{"id":4683,"date":"2014-09-17T13:35:58","date_gmt":"2014-09-17T13:35:58","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=4683"},"modified":"2014-09-17T13:35:58","modified_gmt":"2014-09-17T13:35:58","slug":"si-duhet-ta-lexojme-nje-liber","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=4683","title":{"rendered":"Si duhet ta lexojm\u00eb nj\u00eb lib\u00ebr?"},"content":{"rendered":"

Nga Virginia Woolf*<\/strong><\/p>\n

N\u00eb k\u00ebt\u00eb or\u00eb t\u00eb von\u00eb t\u00eb historis\u00eb s\u00eb bot\u00ebs, librat mund t\u00eb gjenden n\u00eb \u00e7do dhom\u00eb t\u00eb sht\u00ebpis\u00eb, n\u00eb dhom\u00ebn e fjetjes, n\u00eb at\u00eb t\u00eb pun\u00ebs, n\u00eb kthin\u00ebn e ngr\u00ebnies apo n\u00eb at\u00eb t\u00eb gatimit. Por, n\u00eb\u00a0disa<\/a>\u00a0prej sht\u00ebpive, ata jan\u00eb b\u00ebr\u00eb nj\u00eb shoq\u00ebri e till\u00eb q\u00eb duhet t\u00eb vendosen n\u00eb nj\u00eb dhom\u00eb t\u00eb tyren, nj\u00eb hap\u00ebsir\u00eb leximi, nj\u00eb bibliotek\u00eb, nj\u00eb dhom\u00eb studimi. Le t\u00eb imagjinojm\u00eb se ne jemi pik\u00ebrisht n\u00eb nj\u00eb dhom\u00eb t\u00eb till\u00eb.
\nT\u00eb diell\u00ebzuar, me dritaret q\u00eb bien nga ana e nj\u00eb kopshti n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mund t\u00eb d\u00ebgjojm\u00eb f\u00ebrf\u00ebrim\u00ebn e gjetheve t\u00eb pem\u00ebve, fjal\u00ebt e kopshtarit, p\u00ebllitjen e gomarit apo thashethemet e plakave rreth pusit, k\u00ebta procese t\u00eb r\u00ebndomt\u00eb t\u00eb jet\u00ebs, duke ndjekur udh\u00ebn e tyre t\u00eb \u00e7rregullt e t\u00eb rast\u00ebsishme, t\u00eb nj\u00ebjt\u00ebn udh\u00eb q\u00eb kan\u00eb b\u00ebr\u00eb p\u00ebr qindra e qindra vjet.
\nSa rast\u00ebsisht, aq edhe ngulmueshm\u00ebrisht, librat jan\u00eb mbledhur pran\u00eb nj\u00ebri-tjetrit n\u00ebp\u00ebr rafte. Romane, poema, histori, kujtime, fjalor\u00eb, harta, udh\u00ebrr\u00ebfyes e adresar\u00eb, libra me shkronja gotike, apo fringo t\u00eb rinj. Libra n\u00eb fr\u00ebngjisht, greqisht e latinisht. Libra t\u00eb t\u00eb gjitha formave, madh\u00ebsive e vlerave, t\u00eb bler\u00eb p\u00ebr studim, p\u00ebr t\u00eb shtyr\u00eb nj\u00eb udh\u00ebtim, t\u00eb bler\u00eb nga njer\u00ebz t\u00eb tipave t\u00eb ndrysh\u00ebm, t\u00eb temperamenteve t\u00eb ndryshme, serioz\u00eb ose lodracak\u00eb, njer\u00ebz t\u00eb veprimit apo t\u00eb letrave.
\nDikush, krejt natyrsh\u00ebm, mund t\u00eb pyes\u00eb veten, nd\u00ebrsa hyn n\u00eb k\u00ebt\u00eb dhom\u00eb: Si duhet t’i lexoj k\u00ebta libra? Jan\u00eb kaq t\u00eb shumt\u00eb dhe kaq t\u00eb ndrysh\u00ebm,\u00a0kurse<\/a>\u00a0oreksi im \u00ebsht\u00eb kaq i paq\u00ebndruesh\u00ebm, kaq kapri\u00e7ioz. Si t’ia b\u00ebj q\u00eb t\u00eb\u00a0marr<\/a>\u00a0k\u00ebnaq\u00ebsin\u00eb m\u00eb t\u00eb madhe t\u00eb mundshme? A duhet t\u00eb k\u00ebrkoj k\u00ebnaq\u00ebsin\u00eb, p\u00ebrfitimin, apo \u00e7far\u00eb? Un\u00eb do t’iu paraqes disa nga mendimet e mia. Por, ju patjet\u00ebr q\u00eb do ta dalloni pik\u00ebpyetjen q\u00eb un\u00eb kam vendosur n\u00eb fund t\u00eb titullit tim. Dikush mund t\u00eb mendoj\u00eb q\u00eb t\u00eb lexoj\u00eb po aq libra sa mund t\u00eb zgjedh\u00eb, por askush nuk mund t\u00eb krijoj\u00eb ligje dhe rregulla p\u00ebr k\u00ebt\u00eb.
\nK\u00ebtu, n\u00eb k\u00ebt\u00eb dhom\u00eb, ne t\u00eb pakt\u00ebn thithim ajrin e liris\u00eb, edhe sikur t\u00eb mos mundim ta thithim diku tjet\u00ebr. K\u00ebtu, burrat e grat\u00eb, t\u00eb nx\u00ebn\u00eb apo jo, jan\u00eb t\u00eb ngjash\u00ebm. Sepse, nd\u00ebrsa leximi duket kaq i thjesht\u00eb, mjafton t\u00eb njohim alfabetin, por n\u00eb t\u00eb v\u00ebrtet\u00eb \u00ebsht\u00eb shum\u00eb i v\u00ebshtir\u00eb dhe \u00ebsht\u00eb me dyshim n\u00ebse dikush di ta b\u00ebj\u00eb k\u00ebt\u00eb gj\u00eb.
\nParisi \u00ebsht\u00eb kryeqyteti i Franc\u00ebs, Mbreti Xhon n\u00ebnshkroi Manja Kart\u00ebn (Magna Charta), k\u00ebta jan\u00eb fakte, k\u00ebto mund t\u00eb m\u00ebsohen, por si mund t\u00eb m\u00ebsojm\u00eb njer\u00ebzit q\u00eb t\u00eb lexojn\u00eb “Parajs\u00ebn e Humbur” (poem\u00ebn epike t\u00eb Xhon Miltonit) dhe t\u00eb kuptojn\u00eb se b\u00ebhet fjal\u00eb p\u00ebr nj\u00eb poem\u00eb t\u00eb madhe? Apo si ta lexojn\u00eb “Tesin e D’Abervilit (Tess of the D’Ubervilles – tragjedia e shkrimtarit britanik Tomas\u00a0Hardi<\/a>) dhe t\u00eb kuptojm\u00eb se b\u00ebhet fjal\u00eb p\u00ebr nj\u00eb roman t\u00eb madh? Si mund ta m\u00ebsojm\u00eb artin t\u00eb lexojm\u00eb vet\u00eb dhe sipas m\u00ebnyr\u00ebs son\u00eb? Pa pretenduar t\u00eb krijoj ligje p\u00ebr di\u00e7ka q\u00eb nuk mund t\u00eb quhet e legalizueshme, un\u00eb do t\u00eb jap disa sugjerime.
