Lightning from the Depths
An Anthology of Albanian Poetry
Edited and translated from the Albanian by Robert Elsie and Janice Mathie-Heck
Writings from an Unbound Europe
ISBN 978-0-8101-2463-9
Northwestern University Press, Evanston, Illinois, 2008
xxxi + 293 pp.
INTRODUCTION
Geographically, Albania has always been at the crossroads of empires and civilizations even
though it has often been isolated from the mainstream of European history. For centuries in
ancient times, it formed the political, military and cultural border between East and West,
that is, between the Roman Empire of the western
Mediterranean including much of the northern
Balkans, and the Greek Empire of the eastern
Mediterranean including the southern Balkans. In
the Middle Ages, Albania was once again a buffer
zone, this time between Catholic Italy and the
Byzantine Greek Empire. Later, after its definitive
conquest by the Ottoman Empire in the fifteenth
century, it formed a bridgehead between Christian
Europe and the Islamic Orient. As a geographical
and cultural entity, and as a nation, Albania has
always been somewhat enigmatic and
misunderstood. In the eighteenth century,
historian Edward Gibbon (1737-1794) described it
as a land within sight of Italy and less known than
the interior of America. The spirit of this quotation
has lost surprisingly little of its validity over the
last two centuries. Bordering on Greece and what was once Yugoslavia, and less than one
hundred kilometers from the southern Italian coast, Albania has until very recently been no
better known to most other Europeans than Tibet or Timbuktu.
The Albanians are among the oldest inhabitants of southeastern Europe, having lived in that
rugged, mountainous terrain since ancient times. Their presence has been documented for
about a thousand years, but their roots go back much further. A great deal of speculation
has been offered about their origins, in particular by the Albanians themselves who are
passionately interested in tracing their roots and in establishing their autochthony in the
Balkans. Despite this, nothing has been proven conclusively. What we can say with
reasonable certainty is that there is no evidence indicating that the Albanians immigrated to
their present homeland in the southwest Balkans from anywhere else. As such, it may be
safely assumed that they are indigenous to the region, as opposed to their Slavic neighbors
who invaded the Balkans from the north in the sixth and seventh centuries. In view of this
autochthony, it can also be taken for granted that the Albanians are, in some form,
descendants of the ancient peoples of the southern Balkans. To what extent they are the
direct heirs of the Illyrians, the Dardanians, the Thracians, the Bessians, some lesser-known
people, or a mixture thereof, is a matter which has been much discussed and to which
substantial controversy has been attached from the earliest writings on the subject in the
eighteenth century right to the present. It is particularly difficult to fathom the genesis of a
people from the Balkan Peninsula, a place that has baffled scholars from Herodotus to recent
generations of history students trying to sort out the Balkan wars.
Unfortunately, we possess no original documents from the first millennium A.D. that could
help us trace the Albanians further back into history. They were nomadic tribes in the
interior of the peninsula that seem only rarely to have ventured down onto the marshy and
mosquito-infected coastline. As such, they long went unnoticed and their early history is
thus shrouded in mist. An account of the Albanians must best depart from the moment they
entered the annals of recorded history. The first references to them date from the eleventh
century, a period in which these tribes were beginning to expand their settlements and
consolidate as a people and as a nation. It is only in this age that we may speak with any
degree of clarity about an Albanian people as we know them today. Their traditional
designation, based on a root *alban- and its rhotacized variants *arban-, *albar-, and *arbar-
first appears from the eleventh century onwards in Byzantine chronicles (Albanoi, Arbanitai,
Arbanites), and from the fourteenth century onwards in Latin and other Western documents
(Albanenses, Arbanenses).
With time, as well as with innate vigor, unconscious persistence and much luck, they came to
take their place among the nation states of Europe. However, even in the twenty-first
century, the term “nation state of Europe” may seem inappropriate for the Albanians. Their
life and their culture are those of a developing country, of a third-world nation struggling for
survival in every sense of the word. In material terms, they have been deprived of all but the
bare essentials needed to stay alive. Indeed, the historical, political, economic and cultural
development of the Albanians has been so arduous that those who know them well, can do
little but marvel at how they have managed to survive as a people at all.
