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Engjëll I. Berisha


The Time Over The Sweetness Path



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



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




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





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.





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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