\nMenj\u00ebher\u00eb\u00a0sapo<\/a>\u00a0pyesim\u00a0sesi<\/a>\u00a0duhet ta lexojm\u00eb nj\u00eb lib\u00ebr, ne p\u00ebrballemi me faktin se librat ndryshojn\u00eb nga nj\u00ebri-tjetri. Ka poema, romane, biografi n\u00eb k\u00ebt\u00eb raftin e dhom\u00ebs son\u00eb. Secili ndryshon nga tjetri, po ashtu si nj\u00eb tig\u00ebr ndryshon nga nj\u00eb breshk\u00eb apo nj\u00eb breshk\u00eb nga nj\u00eb elefant. M\u00ebnyra sesi ne lexojm\u00eb duhet t\u00eb ndryshoj\u00eb vazhdimisht, kjo \u00ebsht\u00eb e qart\u00eb. Nga libra t\u00eb ndrysh\u00ebm ne duhet t\u00eb k\u00ebrkojm\u00eb vlera t\u00eb ndryshme.
\nNdon\u00ebse kjo duket kaq e thjesht\u00eb, s\u00ebrish njer\u00ebzit sillen sikur librat t\u00eb jen\u00eb t\u00eb gjith\u00eb nj\u00ebsoj, sikur t\u00eb ket\u00eb vet\u00ebm breshka, ose sikur t\u00eb mos ket\u00eb asgj\u00eb tjet\u00ebr p\u00ebrve\u00e7se tigra. Ndodh q\u00eb lexuesit t\u00eb zem\u00ebrohen kur lexojn\u00eb se nj\u00eb romancier e ka ngjitur t\u00eb fron Mbret\u00ebresh\u00ebn Viktoria 6 muaj p\u00ebrpara dit\u00ebs s\u00eb sakt\u00eb. Ata do ta lavd\u00ebronin nj\u00eb poet, q\u00eb do t’u shkruante se nj\u00eb vjollc\u00eb ka 4 petale dhe nj\u00eb luledele ka thuajse gjithnj\u00eb, dhjet\u00eb.
\nDo t’i k\u00ebshilloja k\u00ebta lexues q\u00eb m\u00eb mir\u00eb t\u00eb merreshin me gj\u00ebra t\u00eb tjera sesa t\u00eb prisnin q\u00eb t’i dinin vlerat e nj\u00eb libri p\u00ebrpara sesa t\u00eb nisnin ta lexonin. Breshka \u00ebsht\u00eb e madhe dhe e ngadalshme, nd\u00ebrsa tigri ka g\u00ebzof t\u00eb trash\u00eb dhe t\u00eb bukur. Edhe librat ndryshojn\u00eb.
\nKjo mbetet e v\u00ebrtet\u00eb, por gjithsesi, n\u00eb bibliotek\u00eb nuk \u00ebsht\u00eb aq e leht\u00eb sa n\u00eb kopshtin zoologjik. Librat kan\u00eb shum\u00eb gj\u00ebra t\u00eb p\u00ebrbashk\u00ebta. Ata gjithnj\u00eb i tejkalojn\u00eb kufijt\u00eb e tyre, i p\u00ebrmbytin ata. Ata krijojn\u00eb vazhdimisht lloje t\u00eb reja nga ndeshja me nj\u00ebri-tjetrin. \u00cbsht\u00eb e v\u00ebshtir\u00eb t’u afrohesh dhe t\u00eb dish se cilave specie u p\u00ebrkasin. Por, n\u00ebse e mbajm\u00eb mend, nd\u00ebrsa i afrohemi bibliotek\u00ebs, se secili prej k\u00ebtyre librave \u00ebsht\u00eb shkruar nga nj\u00eb pen\u00eb e cila, n\u00eb m\u00ebnyr\u00eb t\u00eb nd\u00ebrgjegjshme apo jo, \u00ebsht\u00eb p\u00ebrpjekur t\u00eb nd\u00ebrtoj\u00eb nj\u00eb struktur\u00eb, nj\u00eb plan, ku shmanget di\u00e7ka, ndodh di\u00e7ka tjet\u00ebr, pranohet nj\u00eb gj\u00eb, nd\u00ebrsa nj\u00eb gj\u00eb tjet\u00ebr provon eksperienca emocionuese dhe t\u00eb pazakonshme.
\nN\u00ebse ne thjesht do t\u00eb p\u00ebrpiqemi t\u00eb ndjekim shtigjet e shkrimtarit, n\u00eb eksperimentin e tij, q\u00eb nga fjala e par\u00eb n\u00eb t\u00eb fundit, pa menduar aspak t\u00eb nd\u00ebrtojm\u00eb planin ton\u00eb, at\u00ebher\u00eb do t\u00eb kemi nj\u00eb shans t\u00eb mir\u00eb p\u00ebr t\u00eb rrokur kuptimin e librit.
\nNe duhet ta lexojm\u00eb sikur po e shkruajm\u00eb vet\u00eb at\u00eb. Fillo jo duke u ulur n\u00eb krah t\u00eb gjykat\u00ebsit, por n\u00eb bank\u00ebn e t\u00eb akuzuarve me kriminelin. B\u00ebhu bashk\u00ebpun\u00ebtori i tij, shoku i tij. Madje, edhe n\u00ebse d\u00ebshironi thjesht ta lexoni librin, s\u00eb pari filloni t’i shkruani ata. P\u00ebrpiquni t\u00eb p\u00ebrshkruani nj\u00eb ngjarje fare t\u00eb thjesht\u00eb, sikur t\u00eb takoni nj\u00eb lyp\u00ebs n\u00eb rrug\u00eb. K\u00ebshtu, ne mund t\u00eb kuptojm\u00eb sado p\u00ebrkoh\u00ebsisht e p\u00ebraf\u00ebrsisht, kategorit\u00eb kryesore t\u00eb shkrimtar\u00ebve.
\nLe t\u00eb imagjinojm\u00eb sesa ndryshe mund t\u00eb p\u00ebrshkruhet e nj\u00ebjta ngjarje nga shkrimtar\u00eb t\u00eb ndrysh\u00ebm si Defo (Daniel Defoe), Xhejn Ostin (Jane Austen) dhe Tomas Hardi (Thomas Hardy). P\u00ebr shembull, takimi me nj\u00eb lyp\u00ebs. Defo \u00ebsht\u00eb mjesht\u00ebr i rr\u00ebfimit. P\u00ebrpjekja e tij kryesore do t\u00eb ishte ta tregonte historin\u00eb e lyp\u00ebsit sakt\u00ebsisht dhe sa m\u00eb thjesht. Kjo ndodhi n\u00eb fillim, m\u00eb pas ndodhi kjo tjetra, gj\u00ebja tjet\u00ebr ndodhi e treta. Ai nuk do t\u00eb vendos\u00eb n\u00eb rr\u00ebfimin e tij asgj\u00eb q\u00eb mund ta lodh\u00eb lexuesin apo ta shp\u00ebrqendroj\u00eb, sado t\u00ebrheq\u00ebse. Po ashtu, ai do t\u00eb na b\u00ebj\u00eb t\u00eb besojm\u00eb, jo m\u00eb kot \u00ebsht\u00eb mjesht\u00ebr jo i romanc\u00ebs apo i komedis\u00eb, por i rr\u00ebfimit, se gjith\u00e7ka q\u00eb ai po tregon \u00ebsht\u00eb e v\u00ebrtet\u00eb. Pra, ai do t\u00eb jet\u00eb tep\u00ebr i sakt\u00eb. Si\u00e7 shkruan n\u00eb vepr\u00ebn e tij “Robinson Kruzo”, “kjo gj\u00eb ndodhi n\u00eb dit\u00ebn e par\u00eb t\u00eb shtatorit”.
