Engjëll I. Berisha
The Time Over The Sweetness Path
THE AGE OF FLOWERS
She will never come
With another face
She will never turn
A cradle and a tomb in a place
Although its roots are soft
As it seems to be
An artery of water
When I return from travel
One time one another one myself
And a few shrinking signs
She is as pretty as
She will never turn ...
Engjëll I. Berisha
The Time Over The Sweetness Path
THE AGE OF FLOWERS
She will never come
With another face
She will never turn
A cradle and a tomb in a place
Although its roots are soft
As it seems to be
An artery of water
When I return from travel
One time one another one myself
And a few shrinking signs
She is as pretty as
She will never turn rotten
In her white
Or yellow petals
Who mentioned like him
That time is immeasurable with the
Mechanical machine
How much was needed to an age
And await the raising of a memorial
What a repetition is this
Tied the same as the pain that has never ended
YOU RETURN AFTER A THOUSAND YEARS
If in the roads of sweetness
From the straws of Kumtris
Turning back after a thousand years
With the flying car
You are young and we above the soil
In our skulls to bring out with roots altogether
The flowers of memories
That can be read
Just as Mozart’s notes
In the partiture lost times ago
What is the value of return when is awaiting
What you have never perceived
In your travels of Oddiseus
Towards the dark horizon in the sky
That overpasses the unkown worlds
Takes your flying machine
With the light of mind
That is not born
A HEART AWAY FROM THE EYES
Since I don’t love you
I stay away a thousand and one
Roads of light from you
You can visit me through your mind
Right now, as I open and close the eyes immediately
If you would come
Here near where is my body
You would touch
An invisible ether
And your eyes have a vitality of earth
Are beautiful like the sky
Where can you find a time a thousand years
To walk in the labirinth of time
When time is ether
Perhaps what I am saying
Is a description of darkness
I perceived you like this
Or I saw you
Or you saw me
A wood trunk in the square
One time will emerge
With leafs of steel
Biography
Engjell I. Berisha, was born on June 17th, 1962 in Korenice, District of Gjakova. During his studies on Albanian Language and Literature in Prishtina, has frequently published on periodicals since 1985 and continued for many years.
Published his first book in 1990 while continuing later with four poetry volumes. In 1993 established the Literary magazine “Fiction Magazine” while serving as its managing editor. Has been a contributor on almost every newspaper published in Kosova, while in 1995-1999, worked as an investigative journalist in the daily “Bota Sot” and in the weekly “Eurozeri”.
In 1997 in the traditional conferences of Gjeçovi, earned the annual prize for best poetry. In 2002, in the conference of poetry, won the prize of “poetry gathering” with his book entitled: “Çati eshtrash”(House Ceiling of Dreams).
In December 2006, won a literary prize, “Serembe on Poetry” with his book, “Drunken memory” from the Art Club of Laç. His verses are included in the anthology “To whom are you fatherland”, authored by Ali Podrimja.
During the last war of Kosovo, in the last massacre known as the Massacre of “Mejës e Korenicës” both of his brothers were killed and his uncle, his house was burned including his library with more than three thousand books. Therefore all his manuscripts and publications were burned. This is the reason why he has republished this collection of poetry, with the first volumes burned and with other works written on the topics of Kosovo War which he experienced first hand.
Is the founder and managing editor of the journal of those Missing in Action and have Dissapeared “April 27”. Since 2005 is the chairman of the Literary Club “Gjon Nikolle Kazazi”, in Gjakova. For many years has been a staff member and for fifteen years serves as the director of the regional “Ibrahim Rugova” Library in Gjakova.
Ha publicado los siguientes libros:
"Día de la novia de la luna" poesía "Buzuku". Pristina, 1991.
"Avenytë del crepúsculo", poesía, autores Agencia ". Pristina, 1994.
"Los de la diáspora albanesa" historias "día fiesta", ha, 1993.
"La serpiente en la botella" poesía "Rozafa", Pristina, 2000.
"La escritura política", John Nicholas Kazaz "Gjakova.
"Bones techo", la poesía, "Rozafa". Pristina, 2003.
Poemas de "memoria" Drunk "Rozafa". Pristina, 2003.
"Las puertas del cielo", el cuento-el periodismo, "Rozafa". Pristina, 2005.
"Recreando el libro" Resumen de Opus. Nol "Gj. N. Kazaz ". Gjakova 2006.
"El papel de la educación y de la escuela pública bibliotecas en Kosovo", Publisher: Biblioteca "Ibrahim Rugova", Gjakova, 2011.