The Albanian Language
The Albanian language, an Indo-European idiom now spoken by about seven million people
in the Balkans and in the diaspora, is divided into two basic dialect groups: Gheg in the
north and Tosk in the south. The Shkumbin River in central Albania, flowing past Elbasan
into the Adriatic, forms the approximate border between the two groups. The Gheg dialect
group is characterized by the presence of nasal vowels, by the retention of the older “n” for
Tosk “r” (e.g. Gheg venë “wine” for Tosk verë, Gheg Shqypnia “Albania” for Tosk Shqipëria)
and by several distinct morphological features. The modern literary language (Alb. gjuha
letrare), agreed upon, though not without political pressure, in 1972, is a combination of the
two dialect groups, but based to about 80 percent on Tosk. It is now a widely accepted
standard both in Albania, Kosova and Macedonia, although there have been attempts
recently to revive literary Gheg.
In addition to three million speakers in Albania itself, the Albanian language is also spoken
by two to three million individuals in what was once Yugoslavia. The Albanian population is
to be found primarily in Kosova (Kosovo) with its capital Prishtina. In Kosova, the Albanians
now make up about 87 percent of the population, the other ca. 13 percent being primarily
BCS, Turkish and Roma speakers. The mother tongue of most Kosovar Albanians is a
northeastern Gheg dialect, though the majority of publications here, as in Albania, are now
in standard literary Albanian. In the southern Republic of Macedonia, Albanian speakers
make up about a quarter of the total population. The Macedonian capital Skopje, which has
one of the largest Albanian populations of any city on earth, serves as a secondary centre for
Albanian publishing and culture, though it is less important than Prishtina itself, which can
now vie with Tirana in every way as a focal point of Albanian literary and cultural activity
and as a publishing center for Albanian literature. A substantial minority of Albanian
speakers (about 8 percent) is also to be found in the Republic of Montenegro, mostly along
the Albanian border, e.g. in the regions of Gucia/Gusinje and Plava/Plav in the mountains,
Tuz/Tuzi south of Podgorica (formerly Titograd) and Ulqin/Ulcinj on the southern coast.
There are, in addition, Albanian speakers throughout southern Serbia and indeed in virtually
all other regions of the former Yugoslav federation, many of whom migrated from the
economically destitute Kosova region to the more affluent republics of the north (Croatia and
Slovenia) in search of freedom, jobs and a better standard of living.
A surprise to many is the existence of a traditional Albanian minority in southern Italy, the
so-called Arbëresh. They are the descendants of refugees who fled Albania after the death of
Skanderbeg (George Castrioti) in 1468. Due to a more favorable social and political
environment than that existing in the Balkans, the Arbëresh were able to make a decisive
contribution to the evolution of Albanian literature and to the nationalist movement in the
nineteenth century. Older Albanian literature is indeed to a large extent Arbëresh literature.
As a linguistic minority, the Arbëresh now consist of about twenty thousand active speakers,
most of whom live in the mountain villages of Cosenza in Calabria and in the vicinity of
Palermo in Sicily. Their language is moribund due to the strong cultural influence of Italian
and to economic emigration. It is extremely archaic and differs substantially from the
Albanian now spoken in the Balkans. Communication is difficult if Arbëresh speakers are
not familiar with standard literary Albanian.
In Greece, the sizeable stratum of Albanians who populated much of central and southern
Greece in the Middle Ages has been largely assimilated. The old Albanian language there,
known in Greek as Arvanitika, can nonetheless still be heard in about 320 villages, primarily
those of Boeotia (especially around Levadhia), southern Euboea, Attica, Corinth and the
Peloponnese, and northern Andros. No official statistics exist as to the number of speakers
since the language does not enjoy any official status. Arvanitika, which is dying out rapidly,
is thought to be the most archaic form of Albanian spoken today.
A large Albanian community still exists in Turkey (Istanbul, Bursa and elsewhere). The ranks
of these Ottoman Albanians were swelled by an estimated 230,000 Yugoslav Albanians who
were expelled from their native land between 1953 and 1966 and forced to emigrate to
Turkey.
Finally, Albanian speakers in varying numbers are to be encountered among the migrant
workers of Europe, in particular in Greece, Italy, Germany and Switzerland, and now in the
traditional countries of immigration, the United States (New York, Boston, Detroit) and
Canada (Toronto), and to a lesser extent in Australia, New Zealand and Argentina.