\nN\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb kujdesshme dhe artistike, ai do t\u00eb na hipnotizoj\u00eb n\u00eb nj\u00eb gjendje besimi duke shtuar ashtu si rast\u00ebsisht pak fakte apo holl\u00ebsi jo t\u00eb domosdoshme. P\u00ebr shembull, ai shkruan: “babai m\u00eb thirri nj\u00eb m\u00ebngjes n\u00eb dhom\u00ebn e tij, ku ishte i bllokuar nga s\u00ebmundja e tij e artritit”. Artriti i t\u00eb atit nuk \u00ebsht\u00eb e nevojshme p\u00ebr rr\u00ebfimin, por \u00ebsht\u00eb e nevojshme p\u00ebr t\u00eb v\u00ebrtet\u00ebn e rr\u00ebfimit, sepse kjo \u00ebsht\u00eb m\u00ebnyr\u00eb sesi dikush thot\u00eb t\u00eb v\u00ebrtet\u00ebn duke shtuar disa holl\u00ebsi ashtu pa mendje, instinktivisht.
\nM\u00eb tej, ai do t\u00eb zgjedh\u00eb nj\u00eb lloj fjalie t\u00eb rrjedhshme, por jo me tepri fjal\u00ebsh, t\u00eb sakt\u00eb, por jo si epigram\u00eb. Synimi i tij do t\u00eb jet\u00eb ta paraqes\u00eb pa devijim, nga k\u00ebndv\u00ebshtrimi i tij. Ai do t’i dal\u00eb subjektit p\u00ebrball\u00eb, sy m\u00eb sy, pa e hequr v\u00ebshtrimin p\u00ebr asnj\u00eb moment dhe pa e p\u00ebrshkruar si tragjike apo t\u00eb bukur. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, synimi i tij arrihet plot\u00ebsisht.
\nPor, ama nuk duhet ta ngat\u00ebrrojm\u00eb me synimin e Xhejn Ostinit. N\u00ebse ajo do t\u00eb takonte nj\u00eb lyp\u00ebse, padyshim ajo do t\u00eb ishte e interesuar n\u00eb historin\u00eb e saj. Por, menj\u00ebher\u00eb ajo do t\u00eb kishte vendosur ta ndryshonte historin\u00eb pasi k\u00ebshtu i p\u00ebrshtatet q\u00ebllimit t\u00eb saj.
\nRrug\u00ebt dhe panorama n\u00eb qiell t\u00eb hapur, po ashtu si aventurat, artistikisht nuk do t\u00eb thon\u00eb asgj\u00eb p\u00ebr t\u00eb. Asaj i intereson vet\u00ebm karakteri i personazhit. Ajo pa vones\u00eb mund ta kthej\u00eb lyp\u00ebsin n\u00eb nj\u00eb plak n\u00eb gjendje t\u00eb mir\u00eb t\u00eb shtres\u00ebs s\u00eb mesme ose t\u00eb lart\u00eb, t\u00eb ulur p\u00ebr qejf pran\u00eb vatr\u00ebs. Pas k\u00ebsaj, n\u00eb vend q\u00eb t\u00eb futet me vrull dhe korrekt\u00ebsi, ajo do t\u00eb shkruaj\u00eb ca paragraf\u00eb hyr\u00ebs me sakt\u00ebsi dhe mjesht\u00ebri, duke treguar p\u00ebrmbledhsh\u00ebm rrethanat dhe duke skicuar karakterin e zot\u00ebris\u00eb t\u00eb cilin ajo d\u00ebshiron q\u00eb ne ta njohim.
\n“Martesa, si origjin\u00eb e ndryshimit, ishte gjithnj\u00eb e papranueshme, e pak\u00ebndshme p\u00ebr zotin Udhauz (Woodhouse)”, thot\u00eb ajo. Thuajse menj\u00ebher\u00eb, ajo p\u00ebrpiqet q\u00eb ne t\u00eb shohim se fjal\u00ebt e saj jan\u00eb th\u00ebn\u00eb nga vet\u00eb zoti Udhauz. “E shkreta zonja Tejl\u00ebr, do t\u00eb doja q\u00eb ajo t\u00eb ishte s\u00ebrish k\u00ebtu, \u00e7’m\u00ebkat q\u00eb zoti Ueston nuk mendoi asnj\u00ebher\u00eb p\u00ebr t\u00eb”. E pasi zoti Udhauz ka folur mjaft ta zbuloj\u00eb vetveten, ajo mendon se ka ardhur koha q\u00eb ne ta njohim at\u00eb n\u00ebp\u00ebrmjet syve t\u00eb s\u00eb bij\u00ebs. “Ju keni Han\u00ebn, nj\u00eb vend kaq t\u00eb bukur, askush nuk mendoi p\u00ebr Han\u00ebn derisa e p\u00ebrmend\u00ebt ju”. (th\u00ebnie t\u00eb marra nga romani “Ema” t\u00eb vet\u00eb shkrimtares). K\u00ebshtu, ai na tregon Em\u00ebn, q\u00eb e lumturon dhe e b\u00ebn me humor baban\u00eb e saj.
\nM\u00eb n\u00eb fund, ne kemi mund\u00ebsi ta shohim karakterin e zotit Udhauz nj\u00ebkoh\u00ebsisht nga tre k\u00ebndv\u00ebshtrime t\u00eb ndryshme. Sesi e sheh ai vetveten, sesi e sheh at\u00eb e bija dhe sesi e sheh at\u00eb syri i mrekulluesh\u00ebm i k\u00ebsaj zonje t\u00eb padukshme, Xhejn Ostin. T\u00eb tria k\u00ebto p\u00ebrmblidhen n\u00eb nj\u00eb dhe ne mund t\u00eb sillemi rrotull k\u00ebtij karakteri, duke menduar se nuk po na udh\u00ebheq ndokush, por vet\u00ebm sipas gjykimit ton\u00eb.
\nTani, le ta lem\u00eb Tomas Hardin t\u00eb zgjedh\u00eb t\u00eb nj\u00ebjt\u00ebn tem\u00eb, pra nj\u00eb lyp\u00ebs q\u00eb takohet n\u00eb rrug\u00eb dhe menj\u00ebher\u00eb do t\u00eb v\u00ebrejm\u00eb dy ndryshime t\u00eb m\u00ebdha. Rruga do t\u00eb kthehet n\u00eb nj\u00eb fush\u00eb t\u00eb madhe dhe t\u00eb zymt\u00eb, t\u00eb mbuluar me ferra. Lyp\u00ebsi ose lyp\u00ebsja do t\u00eb marr\u00eb p\u00ebrmasat dhe pap\u00ebrcaktueshm\u00ebrin\u00eb e nj\u00eb statuje. P\u00ebr m\u00eb tep\u00ebr, kjo qenie njer\u00ebzore nuk do t\u00eb ket\u00eb lidhje me njer\u00ebzit, por me ferrishten, me njeriun q\u00eb ligjv\u00ebn\u00ebs, me ato fuqi q\u00eb p\u00ebrcaktojn\u00eb fatin njer\u00ebzor.
