Los 3 mejores libros de Ismail Kadarรฉ

ืคื• ืŸ ื“ืข ืจ ืงืœืฒื ืข ืจ ืืœื‘ืื ื™ืข ื“ ื“ ื™ ื’ืจื•ื™ื ืข ื’ืขืฉื˜ืืœื˜ ืŸ ืื™ ืŸ ื“ืข ืจ ืœื™ื˜ืขืจืืจื™ืฉืข , ื’ืขื–ืขืœืฉืืคื˜ืœืขื›ืข ืจ ืื• ืŸ ืืคื™ืœ ื• ืคื™ืœืื–ืืคื™ืฉืข , ืคื• ืŸ ืื™ืกืžืขื™ืœ ืงืื“ืืจืข. ื“ื™ ื›ืึธื•ืžืœืึทื ื“ ืคื•ืŸ ื“ืขื ืžื—ื‘ืจ, ืื•ื™ืคื’ืขื˜ืจื™ื™ืกืœื˜ ืื™ื‘ืขืจ ื“ื™ XNUMX ื™ืึธืจื”ื•ื ื“ืขืจื˜ ื“ื•ืจืš ื“ื™ ืื™ื™ืจืืคืขื™ืฉืข ืึทืคึผืก ืื•ืŸ ื“ืึทื•ื ื– ืื™ืŸ ื“ื™ ื’ืขื–ืขืœืฉืึทืคื˜ืœืขืš, ืคึผืึธืœื™ื˜ื™ืฉ ืื•ืŸ ืžื™ืœื™ื˜ืขืจื™ืฉ, ื”ืื˜ ืขื ื“ื™ืงื˜ ืฆื• ืคื™ืจืŸ ืฆื• ืึท ื“ืขืžืึธืงืจืึทื˜ื™ืฉ ืฉื˜ืึทื˜ ื•ื•ืขืžืขื ืก ื‘ืึทืคืขืœืงืขืจื•ื ื’ ืื™ื– ืœืขืกืึธืฃ ืฆืขื•ื•ืึธืจืคืŸ ืฆื•ื•ื™ืฉืŸ ื“ื™ ื’ืขืžืืจืงืŸ ืคื•ืŸ ื“ืขืจ ืฉื˜ืึทื˜ ื–ื™ืš ืื•ืŸ ื•ื•ื™ื™ึทื˜ืขืจ, ืคืึธืจืžื™ื ื’ ื‘ืจื™ื™ื˜ ืงื”ื™ืœื•ืช ืื™ืŸ ืงืึธืกืึธื•ื•ืึธ, ืึธื“ืขืจ ืื ื“ืขืจืข ืงืœื™ื™ืŸ ืคึผืึทืงืึทืฅ ืื™ืŸ ื“ื™ ืืจื•ืžื™ืงืข ืœืขื ื“ืขืจ.

ืคื™ื™ืกื˜ ืžื™ื˜ ื“ื™ ื™ื™ื ืฆื™ืง ืึทืœื‘ืึทื ื™ืฉ ื”ื™ืกื˜ืึธืจื™ืฉ ื™ื‘ืขืจื’ืึทื ื’, Ismail Kadarรฉ ื”ืึธื˜ ืึธื ื’ืขื ื•ืžืขืŸ ื“ื™ ืจืึธืœืข ืคื•ืŸ โ€‹โ€‹ื“ืขืจ ื ื•ื™ื˜ื™ืง ืงืจื™ื˜ื™ืงืขืจ, ืคื•ืŸ ื“ืขืจ ื“ื™ืกืงืึธืจื“ืึทื ื˜ ืงื•ืœ ื•ื•ืึธืก ืื™ื– ื‘ื™ื›ื•ืœืช ืฆื• ืึทื ื˜ืงืขื’ื ืฉื˜ืขืœื  ื“ื™ ืžืึทื›ื˜. ื–ื™ื™ืŸ ืฉืขืคืขืจื™ืฉ ืื•ืŸ ื”ื•ืžืึทื ื™ืกื˜ื™ืง ื•ื•ืขื˜ ืึธืจื™ืขื ื˜ื™ื“ ืฆื• ื“ืขื ืจืึธืžืึทืŸ ืขื ื“ืก ื–ื™ืš ืฆื•ืคึผืึทืกืŸ ื–ื™ืš ืื™ืŸ ืคื™ืœืข ืžืืœ ืฆื• ื“ื™ ื ื™ื™ื˜ื™ืง ื”ื™ืกื›ื™ื™ึทื•ื•ืขืก ืคื•ืŸ ื“ื™ ื•ื•ืืก ื”ืึธื‘ืŸ ื™ืงืกืคึผื™ืจื™ืึทื ืกื˜ ืึทืœืข ืžื™ื ื™ื ืคื•ืŸ ืึทื‘ื™ื•ื–ื™ื– ืคื•ืŸ ืžืึทื›ื˜.