Albanian Literature
Compared to the other national languages of Europe, Albanian does not enjoy a long literary
tradition. In fact, it was the last national language of Europe to establish a written tradition.
Nor was the establishment of a literary culture in Albania ever an easy task, though not for
want of artistic endeavor and creative impulses. All too often the tempestuous course of
Albanian history has nipped the flowers of Albanian literature in the bud and severed the
roots of intellectual culture.
However, poetry has been an integral part of the life of the Albanians for centuries. Even
today, the poet is a highly respected figure in Albanian society, and rare is the intellectual
who has not tried his hand at verse.
The earliest poetry written and recorded in Albanian dates from the sixteenth and
seventeenth centuries, and had a primarily religious focus. It was composed by authors who
were raised in the traditions of the Catholic Church, for the most part not in Albania itself,
but in Italy. The earliest poem that we know of, written in 1592, was by an Italo-Albanian
cleric from Sicily, Lekë Matrënga, who had probably never been to Albania at all. Other early
authors, like Pjetër Budi and Pjetër Bogdani, who were from the Balkans though they
published their works in Italy, wrote verse of primarily religious inspiration, and had
evident difficulty putting their rough, unpolished idiom to paper. The traditions of Albanian
verse in Italy were later furthered by the Albanian minority living in the mountains of
Calabria and Sicily.
In Albania itself, the early tradition of Catholic poetry might have provided a foundation for
literary creativity in the age of the Counter-Reformation under the somewhat ambiguous
patronage of the Catholic Church, had not the banners of Islam soon been unfurled on the
eastern horizon, and tiny Albania been destined to bear the full brunt of the Turkish invasion
in the late fourteenth century. Subsequently, the majority of the Albanian population
converted to Islam. The Ottoman colonization of Albania which had begun as early as 1385
was to split the country into three spheres of culture, all virtually independent of one
another: (1) the cosmopolitan traditions of the Islamic Orient using initially Turkish, Persian
and Arabic as their media of literary expression, and later employing Albanian in a stylized
Aljamiado literature, the so-called poetry of the Bejtexhinj, (2) the lingering Byzantine
heritage of Greek Orthodoxy in southern Albania which produced a number of religious and
scholarly works in Greek script in the eighteenth century, and (3) the awakening culture and
literature of the Arbëresh in southern Italy, nourished by a more favorable social, political
and economic climate and by the fertile intellectual soil of Italian civilization.
A new poetic culture arose and flourished within the Muslim tradition. While the Ottoman
Empire, with its centralist organization and power base focused on Istanbul, left Albania the
cultural and political backwater it had been beforehand, Ottoman Turkish culture, which
was to reach its zenith during the Tulip Age of the eighteenth century, penetrated the
country thoroughly. Southern and central Albanian cities like Berat and Elbasan with their
newly constructed fortifications, mosques and medresas became provincial centers of
oriental learning and indeed experienced something of a cultural renaissance under Islam, as
did the northern towns of Shkodra, Gjakova and Prizren. Wandering poets, minstrels and
scholars enjoyed the patronage of local governors and pashas as they did throughout Asia
Minor. Nezim Frakulla and Hasan Zyko Kamberi are excellent examples of this tradition. Of
all the periods of Albanian writing, however, that of the Muslim tradition remains the least
known, both by specialists and by the Albanian reading public. Many manuscripts have not
yet been transcribed as there is a conspicuous dearth of experts qualified to deal with this
literature on a scholarly basis.
The stable foundations of an Albanian national literature were finally laid in the second half
of the nineteenth century with the rise of the nationalist movement striving for autonomy
within a decaying Ottoman Empire. The literature of this so-called Rilindja (“Rebirth”)
period of national awakening was one of romantic nationalism and provides an excellent key
to an understanding of the Albanian mentality. The Albanians were striving for the
consolidation of their ethnic and cultural identity within the vast Ottoman Empire, and this
set them on the course to aspire to independence. Poets such as Pashko Vasa and Naim bey
Frashëri stirred feelings of nationhood and ethnic assertiveness with their verse - works
known and recited by Albanians even today. As so often in the history of Albanian literature,
the very act of writing in Albanian constituted an act of defiance against the foreign powers
ruling the country or dominating it culturally. Indeed, the Sublime Porte regarded most
Albanian cultural and educational activity as subversive, and as such, saw fit to ban
Albanian-language schools and the publication of all books and periodicals in Albanian.
