{"id":5516,"date":"2019-05-16T16:30:13","date_gmt":"2019-05-16T14:30:13","guid":{"rendered":"https:\/\/sbunker.org\/?p=5516"},"modified":"2024-11-21T16:13:18","modified_gmt":"2024-11-21T14:13:18","slug":"tregimi-i-nje-refugjati-europian-queer-i-cili-kembengul-ne-shpikjen-e-vetvetes","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/tregimi-i-nje-refugjati-europian-queer-i-cili-kembengul-ne-shpikjen-e-vetvetes\/","title":{"rendered":"Tregimi i nj\u00eb refugjati europian “queer”, i cili k\u00ebmb\u00ebngul n\u00eb shpikjen e vetvetes"},"content":{"rendered":"
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Artikulli origjinal n\u00eb The New Yorker<\/a><\/p>\n<\/div>\n

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\u201cZemra e Tiran\u00ebs\u201d i Pajtim Statovcit i p\u00ebrket tradit\u00ebs letrare n\u00eb t\u00eb cil\u00ebn identiteti shihet si i ndryshuesh\u00ebm dhe performativ.<\/em><\/p>\n

N\u00eb fillim t\u00eb \u201cZemra e Tiran\u00ebs\u201d [Tiranan syd\u00e4n] (Pantheon), romanit t\u00eb dyt\u00eb t\u00eb Pajtim Statovcit,<\/a>\u00a0nj\u00eb burr\u00eb nj\u00ebzetedy vje\u00e7ar, i veshur me xhinse dhe sytjena t\u00eb mbushura \u2013 \u201cburr\u00eb i cili nuk mund t\u00eb jet\u00eb grua, por q\u00eb ndonj\u00ebher\u00eb mund t\u00eb duket si grua\u201d \u2013 hidhet para trafikut n\u00eb nj\u00eb rrug\u00eb t\u00eb Rom\u00ebs m\u00eb 1998. M\u00eb von\u00eb kuptojm\u00eb se quhet Bujar, se \u00ebsht\u00eb shqiptar, dhe se d\u00ebshira e tij p\u00ebr t\u00eb vdekur nuk buron prej ankthit rreth identitetit gjinor \u2013 romani e v\u00eb n\u00eb prov\u00eb ther\u00ebse vet\u00eb iden\u00eb e identitetit \u2013 por prej izolimit dhe turp\u00ebrimit me t\u00eb cilin \u00ebsht\u00eb ballafaquar si refugjat nga trazirat e Ballkanit. Derisa k\u00ebrkon nj\u00eb cop\u00eb rruge ku makinat ecin shpejt, mediton p\u00ebr shp\u00ebrdorimin e premtimit t\u00eb tij rinor, dhe p\u00ebr ndjenj\u00ebn e turpit aq t\u00eb fort\u00eb sa e shtyn t\u00eb shp\u00eblaj\u00eb urin\u00ebn dhe jasht\u00ebqitjen e njer\u00ebzve t\u00eb tjer\u00eb nga banjat publike, ashtu q\u00eb askush t\u00eb mos mendoj\u00eb se i ka l\u00ebn\u00eb ai. \u201cKjo nuk \u00ebsht\u00eb jeta ime, k\u00ebto dit\u00eb nuk jan\u00eb t\u00eb miat,\u201d i thot\u00eb vetes. \u00cbsht\u00eb b\u00ebr\u00eb, shprehet: \u201cfantazm\u00eb q\u00eb jetoj n\u00eb cep t\u00eb hijeve t\u00eb mia.\u201d<\/p>\n

Statovci \u00ebsht\u00eb vler\u00ebsuar lart p\u00ebr romanin e tij t\u00eb par\u00eb,\u00a0\u201cMy Cat Yugoslavia,\u201d<\/a>\u00a0\u00a0q\u00eb u botua m\u00eb 2014, kur ishte vet\u00ebm 24 vje\u00e7. Libri ishte godit\u00ebs p\u00ebr pran\u00ebv\u00ebnien e stileve \u00e7mendurisht heterogjene, duke g\u00ebrshetuar tregimin e jet\u00ebs s\u00eb nj\u00eb gruaje t\u00eb re n\u00eb nj\u00eb martes\u00eb t\u00eb palumtur n\u00eb Kosov\u00eb me at\u00eb t\u00eb t\u00eb birit, Bekimit, student n\u00eb Helsinki. Statovci, si Bekimi, emigroi n\u00eb Finland\u00eb si f\u00ebmij\u00eb, por libri v\u00ebshtir\u00eb se \u00ebsht\u00eb autofiksion: karatekteri m\u00eb i dalluar i tij \u00ebsht\u00eb nj\u00eb mace seksi dhe abuzive q\u00eb flet, me t\u00eb cil\u00ebn Bekimi jeton me muaj n\u00eb nj\u00eb gjendje familjare gjithnj\u00eb e m\u00eb t\u00eb paq\u00ebndrueshme.<\/p>\n

