegasialwriters.tripod.com/id18.html

Patrick Sammut

Wednesday, May 18, 2011

Sensiela ta' kitbiet mill-ġejjieni fuq IL-GENS ONLINE

Ħarġet it-tieni kitba tiegħi mis-sensiela Niftakar żmien... Din id-darba dwar l-Ilsien Malti.

Tuesday, May 17, 2011

An interview with translator Elvana Zaimi from Albania


Elvana Zaimi was born in June 23, 1980, in Skrapar, Albania. Finishes her studies for Language and Literature in 2002 and works in many newspapers and local media, radio and television. Her works vary from translating firstly movies and documentaries, parallel to artistic literature. From 2001-2006 together with Agron Tufa they ran a literary weekly newspaper, “Fjala – The Verb”, publishing there a lot of affirmed and new authors, Albanian and foreign, essay columns, translation, poetry, literary critics, affirming a new generation of poets and writers. Among her translations are: Henry Miller – Quiet days in Clichy, Haruki Murakami – Sputnik Sweetheart, Stephen Vizinczey – In praise of older women, novel, Wirginia Woolf – The mark on the wall and other stories; and other works from Gertrude Stein, W. H. Auden, Joseph Brodsky, Sandra Cisneros, Thomas Pynchon, and from Italian authors like Pavese, Maria Luisa Spaziani, Giuseppe Napolitano, etc. This year she concludes her MA studies for Translation Theory: “The role of translation in modernizing the literary system of rare languages – the Albanian case”.
She is married with three children, two girls and a boy, and lives in Tirana, Albania.
1. Why is translation important as regards to languages such as Albanian and other minority languages in relation to literature?
Translation itself may be considered as the most stable and influent part of literature itself, as well the mediator or ‘flowing water’ between different languages, literatures and cultures. When it comes to minor or rare language, such as Albanian is among many other rare languages, it is a specific case, due to the importance of incoming literature in this language – meaning that translation not only enriches Albanian with a new vision and a new point of view of what happens abroad and broadens its own boundaries, may they be cultural or even in the mere literary sense. For example, when it comes to Albanian, this language has started its life as a written language exactly with the translation of some parts of holy scripts and gospels from an Albanian priest… This proves that in a way or another, translation was and still is an important part of every nation’s literature, somewhere less, somewhere more… in our case, a lot more.
2. Do you think translation is an art in itself? How much is there of the original poet and of the translator in a translated poem?
Where there’s love and altruism, there’s always art. But translation is more than that, more than art, I guess. It takes not only artistic skills, talent and will, but also noble human values to be a translator. For me, a translator is always a great altruist, thinking and wanting to share with others what he reads in a language others (most) don’t know. This happened to me quite a few times, just to mention here, when I first read the Death Coach of William Blake for example: when reading, I translated parallel into Albanian and wanted so badly to bring it into my language; or Emily Dickinson, Virginia Woolf, Sandra Cisneros, Auden and many many others I cannot recall now, but which gave me this wonderful feeling of having this mission – to translate, to share and to make it sound as if written in Albanian. Concerning the fidelity to the original, this is far from judging and giving a sharp opinion. There are a lot of translators who are originally poets and translate their preferred poets into their language. This is a delicate case we deal with, since the possibility of influence in this case is high. The translated poet can interfere in the poet-translator’s poetical system or vice versa, the poet-translator brings in translation a poet of similar affinities, risking though to be regarded as an epigone. Luckily, in my case, I am a translator-non-poet. Meaning that is easier for me to be ‘more objective’ regarding the poet and his poetical system when it comes to choosing one. The translation is considered as well as re-writing and re-inventing from the beginning, though we may come to what Walter Benjamin says: “Any translation which intends to perform a transmitting function cannot transmit anything but information -- hence, something inessential. This is the hallmark of bad translations”. Thus, the art of any translator hides in how he can transmit as much from the poet as he can restrain oneself of giving too much as a person. In brief, he should be invisible or merely, just a shadow, as my professor Edmond Tupja puts it.
3. You have been one of the active participants in the Gaeta Mediterranean Poetry Festival 2011. How do you describe such an experience? Why are such initiatives important in today's world?
In a world where art, poetry and all cultural means aiming to enrich a man’s mind and heart (art is not for all people) are constantly headed to a wider range of population, it comes out the necessity to preserve what makes art what it is. When it comes to poetry and its sharing and spreading (!) ways, the poetry festivals, are one of many ways. The experience in Gaeta was beautiful, adding to the atmosphere the fact that with most persons there we met for the second or third time, so it was more familiar, a very comfortable and informal atmosphere, already a family gathering. Such experiences help one to rejoice poetry, the love of mediating and interacting by that and essentially, makes a poet reachable, though unreachable he might be or seem.
4. How is Elvana Zaimi as a person? Main activities during the day, pastimes, studies…
As a person, I am a full-time mother of three - two daughters and a son - and a full-time employee. After work, I try to manage things at home, with kids’ needs and other tasks I have to fulfill, speaking of translation.
I started to translate when still a student; while in exams, I translated better. Apparently, it was much easier for me to translate under a certain pressure such that of exams was. After that, it became clear and dear to me this matter of translations. After finishing studies for language and literature, I started to dedicate a lot of time to it, with a special interest on English and American modernists of the 20th century. My first ‘serious’ and long translation was “Quiet days in Clichy” of Henry Miller, and after that, authors such as Gertrude Stein, Thomas Pynchon, Virginia Woolf, Murakami, Philip Roth. A collection of 23 short stories of Virginia Woolf named “The mark on the wall” has just been published in Albanian, translated from me, a translation that took me more than 10 years; all these years probably define the relations I have with this writer’s works.
At the end, I can say that a real translator strives always for perfection, he’s too close to it and luckily… never touching it. That is an option only the original work has!!!!
See poet Agron Tufa's blog:
www.agrontufa.blogspot.com