ื“ืขืจ XNUMXืกื˜ืขืจ ื™ืึธืจื”ื•ื ื“ืขืจื˜ ื”ืึธื˜ ืื™ืŸ ืคื™ืœืข ืงืึทืกืขืก ืึธื ื’ืขื•ื•ื™ื–ืŸ ืื•ื™ืฃ ื“ื™ืกื˜ืึธืคึผื™ืึทืŸ ื”ืึธืจื™ื–ืึธื ื˜ืŸ ื•ื•ืึธืก ืงืขื ืขืŸ ื–ื™ื™ืŸ ื’ืขื”ืืœื˜ืŸ ืžืขืจ ืึธื“ืขืจ ื•ื•ื™ื™ื ื™ืงืขืจ ืื™ื™ื ื’ืขื–ืขืŸ ื”ื™ื™ึทื ื˜ ืื•ืŸ ืึทื– ื“ื–ืฉืึธืจื“ื–ืฉ ืึธืจื•ื•ืขืœ revistiรณ (previamente a Kadarรฉ) de tintes sociopolรญticos en 1984. La cuestiรณn es que Ismail Kadarรฉ fue y es de los que pone el contrapunto, de los que escribe para devolver la empatรญa y la nociรณn crรญtica ejemplarizada perfectamente en una narraciรณn de ficciรณn donde se materializa la magia de acercarnos al personaje sin prejuicios propios.

ืื™ืกืžืึทื™ืœ ืงืึทื“ืึทืจรฉ ื•ื•ื™ื™ืกื˜, ืึทื– ื›ึผื“ื™ ื–ื™ืš ืฆื• ื“ืขืจื ืขื ื˜ืขืจืŸ ืฆื• ื“ื™ ื’ืจืึธื‘ืข ืจืขืึทืœื™ื˜ืขื˜ืŸ, ื•ื•ืึธืก ืื™ื– ืื™ื ื’ื•ื˜ ื‘ืึทืงืึทื ื˜, ืื™ื– ื’ืึธืจื ื™ืฉื˜ ื‘ืขืกืขืจ ื•ื•ื™ ืื™ื™ื ืœืึทื“ืŸ ื“ืขื ืœื™ื™ืขื ืขืจ ืฆื• ืคืึทืจื ืขืžืขืŸ ืึทืŸ ืึทื ื“ืขืจ ื”ื•ื™ื˜, ืฆื• ื–ืขืŸ ืžื™ื˜ ืึทื ื“ืขืจืข ืื•ื™ื’ืŸ, ืฆื•ื ื•ืžืขืŸ ืึท ืžืขืฉื”, ืคื•ืŸ ื•ื•ืขืœื›ืŸ ืžืขืŸ ื–ืึธืœ ื‘ืึทื˜ืจืึทื›ื˜ืŸ ื˜ืขื–ื™ืก ืื•ืŸ ืึทื ื˜ื”ืขื– ืฆื•. ืœืขืกืึธืฃ ืึทื ื˜ื“ืขืงืŸ ืึท ืกื™ื ื˜ืขื– ื“ืขืจืฆื™ื™ืœื•ื ื’ ื•ื•ืึธืก ืงืึทืžืคึผืœืึทืžืึทื ืฅ ืงื™ื™ืŸ ื™ื“ืขืึธืœืึธื’ื™ืข ืคื•ืŸ โ€‹โ€‹ื“ื™ ืฉื˜ืึทืจืง ืคืึทื ื˜ืึทื–ื™ืข, ื•ื•ืึธืก ืื™ื– ื ื™ืฉื˜ ืึทืงืึทื•ื ื˜ืึทื‘ืึทืœ ืฆื• ืึทื‘ืกืึธืœื•ื˜ ื˜ืจื•ื˜ืก ืื•ืŸ ืžืฆื•ื•ืช.