\nPerspektiva jon\u00eb, s\u00ebrish, do t\u00eb ndryshoj\u00eb plot\u00ebsisht. T\u00eb gjitha cil\u00ebsit\u00eb q\u00eb ishin t\u00eb admirueshme tek “Robinson Kruzoja” apo tek “Ema”, do t\u00eb lihen m\u00ebnjan\u00eb apo nuk do t\u00eb p\u00ebrmenden fare. Rr\u00ebfimi i drejtp\u00ebrdrejt\u00eb i Defos\u00eb \u00ebsht\u00eb zhdukur. Nuk ka mbetur asgj\u00eb as nga shk\u00eblqimi i qart\u00eb dhe i sakt\u00eb i Xhejn Ostinit. Me t\u00eb v\u00ebrtet\u00eb, n\u00ebse kalojm\u00eb nga nj\u00ebri prej k\u00ebtyre shkrimtar\u00ebve t\u00eb m\u00ebdhenj p\u00ebr tek Hardi, duhet ta themi q\u00eb n\u00eb fillim se ai \u00ebsht\u00eb “melodramatik” dhe “joreal” n\u00eb krahasim me ta.
\nPor, ne duhet t\u00eb kujtohemi se ekzistojn\u00eb t\u00eb pakt\u00ebn dy an\u00eb t\u00eb shpirtit njer\u00ebzor. Ana e ndri\u00e7uar dhe ana e err\u00ebt. N\u00eb shoq\u00ebri zbulohet ana e ndri\u00e7uar, nd\u00ebrsa n\u00eb vetmi zbulohet ajo e err\u00ebta. T\u00eb dyja jan\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb nj\u00ebjt\u00eb t\u00eb v\u00ebrteta, t\u00eb r\u00ebnd\u00ebsishme n\u00eb m\u00ebnyr\u00eb t\u00eb barabart\u00eb. Por, nj\u00eb shkrimtar do t\u00eb synoj\u00eb gjithnj\u00eb q\u00eb t\u00eb zbuloj\u00eb nj\u00ebr\u00ebn prej tyre, n\u00eb vend t\u00eb tjetr\u00ebs. Hardi, q\u00eb \u00ebsht\u00eb nj\u00eb shkrimtar i an\u00ebs s\u00eb err\u00ebt, do t\u00eb shkruaj\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb till\u00eb q\u00eb fytyrat e personazheve t\u00eb tij t\u00eb mos ndri\u00e7ohen, q\u00eb ata t\u00eb mos v\u00ebzhgohen nga af\u00ebr dhe q\u00eb ata t\u00eb bien n\u00eb kontakt me kullota, djerrina, bag\u00ebti, qiellin dhe yjet dhe q\u00eb vetmia e tyre t\u00eb jet\u00eb drejtp\u00ebrdrejt\u00eb n\u00eb m\u00ebshir\u00eb t\u00eb zotave.
\nN\u00ebse karakteret e Xhejn Ostinit jan\u00eb t\u00eb v\u00ebrtet\u00eb n\u00eb korridoret dhe dhomat ku takohen njer\u00ebzit, ata as q\u00eb do t\u00eb ekzistonin n\u00ebse do t\u00eb ishin n\u00eb maj\u00eb t\u00eb Stounhenxhit (Stonehenge – vend arkeologjik n\u00eb Skoci). N\u00eb t\u00eb kund\u00ebrt, personazhet e Hardit jan\u00eb t\u00eb turbullt n\u00eb jet\u00ebn e zakonshme njer\u00ebzore, por t\u00eb m\u00ebdhenj, t\u00eb fuqish\u00ebm dhe plot energji jasht\u00eb k\u00ebsaj jete.
\nP\u00ebr t\u00eb arritur q\u00ebllimin e tij, Hardi nuk \u00ebsht\u00eb as i drejtp\u00ebrdrejt\u00eb dhe rr\u00ebfyes si Defoja, as mjesht\u00ebror dhe i p\u00ebrqendruar n\u00eb nj\u00eb pik\u00eb t\u00eb vetme si Xhejn Ostini. Ai \u00ebsht\u00eb i ngath\u00ebt, i nd\u00ebrlikuar, metaforik. Aty ku Xhejn Ostin p\u00ebrshkruan m\u00ebnyr\u00ebn e sjelljeve, ai p\u00ebrshkruan natyr\u00ebn. Aty ku ajo \u00ebsht\u00eb e ftoht\u00eb dhe merret me faktet, ai \u00ebsht\u00eb romantik e poetik.
\nNdon\u00ebse t\u00eb dy jan\u00eb artist\u00eb t\u00eb m\u00ebdhenj, secili b\u00ebn kujdes t\u00eb merret me ligjet e realitetit t\u00eb vet dhe nuk do t\u00eb na ngat\u00ebrrojn\u00eb aspak (si\u00e7 b\u00ebjn\u00eb shum\u00eb shkrimtar\u00eb m\u00eb t\u00eb vegj\u00ebl) duke futur dy lloje t\u00eb ndrysh\u00ebm realiteti n\u00eb t\u00eb nj\u00ebjtin lib\u00ebr. Por, ne do t\u00eb donim q\u00eb ata t\u00eb ishin m\u00eb pak skrupuloz\u00eb. Jan\u00eb t\u00eb shumta qarjet se Xhejn Ostin \u00ebsht\u00eb shum\u00eb prozaike, Tomas Hardi shum\u00eb melodramatik. Dhe ne duhet t\u00eb kujtohemi se \u00e7do shkrimtar duhet ta lexojm\u00eb, ta kundrojm\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb ndryshme nga tjetri n\u00eb m\u00ebnyr\u00eb t\u00eb marrim gjith\u00e7ka q\u00eb ai ka dashur t\u00eb na jap\u00eb. Ne duhet t\u00eb kemi parasysh se \u00ebsht\u00eb nj\u00eb nga cil\u00ebsit\u00eb e madh\u00ebshtis\u00eb q\u00eb sjell qiellin, tok\u00ebn dhe natyr\u00ebn njer\u00ebzore n\u00eb p\u00ebrshtatje me vizionin e saj. Pik\u00ebrisht p\u00ebr shkak t\u00eb k\u00ebsaj mjesht\u00ebrie dhe individualitetit t\u00eb tyre t\u00eb pakompromis, shkrimtar\u00ebt e m\u00ebdhenj shpeshher\u00eb na detyrojn\u00eb t\u00eb b\u00ebjm\u00eb p\u00ebrpjekje heroike n\u00eb m\u00ebnyr\u00eb q\u00eb t’i lexojm\u00eb si\u00e7 duhet.
\nAta na lidhin pas vetes, por edhe na hallakasin. T\u00eb kalosh nga Xhejn Ostin tek Hardi, nga Pikok (Pecock) tek Trolopi (Trollope), nga Skoti (Scot) tek Meredit (Meredith), nga Ri\u00e7ardsoni tek Kiplingu, do t\u00eb thot\u00eb t\u00eb rrotullohesh me shpejt\u00ebsi dhe t\u00eb t\u00eb sillet bota v\u00ebrdall\u00eb, nj\u00ebher\u00eb n\u00eb nj\u00eb drejtim, pastaj n\u00eb nj\u00eb tjet\u00ebr. Mund t\u00eb themi se gjithkush \u00ebsht\u00eb i lindur me nj\u00eb tendenc\u00eb natyrale subjektive, n\u00eb nj\u00eb drejtim sesa n\u00eb nj\u00eb tjet\u00ebr.
\nAi ose ajo n\u00eb m\u00ebnyr\u00eb instinktive pranon vizionin e Hardit dhe jo at\u00eb t\u00eb Xhejn Ostinit dhe, duke lexuar sipas rrjedh\u00ebs dhe jo kund\u00ebr saj, lundron leht\u00eb dhe shkatht\u00ebsisht me ndihm\u00ebn e subjektivizmit t\u00eb tij drejt e n\u00eb zemr\u00ebn e gjenialitetit t\u00eb autorit t\u00eb tij. Por, Xhejn Ostin nuk e t\u00ebrheq at\u00eb. Ai nuk mundet t\u00eb ec\u00eb n\u00ebp\u00ebr shkret\u00ebtir\u00ebn e romaneve t\u00eb saj.