With no access to education in their own language, only a small minority of Albanians could
hope to break through the barriers to intellectual thought and literary creativity.
At the beginning of the twentieth century, the Catholic education facilities set up by the
Jesuits and Franciscans in Shkodra under the auspices of the Austro-Hungarian
Kultusprotektorat paved the way for the creation of an intellectual elite in Albania which in
turn produced the rudiments of a more sophisticated literature that expressed itself
primarily in verse.
Albania finally attained independence in 1912. The struggle for nation building had ended,
and Albanian became the official language of the new country. The poets of the early
twentieth century were now able to use their talents for purely aesthetic endeavors rather
than as a vehicle for nationalist struggle. Independent Albania soon developed a solid
literature with a broad range of pleasurable and interesting poets. Among them, in
particular, was the talented Franciscan pater Gjergj Fishta, lauded intermittently as the
national poet of Albania, who, in 1937, had finished the definitive version of his stirring
national epic, The Highland Lute.
Modern Albanian poetry can be said to date from the 1930s. It begins its course with two
poets in particular: Migjeni and Lasgush Poradeci. Migjeni (acronym of Millosh Gjergj
Nikolla) from Shkodra, who died of tuberculosis at the tender age of twenty-six, was one of
the first poets to abandon the long-standing tradition of romantic nationalism in Albanian
verse. His poetry, collected in the slender volume Free Verse (Vargjet e Lira), is characterized
by a strong social ethic, not of pity for the poor, but of outrage against injustice and
oppression. Lasgush Poradeci from the town of Pogradec on Lake Ohrid, on the other hand,
who had very little in common with his contemporaries - the romantic Asdreni, the political
Fan Noli or the messianic Migjeni - imbued Albanian letters with an exotic element of
pantheistic mysticism, introducing what he called the metaphysics of creative harmony.
Although he remained an outsider, his stylistic finesse was decisive in enriching and
diversifying Albanian poetic meters. Migjeni and Lasgush Poradeci had liberated Albanian
verse from the traditions of the past and had taken it to unprecedented heights. This modest
golden age, however, was soon to come to an abrupt end.
The flourishing literature of pre-war Albania was swept away by the political revolution
which took place in the country during and after the Second World War and was replaced by
a radically proletarian and socialist literature. However, the heavy-handed application of the
literary doctrine of socialist realism, introduced and made obligatory by 1949, and the
intimidation and terror exerted upon writers and intellectuals by the new Stalinist regime
created the opposite of what the doctrine intended - a cultural vacuum that lasted for over
two decades. The results of this oppressive period of fear and stagnation can still be felt
today. Few works of sustaining aesthetic value were produced or published in Albania in the
following years, although a handful of writers, some of whom, like Martin Camaj, in exile,
managed to produce works of stunning beauty.
When the communists came to power in 1944 under Enver Hoxha (1908-1985), substantial
efforts were nonetheless made for the first time to provide the broad masses of the
population with basic education. The post-war mass literacy campaign constituted a
revolution in itself, and paved the way for a real national literature that could encompass all
strata of society. In order to appreciate the reasons for the comparatively late blossoming of a
written literature in Albania, one must keep in mind the fact that up to the 1950s, 80 percent
of the population of the country, including virtually all the women, was illiterate. The
twentieth century arrived late in Albania.
Despite the dictatorship, Albanian poetry managed to evolve. By the 1960s, writers had
learned to wrap the requisite political messages and propaganda in innovative layers of
aesthetics, endeavoring to appease the exasperation of the reading public. The foundations
for this new literature were laid by a fresh generation of writers in search of something new,
led by Fatos Arapi (b. 1930), Dritëro Agolli (b. 1931) and Ismail Kadare (b. 1936).