“How Much Times for an age” la poesía traducida al Inglés. EE.UU., publicado "LULU". Estados Unidos, 2010.
Monografías. Publicado, Club Literario "Juan N. Kazaz," 2013, Gjakova.
Librat e botuara në Gjuhën Shqipe (të pa përtkhyera).
“Dita me hënë e me nuse” poezi “Buzuku”. Prishtinë, 1991.
“Avenytë e muzgut”, poezi, Agjencia e autorëve”. Prishtinë ,1994.
“Diaspora shqiptare”, tregime “Pjetër Bogdani”, Has, 1993.
“Gjarpëri në shishe”, poezi “Rozafa” , Prishtinë,2000.
“Masakra e Mejës e Korenicës”, publicistikë, “Gjon Nikollë Kazazi”, Gjakovë.
“Çati eshtrash”, poezi, “Rozafa”. Prishtinë ,2003.
“Kujtesë e dehur”, poezi “Rozafa”. Prishtinë,2003.
“Dyert e qiellit”, rrëfenja-publicistikë, “Rozafa”. Prishtinë ,2005.
“Rikrijimi i librit”, përmbledhje të opusit. Klubi letrar “Gj. N. Kazazi”. Gjakovë 2006.
“Roli edukativ i bibliotekave shkollore dhe publike në Kosovë”, Botues: Biblioteka “Ibrahim Rugova”, Gjakovë, 2011.
“How Much Times for an age” poezi të përkthyera në gjuhë angleze. USA, Botoi “LULU”. Shtetet e Bashkuara të Amerikës, viti 2010.
“Martirët e Korenicës”, Monografi. Botoi, Klubi letrar “Gjon N. Kazazi,” 2013,Gjakovë.
ENGJELL I. BERISHA: A WRITER OF SIMPLE INNOVATIONS AND COURAGE – REVIEW
PETER TASE LEAVE A COMMENT
Poetry as a genre, not only as a drama but also as heroic, demands its coherence, time. Time of poetry exists. In Albanian literature there are four centuries influenced by poetry as a clear and individualized genre. Berisha’s poetry has its influence over the unattractive genres of drama, novel, essay, and treatise. Why? Due to the fact that his poetry in its wideness and depth and in its preferred signs is the work of a creative Albanian poet, shows a familiarity and “ability” over all “to speak” through characters that create perfectly shaped characters and figures.
Figurative language, poetry, was although an alibi and a greater space to express the reasons and motives of modernity, predominantly the societal current status, at least more than it demanded to express the drama of an individual, even if it may a lyrical approach, an intimate world of individual particularities, although Albanian poetry in the last four decades was not restrained from this traditional nature of a poetry as a genre.
In a “simple” innovation that was promised by a contemporary poetic genre, it became attractive for many more poets (perhaps we can say) even for three or four more young generations of writers, in which Engjell Berisha plays a critical role, who gave priority to such a genre even more important than dramas and novels. First of all, because the “softness of creation” was speculated in what was called as the Licentia Poetica, in the borderless freedom “of maneuvering” in style and linguistics, “a maneuvering” that could not go through the traditional critical analysis, therefore from this creative speculation, except only a few names who for a half a century became famous writers of great innovation and left behind a genuine literary work, on the spot light emerged also a significant number of new “poets”.
The poetry of Engjell Berisha is part of the youngest generation of our writers, the youngest among the young. It is distinguished with new language style which is different from the standard unreformed school which derives from the teaching of its previous generation, the poetry that demands cohesion that imposes its reasons, the objection to be accurate and constantly marked only to express more lucidly possible and clearly any subject.
As a consequence, the poetry of Engjell Berisha uncovers a new poetical image, and this is his greatest value: the intimate world that would not be transparent from a reality, the world that seems it is shrinking in the intimacy of this poet, to express from his verses the whole drama of a day, coherence. Berisha is exemplified as a poet who doesn’t want to participate in the philharmonic orchestra of those figures that have been digested and re-digested on the contents of poetical motives. Especially because it is a particular voice and a rare character of a creative individual, his first book is also a guarantee that we keep in our hands the first volume of a prosperous writing career.
This would be the first reason of a publisher: the possibility that ought to be given to those that have not had a chance to be part of a deception emerging from creativity, difficulties that erupt relatively from a “creative time”. Since this is the first book of Engjell Berisha; the poetry of this book will represent him genuinely rather than these few words.
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