\nNdonj\u00ebher\u00eb, ky antagoniz\u00ebm natyral \u00ebsht\u00eb tep\u00ebr i madh q\u00eb t\u00eb kap\u00ebrcehet, por ia vlen gjithnj\u00eb t\u00eb p\u00ebrpiqemi. K\u00ebta libra t\u00eb v\u00ebshtir\u00eb dhe n\u00eb dukje t\u00eb padep\u00ebrtuesh\u00ebm, me gjith\u00eb ashp\u00ebrsin\u00eb e tyre fillestare, shpesh i japin n\u00eb fund frytet e tyre m\u00eb t\u00eb vlefsh\u00ebm dhe, kaq e habitshme \u00ebsht\u00eb p\u00ebrb\u00ebrja e trurit saq\u00eb pjes\u00eb t\u00eb caktuara t\u00eb let\u00ebrsis\u00eb i refuzon n\u00eb nj\u00eb stin\u00eb dhe i pranon n\u00eb nj\u00eb stin\u00eb tjet\u00ebr.
\nDhe, n\u00ebse at\u00ebher\u00eb, kjo \u00ebsht\u00eb e v\u00ebrtet\u00eb – pra, q\u00eb librat \u00ebsht\u00eb t\u00eb llojeve t\u00eb ndrysh\u00ebm dhe q\u00eb t’i lexojm\u00eb si\u00e7 duhet kemi nevoj\u00eb ta vendosim keqaz n\u00eb prov\u00eb imagjinat\u00ebn ton\u00eb – \u00ebsht\u00eb e qart\u00eb q\u00eb leximi \u00ebsht\u00eb nj\u00eb nga mjesht\u00ebrit\u00eb m\u00eb t\u00eb rrezikshme dhe m\u00eb shteruese. Shpesh, faqet fluturojn\u00eb para syve tan\u00eb dhe ne, na duket (kaq i madh \u00ebsht\u00eb interesimi yn\u00eb) se po i jetojm\u00eb dhe jo se po e mbajm\u00eb librin n\u00eb duar.
\nPor, sa m\u00eb emocionues t\u00eb jet\u00eb libri, aq m\u00eb shum\u00eb ne rrezikohemi nga st\u00ebrleximi. K\u00ebto simptoma jan\u00eb t\u00ebr\u00ebsisht t\u00eb zakonshme. Papritur, libri b\u00ebhet i pashijsh\u00ebm si uji i ndenjur dhe i r\u00ebnd\u00eb si plumbi. Ne p\u00ebrdridhemi dhe shtriqemi, por nuk mund t\u00eb p\u00ebrqendrohemi. Fluturimet m\u00eb t\u00eb larta t\u00eb Shekspirit dhe Miltonit b\u00ebhen t\u00eb paduruesh\u00ebm dhe ne i themi vetvetes: Mos \u00ebsht\u00eb Kitsi (Keats, poet britanik) budalla, apo jam un\u00eb?
\nNj\u00eb pyetje e dhimbshme, por q\u00eb, gjithsesi, nuk do t\u00eb jet\u00eb e nevojshme t’ia b\u00ebjm\u00eb vetes n\u00ebse ne do t\u00eb kuptojm\u00eb sesa shum\u00eb ndikon arti i mosleximit n\u00eb artin e leximit. M\u00ebnyra m\u00eb e mir\u00eb p\u00ebr t’i dh\u00ebn\u00eb lul\u00ebzim fuqis\u00eb son\u00eb imagjinative \u00ebsht\u00eb kur jemi t\u00eb aft\u00eb t\u00eb lexojm\u00eb libra, pa r\u00ebn\u00eb p\u00ebrmbys mbi ta (pa i lexuar rresht p\u00ebr rresht), p\u00ebr t’u shk\u00ebputur prej tyre dhe p\u00ebr t\u00eb sh\u00ebtitur n\u00eb k\u00ebnaq\u00ebsin\u00eb ton\u00eb, p\u00ebr t\u00eb hequr dor\u00eb nga gjykimet, p\u00ebr t’u shlodhur dhe p\u00ebr t\u00eb hyr\u00eb n\u00ebp\u00ebr rrugica duke shmangur rrug\u00ebt e shkronjave.
\nT\u00eb gjitha biografit\u00eb dhe kujtimet, gjith\u00eb librat hibrid\u00eb q\u00eb jan\u00eb t\u00eb nd\u00ebrtuar gjer\u00ebsisht mbi fakte, sh\u00ebrbejn\u00eb p\u00ebr t\u00eb rivendosur mbi ne fuqin\u00eb e leximit t\u00eb librave real\u00eb, pra t\u00eb librave krejt\u00ebsisht imagjinar\u00eb. \u00cbsht\u00eb e v\u00ebrtet\u00eb dhe e r\u00ebnd\u00ebsishme q\u00eb librat e m\u00ebsip\u00ebrm sh\u00ebrbejn\u00eb edhe p\u00ebr t\u00eb na dh\u00ebn\u00eb njohuri dhe p\u00ebr t\u00eb p\u00ebrmir\u00ebsuar mendjen, por ne po flasim sesi t\u00eb lexojm\u00eb libra p\u00ebr k\u00ebnaq\u00ebsi jo si t\u00eb sigurojm\u00eb nj\u00eb pension p\u00ebr vejush\u00ebn e nj\u00eb profesori.
\nPor, \u00e7far\u00eb d\u00ebshirojn\u00eb njer\u00ebzit? Njer\u00ebzve u p\u00eblqen pushimi, g\u00ebzimi dhe gj\u00ebrat e \u00e7uditshme, nj\u00eb stimul p\u00ebr imagjinat\u00ebn e tyre t\u00eb lodhur. Njer\u00ebzit e len\u00eb kull\u00ebn e tyre t\u00eb zhveshur dhe kock\u00eb e l\u00ebkur\u00eb dhe bredhin n\u00ebp\u00ebr rrug\u00eb, n\u00eb qiell t\u00eb hapur, duke hedhur syt\u00eb tek dritaret e hapura t\u00eb sht\u00ebpive t\u00eb tjera. Pas vetmis\u00eb, ajri i past\u00ebr dhe pamja e njer\u00ebzve t\u00eb tjer\u00eb, n\u00eb aktivitete nga m\u00eb t\u00eb ndryshmet, jan\u00eb p\u00ebr ta nj\u00eb t\u00ebrheqje e pap\u00ebrshkrueshme.
\nDritaret e sht\u00ebpive jan\u00eb t\u00eb hapura, grilat jan\u00eb ngritur lart. Gjithkush mund t\u00eb shoh\u00eb njer\u00ebzit q\u00eb jan\u00eb brenda, pa u pikasur prej tyre. Mund t’i shoh\u00eb t\u00eb ulur rreth tryez\u00ebs s\u00eb ngr\u00ebnies, duke biseduar, lexuar, luajtur, ndonj\u00ebher\u00eb duke u z\u00ebn\u00eb. Por, p\u00ebr \u00e7far\u00eb? Ndonj\u00ebher\u00eb po qeshin, por cila \u00ebsht\u00eb shakaja? Kuzhinieri po lexon nj\u00eb gazet\u00eb me z\u00eb t\u00eb lart\u00eb, nd\u00ebrsa e zonja e sht\u00ebpis\u00eb thek di\u00e7ka. Pastaj, ajo hyn n\u00eb kuzhin\u00eb dhe t\u00eb gjith\u00eb nisin t\u00eb flasin n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb. Por, \u00e7far\u00eb thon\u00eb?