Top 3 ืจืขืงืึทืžืขื ื“ื™ื“ ื‘ื™ื›ืขืจ ืคื•ืŸ Ismail Kadarรฉ

ื“ืขืจ ืคึผืึทืœืึทืฅ ืคื•ืŸ ื—ืœื•ืžื•ืช

ืžื™ื™ึทืŸ ื‘ืึทื˜ืจืึทื›ื˜ื•ื ื’ ืคึฟืึทืจ ื“ื™ ืึทืœื’ืขืจื™ืงืึทืœ ืื™ื– ื‘ืืงืื ื˜. ืื™ืจ ืงืขื ืขืŸ ื ื™ื˜ ืคืึทืจืœืึธื–ืŸ ืฆื• ืคืึทืจืจื™ื›ื˜ืŸ ื“ืขื ืจืึธืžืึทืŸ ื•ื•ื™ ื“ืขืจ ื‘ืขืกื˜ืขืจ ืคื•ืŸ ื“ื™ ืžื—ื‘ืจ. ืื•ื™ื‘ ืื™ื™ื“ืขืจ ืขืจ ื”ืึธื˜ ื’ืขืจืขื“ื˜ ื•ื•ืขื’ืŸ ื“ืขื ืžื—ื‘ืจ 'ืก ืื™ื ื˜ืขืจืขืก ืฆื• ืึทื ื˜ื“ืขืงืŸ ื“ื™ ื˜ืจืึทืžืคึผ ืœ'ืึธื™ื™ืœื– ืคื•ืŸ ืึทื˜ืึธืจืึทื˜ืขืจื™ืึทืŸ ืคึผืึธืœื™ื˜ื™ืฉ ืกื™ืกื˜ืขืžืขืŸ, ื“ืขืจืœืื ื’ื˜ ืื™ืŸ ื“ื™ ื’ืขื–ืขืœืฉืึทืคื˜ืœืขืš ืงื•ื™ืœ ื•ื•ื™ ื™ื™ื“ื™ืœื™ืง ืกื™ืกื˜ืขืžืขืŸ, ื“ืึธืก ื‘ื•ืš ืื™ื– ื“ืขืจ ืขืงื•ื•ื™ื•ื•ืึทืœืขื ื˜ ืคื•ืŸ ื“ื™ ืžืขืจืกื˜ ื‘ืึทืจื™ืžื˜ ื“ื™ืกื˜ืึธืคึผื™ืึท ืคื•ืŸ ืื ื“ืขืจืข ืžื—ื‘ืจื™ื ื•ื•ืึธืก ื–ืขื ืขืŸ ื’ืึทื ืฅ ืึทื ื“ืขืจืฉ ืื™ืŸ ื–ื™ื™ืขืจ ื–ืฉืึทื ืจืึท, ืึธื‘ืขืจ ืขื ืœืขืš ืื™ืŸ ื–ื™ื™ืขืจ ื›ื•ื•ื ื”.

ืื™ืš ืึธืคึผืฉื™ืงืŸ ืฆื• ื“ื™ ืึทืคืึธืจืžืขื ืฉืึทื ื“ ื“ื–ืฉืึธืจื“ื–ืฉ ืึธืจื•ื•ืขืœืœ, ืึธื‘ืขืจ ืื•ื™ืš ืฆื• ื‘ืจืึทื“ื‘ื•ืจื™ ืžื™ื˜ ืคืึทื”ืจืขื ื”ืขื™ื˜ 451 ืึธื“ืขืจ ืึท ื”ื•ืงืกืœื™ื™ ืื™ืŸ ื”ืขืœื“ื™ืฉ ื ื™ื• ื•ื•ืขืœื˜. ื•ื•ื™ื™ึทืœ ื™ืึธ, ืขืก ืื™ื– ืึท ืคึผืœืึทืฅ ืคื•ืŸ ืคึผืึธืœื™ื˜ื™ืฉ ื•ื•ื™ืกื ืฉืึทืคึฟื˜ ื‘ืขืœืขื˜ืจื™ืกื˜ื™ืง ืื™ืŸ ื“ืขื ืจืึธืžืึทืŸ ืื™ืŸ ื•ื•ืึธืก ื“ื™ ืžืœื›ื•ืช ืคื•ืŸ ื˜ื•ื™ื˜ ื”ืขืจืฉืŸ ืื™ื‘ืขืจ ื“ื™ ื—ืœื•ืžื•ืช ืคื•ืŸ ื“ื™ ื‘ื™ืจื’ืขืจืก.