Albanian authors in Kosova and Macedonia also began writing in this period, and what they
published, more than anything else, was lyric poetry. The extreme political divergence
between Yugoslavia and Albania which erupted in 1948 made it evident to Kosova
Albanians from the start that they could not look to Tirana for more than moral support in
culture and education. The preservation and fostering of Albanian culture in Yugoslavia
under often hostile conditions was of necessity to be the concern of Yugoslav Albanians
themselves. Similar to the situation in Albania, the formidable problems posed by
widespread illiteracy and dire poverty among the Albanians in Kosova were substantially
compounded substantially by an unwillingness on the part of the Serbian authorities in
Belgrade for many years to give the Albanians access to education and cultural facilities in
their own language. After much delay, full cultural autonomy was first achieved under the
constitution of 1974, but in 1990, Kosova lost its limited autonomy and freedom and was
placed under direct Serbian military occupation. In 1999, the international community finally
liberated Kosova from dictatorship after a decade of fear and oppression under the Milošević
regime.
Though lacking the richer literary traditions of Serbian, Croatian and Slovenian, the
literature of the Kosova Albanians evolved rapidly and is now just as dynamic as that of
other parts of the Balkans. Unburdened by the ideological constraints imposed on literature
and culture in Tirana during the Stalinist regime, the literature of Kosova was able to flourish
free of dogma, and maintain a certain defiance. Thus, with regard to the diversity and
expressiveness of its poets, in some respects it surpassed that of Albania itself.
Whether written in Albania, Kosova or elsewhere, Albanian literature is young and dynamic,
reflecting a culture quite unique in Europe. But perhaps no European literature has been so
neglected by Western readers, a neglect fostered by the lack of translations, of specialists in
Albanian, and, in the second half of the twentieth century, by Albania’s political isolation. If
Edward Gibbon’s remark about Albania is still valid, the real terra incognita is Albanian
literature.
The tender plant of Albanian literature grew in a rocky soil. Time and again it sprouted and
blossomed, and, time and again, it was torn out of the earth by the brutal course of political
history in the Balkans. The early literature of Christian Albania disappeared under the
banners of Islam when the country was forcefully incorporated into the Ottoman Empire.
The still little-known literature of Muslim Albania withered in the late nineteenth century
when the Albanians turned their backs on the Sublime Porte and strove to become an
independent European nation. The solid beginnings of modern literature in the 1930s were
weeded out ruthlessly by the Stalinist rulers who took power in 1944 and held onto it until
1990. Finally, the literature of Albanian socialist realism, which the Communist regime had
created, became outdated, untenable and unwanted the moment the dictatorship collapsed.
Nonetheless, this tender plant has produced some stunning blossoms in that rocky and
legendary soil, many of which merit the attention of the outside world.
For decades, and until quite recently, more poetry was printed and read in Albania and
among the Albanians of the former Yugoslavia than all other literary genres combined. Is
there a poet slumbering in every Albanian? Perhaps. Publishing statistics would certainly
indicate a strong preference for verse over prose. In Tirana about 40 percent of literary
publications in the 1990s were poetry, and in Prishtina at times up to 70 percent, something
quite unimaginable in the rational West.
A nation of poets? When impoverished and ill-educated Albanian emigrants and refugees
gather in Western Europe or in North America in their often dingy and always smoke-filled
clubs, they most often congregate for a poetry reading. It is here that the soul of the Albanian
nation finds its expression. Albanian prose of high quality is admittedly a more recent
phenomenon, and drama is still a very much neglected genre, but the Albanians have always
opened their hearts spontaneously to lyrics.
This anthology is the first of its kind in English to present the full range of Albanian verse,
from earliest times to the present day. The collection endeavors to be representative in that it
showcases the works of the best-known and most admired poets of the Albanian nation. For
the vibrantly prolific contemporary period, admittedly, it can provide no more than a
sampling, yet it is to be hoped that this selection will suffice to reveal some of the
preoccupations, concerns and dreams of the writers of this fascinating part of southeastern
Europe.