\nN\u00eb katin m\u00eb sip\u00ebr nj\u00eb vajz\u00eb po vishet p\u00ebr t\u00eb shkuar n\u00eb nj\u00eb mbr\u00ebmje, por ku do t\u00eb shkoj\u00eb ajo? Ja ku \u00ebsht\u00eb edhe nj\u00eb zonj\u00eb e vjet\u00ebr, e ulur pran\u00eb dritares duke thurur di\u00e7ka leshi, me nj\u00eb papagall jeshil n\u00eb nj\u00eb kafaz pran\u00eb saj. \u00c7far\u00eb po mendon ajo? Nj\u00eb jet\u00eb e t\u00ebr\u00eb ka dal\u00eb parasyve t\u00eb lexuesit. Ajo ka logjik\u00ebn e saj, arsyet e saj, koherenc\u00ebn e saj dhe njer\u00ebzit duan ta rrokin at\u00eb plot\u00ebsisht.
\nBiografi u p\u00ebrgjigjet pyetjeve t\u00eb panum\u00ebrta q\u00eb b\u00ebjm\u00eb ne, nd\u00ebrsa q\u00ebndrojm\u00eb jasht\u00eb k\u00ebsaj jete. Me t\u00eb v\u00ebrtet\u00eb, nuk ka gj\u00eb m\u00eb interesante sesa t\u00eb ec\u00ebsh p\u00ebrmes k\u00ebtyre personazheve, t\u00eb p\u00ebrziesh dhe t\u00eb bashkosh jet\u00ebt e burrave dhe grave, t\u00eb krijojm\u00eb mendjet e tyre t\u00eb nd\u00ebrlikuara duke zgjedhur nga boll\u00ebku dhe gj\u00ebrat e hedhura andej-k\u00ebndej n\u00eb kaos t\u00eb plot\u00eb.
\nNj\u00eb gisht\u00ebz\u00eb, nj\u00eb kafk\u00eb, nj\u00eb pal\u00eb g\u00ebrsh\u00ebr\u00eb, nj\u00eb tuf\u00eb poemash na jan\u00eb dh\u00ebn\u00eb dhe ne duhet t\u00eb krijojm\u00eb nj\u00eb jet\u00eb duke i kombinuar k\u00ebto gj\u00ebra me nj\u00ebra-tjetr\u00ebn. Po ashtu, ekziston nj\u00eb emocion q\u00eb lexuesve u krijohet duke ditur se k\u00ebta personazhe ka t\u00eb vepruar dhe kan\u00eb vuajtur, di\u00e7ka q\u00eb vet\u00ebm shkrimtar\u00ebt m\u00eb t\u00eb m\u00ebdhenj arrijn\u00eb ta krijojn\u00eb si\u00e7 duhet. Nj\u00eb personazh real, si p.sh. kapiteni Skot (nj\u00eb nga zbuluesit e Polit t\u00eb Jugut) q\u00eb ngriu dhe vdiq n\u00eb mes t\u00eb d\u00ebbor\u00ebs, na prek po aq shum\u00eb sa nj\u00eb personazh imagjinar i shkrimtar\u00ebve si Konradi apo Defo, por kjo na prek di\u00e7ka m\u00eb ndryshe. Biografia ndryshon nga romani. N\u00ebse k\u00ebrkojm\u00eb nga biografi t\u00eb na jap\u00eb t\u00eb nj\u00ebjtin emocion si nj\u00eb shkrimtar, do t\u00eb thot\u00eb se nuk dim\u00eb ta lexojm\u00eb at\u00eb.
\nBiografi thot\u00eb: Xhon Xhonsi lindi n\u00eb or\u00ebn 5 e gjysm\u00eb, n\u00eb m\u00ebngjesin e 13 gushtit 1862. N\u00ebse, pasi fokusohet tek faktet, ai nis t\u00eb krijoj\u00eb nj\u00eb roman, at\u00ebher\u00eb integriteti i tij si shkrimtar shkat\u00ebrrohet. Po k\u00ebshtu shkat\u00ebrrohet vepra imagjinare (fiction). N\u00ebse Thakerej (Thackeray, shkrimtar humoristik anglez), do t\u00eb kishte cituar nj\u00eb shkrim gazete mbi Betej\u00ebn e Vaterlos\u00eb, gjith\u00eb krijimi i tij do t\u00eb ishte shkat\u00ebrruar, nj\u00eblloj si nj\u00eb gur shkat\u00ebrron nj\u00eb fllusk\u00eb. Por, nuk ka dyshim se k\u00ebta libra-hibrid\u00eb, k\u00ebto magazina t\u00eb fakteve, luajn\u00eb nj\u00eb rol t\u00eb madh n\u00eb shplodhjen e trurit ton\u00eb dhe rritjen e d\u00ebshir\u00ebs p\u00ebr t\u00eb imagjinuar.
\nPuna p\u00ebr t\u00eb krijuar nj\u00eb jet\u00eb duke u nisur nga disa element\u00eb t\u00eb dikujt (kafka, gisht\u00ebza, g\u00ebrsh\u00ebr\u00ebt dhe poemat) stimulon interesin ton\u00eb p\u00ebr t\u00eb krijuar dhe rrit d\u00ebshir\u00ebn p\u00ebr ta par\u00eb k\u00ebt\u00eb gj\u00eb t\u00eb nd\u00ebrtuar bukur dhe fuqish\u00ebm nga t\u00eb till\u00eb si Floberi apo Tolstoi. Ve\u00e7se, sado interesant\u00eb t\u00eb jen\u00eb, faktet jan\u00eb forma m\u00eb inferiore e krijimit dhe ne mezi presim t\u00eb m\u00ebsojm\u00eb dob\u00ebsit\u00eb dhe shp\u00ebrq\u00ebndrimin, kompromiset dhe bishtnimet n\u00eb fjalit\u00eb e th\u00ebna ashtu si pa kujdes. Ne duam t\u00eb p\u00ebrjetojm\u00eb intensitetin shum\u00eb m\u00eb t\u00eb madh dhe t\u00eb v\u00ebrtet\u00ebn e krijimit.
\nNa duhet rezerv\u00eb e madhe imagjinate p\u00ebr t\u00eb p\u00ebrballuar luhatjet e poezis\u00eb. Ajo nuk ka asgj\u00eb nga hyrjet graduale q\u00eb i ngjajn\u00eb jet\u00ebs s\u00eb p\u00ebrditshme, me t\u00eb cilat shkrimtar\u00ebt na t\u00ebrheqin n\u00eb bot\u00ebn e tyre imagjinare. Gjith\u00e7ka \u00ebsht\u00eb e dhunshme, e p\u00ebrkund\u00ebrt, pa lidhje.
\nKa arsye nga m\u00eb t\u00eb ndryshmet q\u00eb ne kemi nevoj\u00eb p\u00ebr poezin\u00eb, pasi ne lodhemi nga librat e k\u00ebqij, nga sforcoja p\u00ebr t\u00eb mbajtur vazhdimisht nj\u00eb jetes\u00eb eficiente, nga goditjet e her\u00ebpashershme q\u00eb na jep bukuria dhe nga impulset e pallogaritshme t\u00eb trupit dhe mendjes son\u00eb. Nj\u00eb lule e vetme n\u00eb kopsht na sjell papritmas n\u00eb mendje dit\u00ebt pranverore q\u00eb kemi kaluar. N\u00eb at\u00eb moment, ne na p\u00eblqen e p\u00ebrgjithshmja, jo e ve\u00e7anta, e t\u00ebra, jo e p\u00ebrve\u00e7mja. Ne duam t\u00eb aktivizojm\u00eb pjes\u00ebn e err\u00ebt t\u00eb trurit, t\u00eb jemi n\u00eb kontakt me heshtjen, vetmin\u00eb dhe me t\u00eb gjith\u00eb burrat e grat\u00eb, jo me nj\u00eb Ri\u00e7ard apo nj\u00eb An\u00eb. Metaforat, n\u00eb k\u00ebt\u00eb rast, jan\u00eb m\u00eb t\u00eb fuqishme, sesa fjal\u00ebt e drejtp\u00ebrdrejta.