ืžืืจืง-ืขืœื ืื™ื– ื“ืขืจ ืคึผืจืึธื•ื˜ืึทื’ืึทื ืึทืกื˜ ืคื•ืŸ ื“ืขืจ ื“ื™ืกื˜ืึธืคึผื™ืึท, ืื™ืŸ ื•ื•ืึธืก ื“ื™ ืฉื˜ืึทื˜ ืงืึทืœืขืงืฅ ื’ืขืฉืจื™ื‘ืŸ ืจื™ืคึผืึธืจืฅ ื•ื•ืขื’ืŸ ื“ื™ ื—ืœื•ืžื•ืช ื›ืึทืจื‘ืขืจื“ ื™ืขื“ืขืจ ื˜ืึธื’.

Realmente inquietante alegorรญa que acaba componiendo un retrato de la sociedad albanesa en particular, pero que se asoma a cualquier otro sistema de gobierno dictatorial en la forma o en el fondo.

ื“ื™ ืคึผืึทืœืึทืก ืคื•ืŸ ื“ืจืขืึทืžืก

ื“ืข ืจ ื˜ื•ื™ื˜ืข ืจ ืืจืž ืฒ ื’ืขื ืขืจืืœ

ืคึฟื•ืŸ ื–ื™ื™ืขืจ ืงืึธื ืงืจืขื˜ืข ื’ืขืฉืขืขื ื™ืฉืŸ ืื™ืŸ ื“ืขืจ ืœืขืฆื˜ืขืจ ืึทืœื‘ืึทื ื™ืฉืขืจ ื’ืขืฉื™ื›ื˜ืข, ืงื•ืžืขืŸ ืžื™ืจ ืึทืจืฒึทืŸ ืื™ืŸ ืึท ืคึฟืึทืจื˜ืจืึทื›ื˜ืŸ ืจืึธืžืึทืŸ. ื“ืขืจ ื‘ืึทื’ืจื™ืฃ ืคึฟืึทืจื‘ื™ื ื“ื˜ ื–ื™ืš ืžื™ื˜ ื“ืขืจ ื ื•ื™ื˜ ืคึฟืึทืจ ื“ืขืจ ื’ืขืฉื™ื›ื˜ืข ืคึฟื•ืŸ ืึทืŸ ืึทืœื‘ืึทื ื™ืฉ, ื•ื•ื™ ื“ืขืจ ืžื—ื‘ืจ, ื‘ืึทืฉื˜ื™ืžื˜ ืฆื• ื•ื•ืฒึทื–ืŸ ื“ืขื ืขื™ืงืจ ืคึฟื•ืŸ ื–ืฒึทืŸ ื”ื™ื™ืžืœืึทื ื“.

Pero ademรกs de conocer sobre este singular paรญs, a la postre se acaba describiendo un panorama muy humano sobre cualquier otro escenario. En busca de los hรฉroes propios de la Segunda Guerra Mundial, fallecidos y abandonados en algรบn lugar de los Balcanes albaneses.

ืื™ืŸ ืึท ืคึผืœืึทื ืขื•ื•ืขืŸ ื•ื•ืึธืก ืึทื ืคืึธื•ืœื“ื– ืื™ื‘ืขืจ ืึท ืœืึทื ื’ ืฆื™ื™ื˜, ื™ืกืžืึทื™ืœ ืงืึทื“ืึทืจรฉ ืงืึทื ื•ื•ื™ื™ื– ื™ืžืคึผืจืขืกืกื™ืึธื ืก ืคื•ืŸ ื“ื™ ืžืขื ื˜ืฉื”ื™ื™ึทื˜ ืื™ื‘ืขืจื’ืขื’ืขื‘ืŸ ืฆื• ืคืึทืจืžื™ืฉืคึผืขื˜ืŸ ืื•ืŸ ื ื™ืฆืœ.

