Literature enables people to see through the lenses of others, and sometimes even inanimate objects; therefore, it becomes a looking glass into the world as others view it.It is a journey that is inscribed in pages, and powered by the imagination of the reader.
Kadare reflects in three essays on “great” writers in the world literary tradition: Aeschylus, whom he calls the “lost”; Dante, the “inevitable”; and Shakespeare, the “difficult prince.” Kadare’s essays provide histories of these writers’ place in the Albanian intellectual and mythohistorical imaginaries as well as in Kadare’s own thinking about the purpose of writing.
This includes the impulse to elide cultural, linguistic, ethnic, and historical differences in service of a distinct “Balkanness” that attests to the unifying pain of ethno/geocultural conflict over the millennia.
This can be proven through public school systems, where the books that are emphasized the most tend to have a moral-teaching purpose behind the story.
An example would be William Shakespeare’s stories, where each one is meant to be reflective of human nature – both the good and bad.
Life before literature was practical and predictable, but in present day, literature has expanded into countless libraries and into the minds of many as the gateway for comprehension and curiosity of the human mind and the world around them.
Literature is of great importance and is studied upon as it provides the ability to connect human relationships, and define what is right and what is wrong. It is impossible to switch bodies with another human being, and it is impossible to completely understand the complexity of their world.Literature, as an alternative, is the closest thing the world has to being able to understand another person whole-heartedly.It is to see Albania as European and therefore part of Europe’s imperialist history; within Europe, as unremittingly Balkan and thus always peripheral to the flows of European power; and among them all, as an ethno/geocultural essence apart—lost like the origins of tragedy, inevitable like the violence of the political, difficult like the ghosts of the past.The “world” of Kadare’s three essays on “world literature” is a reflection of Albania’s “impossible drama” on the global scale of human history, an observation at once parochial and profound, like the greatness of great art.Shakespeare’s , in the final essay, represents the “impossible drama” of Albania, of the blood feuds of the traditional Albanian legal code, the Kanun, and of the centuries of ceaseless squabble over land, power, and identity that, like Hamlet’s own blood feud, made life a tragedy.In his indelibly humanist understanding of art, Kadare conceives of literature—the work of canonically great writers—as art that “cries with the world,” seeking through letters to understand the uniquely and most deeply human: tragedy, violence, pain.With the ability to see the world with a pair of fresh eyes, it triggers the reader to reflect upon their own lives.Reading a material that is relatable to the reader may teach them morals and encourage them to practice good judgement.For stance, a novel about a treacherous war, written in the perspective of a soldier, allows the reader to envision their memories, their pain, and their emotions without actually being that person.Consequently, literature can act as a time machine, enabling individuals to go into a specific time period of the story, into the mind and soul of the protagonist.