Because the very God is Language

Because the very God is Language

By Azem Qazimi

O reader, we should say it since the beginning: this book is primarily an aesthetic luxury! And as such, is pretty rare. Written with the very intention to serve to a highly signification that ignores the common pretension for money and fame, also published for a very strict group of people, it distinguishes clearly from all the other mass of publications that sees this kind of activity as a trash can. In this background, as the author says, the real book, the real poetry, closes up, isolate itself, ... “to take care of its own hygiene”, for self-defense, after all. So, the poetical defense comes up entirely from the subordinating of the notions of offense and prohibition, being decisive for the self-introduction of a powerful poet. The great lesson that the contemporary interpretation can give us, (the poet borrows this interpretation from Kabala), is that the signification in the text is always mobile. The signification gets moving from text to text and, inside of the text – from sign to sign. It’s the protection, the graceful need of protection that holds up this rambling, and this way, the signification, the meaning, moves to protect itself.

This way, we moved on to another dimension, where the poetry is defended not only from the orgy of the surroundings. There are a lot of language “traps” that definitely contribute against the mortal jeopardy in the literally sense. These are the tropes that Viko binds charmingly with the “poetical monsters and the metamorphosis”, necessary mistakes that “come up from the indispensability, from the inability of the nature with human descendent to create the shapes or even the features from the subjects...”

...

We do not deny the secret pleasure of sectarian (speculative) preferences or “alternatives” to no one. But anyway, we do not want to discuss nobody’s enjoyment. It’s not about the exact definition of the sensitive degree of the public, whoever he may be. But we cannot escape a question: as long as the anger is considered “... an indispensable symptom of retrogression, of collapse and overripe of culture (Nietzsche), what’s then, this health depression that has overwhelmed the Albanian culture? The real authors, that there are a few, (they are such a few that we even can count them with the fingers of one hand) are capable for a perfect quarantine (with Tufa’s verses: Away from popular squares and social markets, away/from dilative senses with false Gods). If other developments can overturn the order of things, I don’t care.

...

Agron Tufa hasn’t written even an only verse to corrupt (I beg your pardon for this improper term) this divine meaning, the Divine Truth, that is Wisdom, Language or God. The Wisdom, in the biblical sense, is related with the acceptance of God, that can be caused by a moment of absolute loneliness or from the presence of another person. But the Gnostics accepts the liberation from an unknown God, a God in exile, from an illusive Creation that, spontaneously, had the meaning of Falling. The Man, known by this external God, is able to understand that his deep being Oneself isn’t part of Creation-Falling, but that begins in an archaic time before time, when the deep Oneself was part of the whole, and, in that time, was God:

Does the time moves or freezes in a letter? /Oh mummied soul, take me or leave me, O, in the Beginning turn me back -/In brackets the Universe sealed with wax. (A thousand years solitude of “kh” letter) Here are some other verses:

The Divine Truth waits in watchfulness, among the fearful footpath,

...

...Thrusting into your marrow,
It seeks language, until
The things respond to their God that, also, is Language.

It happened on and often happens that the Albanians create and write exactly from the degeneration of this meaning: the Divine Truth. We need to take a glance, even for a moment, to the literature before the nineties (’90), that has been a habit calling “the socialist realism” literature, to be convinced about that. I admit, it’s so wrong to denote to this literature as a sunk “system of values” because, if so, it would be unfair to those many authors that all the day long kept writing in that manner. That’s the reason why Agron Tufa says that the generation of the before ’90 poets and the generation of the after ’90 poets (Attention! The Poets!) seem “... to belong to very different civilizations”. The matter is that among these 10-12 years the reader should have been prepared for metaphysics which, at all costs, requests high sensible receptors, on the contrary of the roaring literature, that requests really strong ears.

The word binds the visible thread with that invisible thing, until the thought and the vision are given a soul, even when “... the sense is excluded” (The Purgatory, XVII, 16) In fact, each poetical text remarks two types of processes that concern the imagination: the visual imagination and the verbal imagination, where, each of them runs the forerunner position.

Theopompus said: “What is man, each one alone, if not an organ that Lord projects for sensing the world? Only that, this Lord is like Moses’ Lord or the Old Testament’s Lord: He will not appear, will not show up, He will not be revealed never wholly:

The curtain will rise and sooner or late
The Unpresence we’ll see all in Revelation.
(A thousand years solitude of “kh” letter)