Robert Elsie
TABLE OF CONTENTS
Introduction
Oral Epic Poetry
The Songs of the Frontier Warriors
- Mujo’s Strength
- The Marriage of Gjeto Basho Mujo
- Omer, Son of Mujo
- Gjergj Elez Alia
Early Albanian Verse
Pjeter Budi (1566-1622)
- Oh Hapless, Luckless Man
- The Deed of Cain
Lekë Matrënga (1567-1619)
- Spiritual Song
Pjetër Bogdani (ca. 1630-1689)
- The Cumaean Sibyl
- The Libyan Sibyl
- The Delphic Sibyl
- The Persian Sibyl
- The Erythraean Sibyl
- The Samian Sibyl
- The Cumanian Sibyl
- The Hellespontic Sibyl
- The Phrygian Sibyl
- The Tiburtine Sibyl
Poetry in the Muslim Tradition
Nezim Frakulla (ca.1680-1760)
- I’m your Slave, You Are my Love
- Oh your Gaze, that Slicing Sabre
- Friends of Mine, They Are Fine Fellows
- Nezim Has Made it Merry
- In the Dust Left by your Footsteps
- Some Young Fellows Have Now Turned Up
- We Have Set Off into Exile
Muçi Zade (ca. 1724)
- Lord, Don’t Leave Me without Coffee
Hasan Zyko Kamberi (18th-19th century)
- Money
- Trahana
Italo-Albanian Verse
Nicola Chetta (1742-1803)
- Of Honourable Lineage
- I Travelled the Earth
Giulio Variboba (1724-1788)
- The Life of the Virgin Mary
- The Song of the Awakening
Girolamo De Rada (1814-1903)
- The Earth had Transformed the Oaks
- Like Two Radiant Lips
- Can a Kiss be Sweeter?
Giuseppe Serembe (1844-1901)
- Song of Longing
- Friendship
Rilindja and Classical Twentieth-Century Poetry
Pashko Vasa (1825-1892)
- Oh Albania, Poor Albania
Naim bey Frashëri (1846-1900)
- Oh, Mountains of Albania
- The Words of the Candle
- The Flute
Andon Zako Çajupi (1866-1930)
- My Village
- Motherland
- Servitude
Ndre Mjeda (1866-1937)
- Winter
- To the Albanian Eagle
- Freedom
Gjergj Fishta (1871-1940)
- Mehmet Ali Pasha
- Bec Patani Meets his Blood Brother in Battle
- The Mountain Nymphs Mourn the Death of Tringa
Asdreni (1872-1947)
- To the Adriatic
- Forgotten Memories
- The Oracle of Dodona
- The Flute
Fan Noli (1882-1965)
- On Riverbanks
- Dead in Exile
- Run, oh Soldier of Marathon
Lasgush Poradeci (1899-1987)
- Pogradec
- Morning
- End of Autumn
- Winter
Sejfullah Malëshova (1901-1971)
- How I love Albania
- Rebel Poet
Mitrush Kuteli (1907-1967)
- The Muddy Albanian Soil
Migjeni (1911-1938)
- Poems of Poverty
- Blasphemy
- Song of Noble Grief
- Autumn on Parade
- Scandalous Song
- Resignation
- Fragment
- The Themes
- Suffering
- Under the Banners of Melancholy
Esad Mekuli (1916-1993)
- Is it the Albanian’s Fault
- Evening
- The Death of Day
- I
- Hope
Arshi Pipa (1920-1997)
- The First Night
- Dawn
- The Lamp
- The Canal
Contemporary Verse
Zef Zorba (1920-1993)
- Sombre this Path
- A Moment, Poetry: Life
- Yearnings
- Feast Tonight
- Like Swallows
- The Gravel of the Kir
- Kruja
- Roads in Autumn
- A Nail
Martin Camaj (1925-1992)
- Mountain Feast
- First Elegy
- A Bird Languishes
- Disregard
- Death - Crackling
- Unexpected Guest in Berisha
- Avalanche
- Winter
- My Mother
- Failure
- There Before the Tribes Arrived
- In the Shade of Things
- To a Modern Poet
- That Mountain of Ice Divides Time
- Fragment
- Two Generations
- Abandoned Village
- Hostile Sea
- Fragile Land
Kasëm Trebeshina (1926-)
- The Iceberg
- We Met in the Darkness
- The Storks
- The Pelicans
- Evening
Fatos Arapi (1930- )
- Leaving Vlora
- You Will Come
- The Brothers of Pegasus
- Poems on My Mother
- I Dislike Achilles
- Where to Inter You
- Where is That Old Man
- I Awaited the Nights, Standing
- And She Turned Up
- Those Who Still Love
- How Can I Endure the Autumn
- I Arose
Dritëro Agolli (1931- )
- The Cow
- The Wind
- The Snow