\nQ\u00eb t\u00eb lexojm\u00eb poezin\u00eb si\u00e7 duhet, ne duhet t\u00eb jemi n\u00eb nj\u00eb gjendje ankthi, t\u00eb skajshme, me trurin t\u00eb gatsh\u00ebm t\u00eb k\u00ebrkoj\u00eb dhe t\u00eb ngopet me let\u00ebrsi. Fuqia e saj p\u00ebr ta b\u00ebr\u00eb imagjinat\u00ebn si reale lihet m\u00ebnjan\u00eb nga skajshm\u00ebria dhe ekstravaganca. Shpesh poezia \u00ebsht\u00eb shum\u00eb larg nga gj\u00ebrat q\u00eb p\u00ebrfaq\u00ebson, ndaj na duhet t\u00eb shtrydhim fort trurin p\u00ebr t\u00eb kuptuar lidhjen, p.sh., mes k\u00ebng\u00ebs s\u00eb nj\u00eb harabeli dhe imazhet apo idet\u00eb q\u00eb ajo k\u00ebng\u00eb na sjell nd\u00ebrmend.
\nK\u00ebshtu, leximi i poezis\u00eb shpesh i ngjan nj\u00eb rapsodie ku rima, metrika dhe kumbimi nxit trurin po ashtu si vera dhe vallja nxit trupin. Ne lexojm\u00eb dhe kuptojm\u00eb me shqisat, jo me intelektin, n\u00eb nj\u00eb gjendje jasht\u00eb normales. Dhe, gjith\u00eb anormaliteti e k\u00ebnaq\u00ebsia varen nga sakt\u00ebsia dhe v\u00ebrtet\u00ebsia e imazhit, nga qenia e tij e kund\u00ebrta e realitetit brenda tij.
\nN\u00eb momentin e leximit, imazhet e larg\u00ebt dhe ekstravagante t\u00eb Shekspirit apo imazhet qiellor\u00eb dhe t\u00eb paqart\u00eb t\u00eb Kitsit, na duken si kulminacioni i mendimit, shprehja e tij p\u00ebrfundimtare. Por, \u00ebsht\u00eb e kot\u00eb t\u00eb punosh k\u00ebt\u00eb material duke qen\u00eb gjakftoht\u00eb. Kushdo q\u00eb ka lexuar poezi me pasion do t\u00eb kujtoj\u00eb nj\u00eb bindje t\u00eb papritur, nj\u00eb ndryshim t\u00eb rendit t\u00eb gj\u00ebrave, t\u00eb cilat shoq\u00ebrojn\u00eb leximin e poezis\u00eb dhe i japin asaj ekzaltimin dhe dend\u00ebsin\u00eb emocionale. Nj\u00eb lexim i till\u00eb ndiqet, me nd\u00ebrgjegje apo jo, me shtremb\u00ebrimin, sforcimin e sy\u00e7el\u00ebsin\u00eb maksimal t\u00eb fuqive t\u00eb mendjes, sa t\u00eb arsyes, aq edhe t\u00eb imagjinat\u00ebs.
\nNe gjithnj\u00eb masim v\u00ebrtet\u00ebsin\u00eb e deklarimeve t\u00eb poetit, b\u00ebjm\u00eb krahasime t\u00eb rrufeshme mes t\u00eb bukur\u00ebs q\u00eb ai na shfaq dhe bukuris\u00eb q\u00eb ne e ndjejm\u00eb n\u00eb brend\u00ebsi. Kjo sepse edhe njeriu m\u00eb i humbur e ka fuqin\u00eb e krahasimit, edhe ai m\u00eb i pashkolli, n\u00ebse p\u00eblqen leximin, e ka aft\u00ebsin\u00eb p\u00ebr t\u00eb ndjer\u00eb at\u00eb q\u00eb i jepet nga poeti. Tashm\u00eb, djalli ka dal\u00eb nga shishja. E gjitha kjo ne na \u00e7on n\u00eb nj\u00eb gjendje tjet\u00ebr, pasi leximi nuk \u00ebsht\u00eb vet\u00ebm t\u00eb p\u00eblqesh dhe t\u00eb kuptosh, por edhe t\u00eb kritikosh e t\u00eb gjykosh.
\nNe jemi p\u00ebrpjekur ta lexojm\u00eb librin ashtu si\u00e7 e shkruan shkrimtari. Ne jemi p\u00ebrpjekur t\u00eb kuptojm\u00eb, t\u00eb vler\u00ebsojm\u00eb, interpretojm\u00eb apo simpatizojm\u00eb. Por, tani q\u00eb libri ka p\u00ebrfunduar, ne duhet t\u00eb ndryshojm\u00eb vend. Lexuesi tani nuk duhet t\u00eb jet\u00eb miku, por gjykat\u00ebsi. Dhe kjo nuk \u00ebsht\u00eb figurative. Mendja duket se, gjat\u00eb leximit, kalon n\u00ebp\u00ebr dy procese. Nj\u00ebri mund t\u00eb quhet leximi aktual, tjetri mund t\u00eb quhet ai pas leximit. Gjat\u00eb leximit ne kemi shp\u00ebrqendrime dhe nd\u00ebrprerje pafund. P\u00ebrshtypje t\u00eb reja gjithnj\u00eb fshijn\u00eb t\u00eb vjetrat. Ne nuk gjykojm\u00eb dot sepse nuk e dim\u00eb \u00e7far\u00eb vjen m\u00eb pas. Radhazi vijn\u00eb surpriza, admirimi, m\u00ebrzitia, interesi. Kur libri mbaron, jemi konfuz\u00eb. Ky lib\u00ebr \u00ebsht\u00eb i mir\u00eb apo jo dhe sa i mir\u00eb \u00ebsht\u00eb? P\u00ebrplasjet dhe emocionet gjat\u00eb leximit na turbullojn\u00eb dhe pjes\u00eb t\u00eb librit duket se jan\u00eb zhytur thell\u00eb, me t\u00eb tjera pjes\u00eb q\u00eb vijn\u00eb nd\u00ebrmend. \u00cbsht\u00eb mir\u00eb, ndoshta, q\u00eb pas leximit, t\u00eb ndjekim nj\u00eb shteg tjet\u00ebr: t\u00eb sh\u00ebtisim, t\u00eb bisedojm\u00eb, t\u00eb punojm\u00eb, t\u00eb d\u00ebgjojm\u00eb muzik\u00eb, pra t\u00eb largohemi nga libri.