ืื™ืŸ ืฆื™ื™ื˜ ืžื™ืจ ืึทื ื˜ื“ืขืงืŸ ืึท ืฉื˜ืจืขื ื’ ื”ื•ืžืึธืจ ืื•ืŸ ืื™ืŸ ืื ื“ืขืจืข, ืื™ืŸ ื“ืขื ืžืึทื’ื™ืฉ ื’ืึทื ืฅ ื–ืึทืฅ, ืžื™ืจ ื‘ืึทืงื•ืžืขืŸ ื™ืงืกื™ื™ื˜ืึทื“ ืึธื“ืขืจ ืขื ืขืจื•ื•ื™ื™ื˜ื™ื“ ื“ื•ืจืš ื“ื™ ืคืืงื˜ืŸ.

ื“ืขืจ ืึทื ื˜ืฉื•ืœื“ื™ืงืŸ ืคื•ืŸ ื“ืขืจื’ื™ื™ื•ื ื’ ืงืึธืœืึธื ืขืœ ื– ื“ื™ื ื˜ ืฆื• ืžืึทื›ืŸ ืึท ืขืจืฉื˜ืขืจ ืจืึธืžืึทืŸ ืึธื ื’ืขืงืœืึธื’ื˜ ืžื™ื˜ ื ื™ื™ื˜ื™ืงื™ื™ึทื˜, ืžื™ื˜ ื“ื™ ืคืึทืจืœืึทื ื’ ืฆื• ื’ืขื‘ืŸ ืงื•ืœ ืฆื• ืคืึทืกืึทื ื™ื™ื˜ื™ื ื’ ื™ื ื˜ืขืจ-ื’ืขืฉื™ื›ื˜ืขืก ืฆื•ื•ื™ืฉืŸ ื˜ืจืึทื’ืขื“ื™ืข.]

ื“ืข ืจ ื˜ื•ื™ื˜ืข ืจ ืืจืž ืฒ ื’ืขื ืขืจืืœ

ืฆืขื‘ืจืื›ืŸ ืืคืจื™ืœ

ื“ื™ ืึทื“ืึทืคึผื˜ื™ื™ืฉืึทืŸ ืคื•ืŸ ืขื˜ืœืขื›ืข ื ืึธืจืžื– ืึธื“ืขืจ ื’ืขื–ืขืฆืŸ ืึทื–ืึท ื•ื•ื™ ื“ื™ ืงืึทื ื•ืŸ ืื™ืŸ ื’ืขื‘ื™ื˜ืŸ ืึทื–ืึท ื•ื•ื™ ื“ื™ ืึทืœื‘ืึทื ื™ืฉ ื‘ืึทืจื’ ืจื™ื™ื ื“ื–ืฉืึทื– ืจืขืคึผืจืึทื–ืขื ืฅ ืึทืŸ ืขื›ื˜ ื ืกื™ืขื” ืฆื• ืืœื˜ืข ื ื™ืฆื˜ ืื•ืŸ ืžื™ื ื”ื’ื™ื ื•ื•ืึธืก ื–ืขื ืขืŸ ื™ืžืคึผืจืขืกื™ื•ื•.

ืฆื• ื”ืึทื ื“ืœืขืŸ ืžื™ื˜ ืึท ื“ืขืจืฆื™ื™ืœื•ื ื’ ืึทื–ื•ื™ ื˜ื™ืฃ ื•ื•ื™ ื“ืขื, ื•ื•ืึธืก ื™ื ื˜ืจืึทื“ื•ืกื™ื– ืึท ืœื™ื™ื“ื™ืง ืœื™ื™ืขื ืขืจ ืฆื• ืึท ื ื™ื™ึทืข ื•ื•ืขืœื˜ ืื™ืŸ ืื•ื ื“ื–ืขืจ ื•ื•ืขืœื˜, ื™ืกืžืึทื™ืœ ื‘ืจืึทื ื˜ืฉื˜ ืฆื•ื•ื™ื™ ื“ืขืจืฆื™ื™ืœื•ื ื’ืขืŸ ื•ื•ืึธืก ืฆื•ืฉื˜ืขืœืŸ ืคืึทืจืฉื™ื“ืขื ืข ื‘ืึทื’ืจื™ืฃ ื•ื•ืขื’ืŸ ื“ื™ ื’ืขืฉืขืขื ื™ืฉ ืคื•ืŸ ื“ืขืจ ืคึผืœืึทื ืขื•ื•ืขืŸ.