- On the Appeal of Poetry
- The Moon Over the Meadow
- Simple, but Useful Things
- The Secret of the Candle
Din Mehmeti (1932- )
- I Have One Request
- Self-Portrait
- Night of the Poets
- A Legend
- Swollen Roads
- My Sailboat
- The Past
Mihal Hanxhari (1930-1999)
- Night of Stillness
- A Severed Prayer
- Petals
- Leaves
- The Linden Trees
- The Earth
- The Storm
- The Cypress Trees
- While on its Way
- Voiceless
- To Sleep
- Without You
- Rapture
- Unquenchable Fire
- Lemon Blossoms
- Where Is
Azem Shkreli (1938-1997)
- Before the Elegy
- With Migjeni
- Over Europe
- The Death of the Highlander
- Obituary for a Bird
- Monument to Mic Sokoli
- A Tale About Us
- The Toast
- Frightened Light
- Anathema
- Wolf's Spoor
- Departure of the Migrants
- Martin's Stone
- Song of Shame
Ali Podrimja (1942- )
- Ghazal
- The Illness of my Family
- The Dead Clock
- And You Dead
- Death was Quicker
- The Meadow
- It is the Albanian’s Fault
- If
- Who will Slay the Wolf
- A Child is Dying in the Cellar
- The Albanians
- Or Rather
Xhevahir Spahiu (1945- )
- To Be with You
- In the Roots of Words
- Speech
- To Wake Up Late
- Sketch
- Translation of the River
- Our History
- Kosova
- Torquemada
Eqrem Basha (1948- )
- Nighttime Traveller of this World
- Cold
- Balkan Menu
- The Street sweepers of Prishtina
- The Wolf
- The Nightingale Sings
- The Audience
Sabri Hamiti (1950- )
- The Telegram
- The Telephone
- Prizren
- Ali Podrimja
- George Castrioti
Visar Zhiti (1952-)
- At the Bars of my Cell
- Little Prison, Big Prison
- Death Impresses No One Here
- The Prison Shower Room
- Bloody Lips
- In Our Cells
- The Tyrant’s Onetime Office, Near Which I Work
- My Father’s Poem
- Far from our Countries
Mario Bellizzi (1957-)
- Aroma
- Curfew
- Serbs, Coca Cola and Kosovars
- Trance
Abdullah Konushevci (1958- )
- Dream... Then Vlora
- Expressionist Verse
- How Prishtina Once Woke in the Morning
- The Honourable Whore
- Heavy Burden, Your Fragile Body
Besnik Mustafaj (1958- )
- The Heroes and I
- Donika
- Night Walk in the Forest
- Prophetic Poem
- I’ve Set Off to Find You
- Whence your Fear of the Wolf?
Basri Çapriqi (1960- )
- My Room in London
- My Room in Ulqin
- Girl from the East, Prostitute in Rome
Mimoza Ahmeti (1963- )
- Mental Asylum with Open Doors
- Delirium
- Eastern Europe
- Death
- I’m Just Mad about Campari
- Letter to Mommy
Flutura Açka (1966- )
- Landscape
- On our Ancestral Lands
- Prayer for Anna Akhmatova
- Monotony
- Ballad on a Campaign to Inhibit Feelings
- Evil Doings
Arian Leka (1966- )
- The Spine of the Sea
- Alone
- Easter on the Island of Hvar
- Background Chant
Agron Tufa (1967- )
- Old Stanza for a New Love
- Albania
- The Regulations at the Catholic School for Girls
- The Proof of the Land
Luljeta Lleshanaku (1968- )
- With You
- Annual Snowfall
- Mutual Understanding
- Chamomile Breath
- Always a Premonition
- The Old People’s Home
- Quite by Accident
- Electrolysis
- For as Long as
- The Truth
Lindita Arapi (1972- )
- Walls
- Energies of Colour
- Bloodstain
- Girls are Made of Water
Parid Teferiçi (1972- )
- In Obot, While Waiting
- In Perspective
- "Woman Holding a Balance" by Vermeer
- The Poet
- First Prayer
- In a Country as Small as This One
Romeo Çollaku (1973- )
- The Piggy Bank of Time
- Lost in Thought
- Song of the Horned Lark
- Old Faded Photographs
- Another Folk Painting
- On the Roof and Fences
- Elegy
Ervin Hatibi (1974- )
- They’ll Invent a Substance or a Machine
- Dedicated
- Especially in August
- Once Again on the Price of Bananas
Source notes