\nPastaj, papritmas, nd\u00ebrsa ne po merremi me di\u00e7ka tjet\u00ebr, krejt t\u00eb ndryshme dhe t\u00eb larg\u00ebt, i t\u00ebr\u00eb libri del n\u00eb sip\u00ebrfaqen e mendjes son\u00eb. Disa procese kan\u00eb p\u00ebrfunduar pa e ditur ne as vet\u00eb. \u00c7do detaj duket se ka z\u00ebn\u00eb vendin e vet dhe libri merr form\u00ebn p\u00ebrfundimtare: nj\u00eb k\u00ebshtjell\u00eb, nj\u00eb vath\u00eb, nj\u00eb rr\u00ebnoj\u00eb gotike. Ky lib\u00ebr, tashm\u00eb i plot\u00eb, na jep nj\u00eb emocion t\u00eb ndrysh\u00ebm nga ajo q\u00eb provuam m\u00eb par\u00eb. Simetria dhe p\u00ebrmasat e tij, konfuzioni dhe turbullimi mund t\u00eb jap\u00eb k\u00ebnaq\u00ebsi ose neveri t\u00eb madhe, pa llogaritur k\u00ebnaq\u00ebsin\u00eb nga detajet e ve\u00e7ant\u00eb.
\nVet\u00ebm pasi e kemi k\u00ebt\u00eb form\u00eb p\u00ebrfundimtare t\u00eb librit, mund t\u00eb japim opinionin p\u00ebr t\u00eb. Ky \u00ebsht\u00eb procesi me thell\u00ebsin\u00eb m\u00eb t\u00eb madhe dhe q\u00eb zgjat pafund\u00ebsisht, sado q\u00eb k\u00ebnaq\u00ebsin\u00eb m\u00eb t\u00eb madhe mund ta kemi ndjer\u00eb duke e lexuar. P\u00ebr t\u00eb p\u00ebrcaktuar n\u00ebse \u00ebsht\u00eb lib\u00ebr i mir\u00eb apo i keq, sa i mir\u00eb apo i keq \u00ebsht\u00eb, nuk mund t\u00eb ndihmohemi nga t\u00eb tjer\u00ebt. Lerini m\u00ebnjan\u00eb kritik\u00ebt, pasi mendjet ndryshojn\u00eb shum\u00eb nga nj\u00ebra-tjetra. Nuk ka gj\u00eb m\u00eb t\u00eb keqe, n\u00eb k\u00ebt\u00eb rast, sesa t\u00eb imagjinosh veten n\u00eb vendin e tjetrit.
\nNe mund ta nxjerrim p\u00ebrfundimin vet\u00ebm duke kuptuar p\u00ebrshtypjet tona sa m\u00eb sakt\u00ebsisht q\u00eb t\u00eb jet\u00eb e mundur dhe duke iu referuar gjykimeve q\u00eb kemi formuluar gradualisht. N\u00ebse sapo kemi lexuar Klarisa Harluin (Clarissa Harlowe, roman nga Samuel Ri\u00e7ardson), le ta vendosim n\u00ebn hijen e Ana Karenin\u00ebs. \u00cbsht\u00eb si t\u00eb vesh p\u00ebrball\u00eb nj\u00eb sht\u00ebpi me oxhak\u00ebt gjat\u00eb nj\u00eb h\u00ebne t\u00eb plot\u00eb. Stili plot fjal\u00eb dhe forma i Ri\u00e7ardsonit \u00ebsht\u00eb n\u00eb kontrast me prerjen shkurt dhe stilin e drejtp\u00ebrdrejt\u00eb t\u00eb Tolstoit. Po, pse ndryshojn\u00eb ata? Si t’i krahasojm\u00eb emocionet q\u00eb na japin dy librat? Pyetjet jan\u00eb t\u00eb panum\u00ebrta, ato deg\u00ebzohen dhe shum\u00eb prej tyre jan\u00eb n\u00eb dukje pa r\u00ebnd\u00ebsi.
\nPor, vet\u00ebm duke ndjekur pyetjet dhe p\u00ebrgjigjet sa m\u00eb larg q\u00eb t\u00eb jet\u00eb e mundur, ne mund t\u00eb arrijm\u00eb n\u00eb standardin ton\u00eb t\u00eb vlerave dhe t\u00eb vendosim n\u00eb fund se \u00e7’lloj libri \u00ebsht\u00eb ai q\u00eb sapo kemi lexuar. Po ashtu, vet\u00ebm duke krijuar fort p\u00ebrshtypjen ton\u00eb, ne mund t\u00eb p\u00ebrfitojm\u00eb nga mendimet e kritik\u00ebve t\u00eb m\u00ebdhenj, Drajden (Dryden) apo Xhonson. Po ashtu, mund t\u00eb mbrojm\u00eb mendimet tona.
\nPra, si p\u00ebrfundim, nj\u00eb lexues i mir\u00eb do t’i jap\u00eb shkrimtarit p\u00ebrfitimet e \u00e7do dyshimi, ndihm\u00ebn e gjith\u00eb imagjinat\u00ebs, v\u00ebmendjen m\u00eb t\u00eb madhe, interpretimin m\u00eb inteligjent. M\u00eb tej, lexuesi do t\u00eb gjykoj\u00eb me ashp\u00ebrsin\u00eb m\u00eb t\u00eb madhe, t\u00eb mos harrojm\u00eb se \u00e7do lib\u00ebr duhet t\u00eb gjykohet. Lexuesi do t\u00eb jet\u00eb aventurier, i gjer\u00eb n\u00eb zgjedhje, besnik i instinkteve, por i gatsh\u00ebm t\u00eb d\u00ebgjoj\u00eb edhe t\u00eb tjer\u00ebt. N\u00ebse jemi t\u00eb till\u00eb, shkrimtar\u00ebt na respektojn\u00eb dhe n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb ndihmojm\u00eb kryeveprat e k\u00ebsaj bote.
\nN\u00ebse moralist\u00ebt na pyesin sesi e justifikojm\u00eb dashurin\u00eb p\u00ebr leximin, ne mund t\u00eb gjejm\u00eb ndonj\u00eb justifikim. Por, ndershm\u00ebrisht, nuk \u00ebsht\u00eb nevoja. \u00cbsht\u00eb e v\u00ebrtet\u00eb se ne nuk fitojm\u00eb asgj\u00eb nga librat p\u00ebrve\u00e7 k\u00ebnaq\u00ebsis\u00eb dhe as m\u00eb i zgjuari nga ne nuk arrin ta shpjegoj\u00eb se \u00e7far\u00eb mund t\u00eb jet\u00eb kjo k\u00ebnaq\u00ebsi. Por, kjo k\u00ebnaq\u00ebsi, misterioze, e panjohur dhe q\u00eb nuk mund t\u00eb p\u00ebrdoret p\u00ebr asgj\u00eb, \u00ebsht\u00eb e mjaftueshme.<\/p>\n

P\u00ebrktheu nga origjinali Bledar Kuka<\/p>\n","protected":false},"excerpt":{"rendered":"

Nga Virginia Woolf* N\u00eb k\u00ebt\u00eb or\u00eb t\u00eb von\u00eb t\u00eb historis\u00eb s\u00eb bot\u00ebs, librat mund t\u00eb gjenden n\u00eb \u00e7do dhom\u00eb t\u00eb sht\u00ebpis\u00eb, n\u00eb dhom\u00ebn e fjetjes, n\u00eb at\u00eb t\u00eb pun\u00ebs, n\u00eb kthin\u00ebn e ngr\u00ebnies apo n\u00eb at\u00eb t\u00eb gatimit. Por, n\u00eb\u00a0disa\u00a0prej sht\u00ebpive, ata jan\u00eb b\u00ebr\u00eb nj\u00eb shoq\u00ebri e till\u00eb q\u00eb duhet t\u00eb vendosen n\u00eb nj\u00eb dhom\u00eb…<\/p>\n","protected":false},"author":1,"featured_media":3755,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4683","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-intervista"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4683","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4683"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4683\/revisions"}],"predecessor-version":[{"id":4684,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4683\/revisions\/4684"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/3755"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4683"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4683"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4683"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}