Gjorg Berisha ื–ื•ื›ื˜ ื–ื™ื™ืŸ ืจืขื›ื˜ ื‘ืœื•ื˜ ื ืงืžื”. ืข ืจ ืื™ ื– ื‘ืืฉื™ืฆ ื˜ ื’ืขืฐืืจ ืŸ ืžื™ ื˜ ืืฒื ืข ื ืคื• ืŸ ื“ ื™ ืืœื˜ืข ืจ ืจื™ื˜ื•ืขืœ ืข ื—ื•ื‘ื•ืช , ืฐื ืก ืฐืืœ ื˜ ืื•ื™ืกื’ืขื–ืข ืŸ ืื•ืžื‘ืื”ืืœื˜ ืŸ ืื™ ืŸ ืื•ื ื“ื–ืขืจ ืข ืฆืฒื˜ืŸ , ื ืกืืจื˜ ืŸ ืžื™ื˜ืœืืœื˜ืขืจื™ืฉ ืข ื“ืขืจืžืื ื•ื ื’ . ืื™ืŸ ื“ื™ ืฆื•ื•ื™ื™ื˜ืข ืฆื•ื•ื™ื™ึทื’ ืžื™ืจ ื”ื ืื” ืึทืŸ ืขืคึผืึธืก ื™ื ื˜ืขืจืคึผืจื™ื˜ื™ื™ืฉืึทืŸ ืคื•ืŸ ื•ื•ืึธืก ื’ืขื˜ืจืืคืŸ ืžื™ื˜ Gjorg Berisha.

ื‘ืฉืขืช ื˜ืจืึทื•ื•ืึทืœื™ื ื’ ื“ื•ืจืš ื“ืขื ื‘ืึทื–ื•ื ื“ืขืจ ื•ื•ื™ื ืงืœ ืคื•ืŸ ื“ืขืจ ื•ื•ืขืœื˜, ื“ืขืจ ืฉืจื™ื™ึทื‘ืขืจ Besian Vorpsi ื“ื™ืœื– ืžื™ื˜ ื™ืงืกืคึผืœื™ื™ื ื™ื ื’ ืกื™ื‘ื•ืช, ืคึฟืึทืจื‘ื™ื ื“ื•ื ื’ ื•ื•ืึธืก ื’ืขื˜ืจืืคืŸ ืžื™ื˜ ื•ื•ืึทืœื•ืขืก ื•ื•ืึธืก ื•ื™ืกืงื•ืžืขืŸ ืฆื• ื‘ืึทืจืขื›ื˜ื™ืงืŸ ื ืงืžื” ืื•ืŸ ื‘ืœื•ื˜ ื‘ืื–ื™ืจื˜ ืื•ื™ืฃ ื•ื•ืึทืœื•ืขืก ื”ื™ื™ืœื™ืง ืฆื• ื“ื™ ืงืึทื ื•ืŸ ...

ืฆืขื‘ืจืื›ืŸ ืืคืจื™ืœ
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ืœืึธื–ืŸ ืึท ื‘ืึทืžืขืจืงื•ื ื’

ื“ืขื ืคึผืœืึทืฅ ื ื™ืฆื˜ ืึทืงื™ืกืžืขื˜ ืฆื• ืจืขื“ื•ืฆื™ืจืŸ ืกืคึผืึทื. ืœืขืจืŸ ื•ื•ื™ ื“ื™ื™ืŸ ืงืึธืžืขื ื˜ืึทืจ ื“ืึทื˜ืข ืื™ื– ืคึผืจืึทืกืขืกื˜.