\u201cZemra e Tiran\u00ebs\u201d<\/em>\u00a0nuk p\u00ebrmban asnj\u00eb prej tekeve surreale t\u00eb paraardh\u00ebsit, por edhe ai, gjithashtu, rrjedh p\u00ebrgjat\u00eb udh\u00ebve rr\u00ebfyese t\u00eb dyfishta q\u00eb shfaqen n\u00eb seksione t\u00eb alternuara. Secili fill rr\u00ebfehet nga Bujari. N\u00eb nj\u00ebrin, ai tregon p\u00ebr adoleshenc\u00ebn n\u00eb Tiran\u00eb, p\u00ebrderisa Shqip\u00ebra zhytet n\u00eb kaos pas r\u00ebnies s\u00eb diktatur\u00ebs komuniste. Radh\u00ebt e ushqimit zgjaten jasht\u00eb kishave e xhamiave; Bujari sheh trafikuesit sesi grabisin f\u00ebmij\u00eb n\u00eb rrug\u00eb. Kjo shp\u00ebrb\u00ebrje shoq\u00ebrore pasqyron shp\u00ebrb\u00ebrjen e familjes s\u00eb Bujarit: i ati vdes nga kanceri; e \u00ebma dergjet n\u00eb shtrat; e motra zhduket. Bujari kalon shumic\u00ebn e koh\u00ebs me fqinjin, Agimin, me t\u00eb cil\u00ebn ka nj\u00eb marr\u00ebdh\u00ebnie romantike t\u00eb ngat\u00ebrruar e t\u00eb thell\u00eb, q\u00eb nuk do t\u2019i ndahet gjith\u00eb jet\u00ebs.<\/p>\n

Shum\u00eb prej forc\u00ebs emocionale t\u00eb romanit vjen nga p\u00ebrshkrimi q\u00eb i b\u00ebn Agimit, djal\u00eb i zgjuar e ambicioz, i cili rrihet eg\u00ebrsisht nga i ati p\u00ebr shkak se vesh rrobat e n\u00ebn\u00ebs. Statovci ka th\u00ebn\u00eb se nuk ka interes t\u00eb krijoj\u00eb karaktere q\u00eb torturohen nga seksualiteti i tyre, dhe rr\u00ebfimet e njohura t\u00eb jet\u00ebs\u00a0queer\u00a0<\/em>mungojn\u00eb pothuajse fare nga romanet e tij: askush nuk e zbulon veten si homoseksual, madje edhe karaketeret q\u00eb rriten n\u00eb kultura konservatore dhe q\u00eb i n\u00ebnshtrohen homofobis\u00eb brutale, si Agimi, shpesh shp\u00ebrfaqin rehati me trupat dhe impulset e tyre. (Kur Bujari i thot\u00eb Agimit se duket si vajz\u00eb, Agimi zgjat duart \u201csi dhelp\u00ebr e ngopur.\u201d) Djemt ikin s\u00eb bashku, me iden\u00eb q\u00eb t\u00eb mb\u00ebrrijn\u00eb Italin\u00eb. Arijn\u00eb jo m\u00eb larg se n\u00eb qend\u00ebr t\u00eb Tiran\u00ebs, ku shpejt p\u00ebrfundojn\u00eb duke shitur cigare t\u00eb vjedhura gjat\u00eb dit\u00ebs, e duke fjetur n\u00eb tualete publike gjat\u00eb nat\u00ebs. Disi e gjejn\u00eb rrug\u00ebn deri n\u00eb qytetin bregdetar t\u00eb Durr\u00ebsit, ku mbarojn\u00eb si nj\u00eb lloj sht\u00ebpie n\u00eb nj\u00eb papafingo t\u00eb vog\u00ebl dhe eksperimentojn\u00eb me intimitetin fizik, edhe pse Bujari ia b\u00ebn t\u00eb qart\u00eb Agimit se nuk e mendon veten p\u00ebr homoseksual. M\u00eb n\u00eb fund, i mbledhin ato pak pla\u00e7ka e nisen me nj\u00eb rrang\u00ebllin\u00eb prej gomoneje drejt detit Adriatik, p\u00ebr n\u00eb Itali. Statovci e p\u00ebrshkruan k\u00ebt\u00eb sken\u00eb me nj\u00eb lirik\u00eb t\u00eb dhembshur:<\/p>\n

Ai nxorri kompasin nga xhepi, dhe gjersa barka \u00e7ante drejt per\u00ebndimit ai kapi kok\u00ebn me duar dhe filloi t\u00eb l\u00ebshonte nj\u00eb s\u00ebr\u00eb tingujsh d\u00ebnese \u2013 po qante \u2013 e un\u00eb i zgjata dor\u00ebn dhe ai e kapi. Pastaj nxori pakent\u00ebn e cigareve dhe nj\u00eb \u00e7akmak, dhe u ul\u00ebm pran\u00eb nj\u00ebri tjetrit n\u00eb stol, n\u00ebn qiellin e zi t\u00eb m\u00ebndafsht\u00eb dhe h\u00ebn\u00ebn e bardh\u00eb t\u00eb ndritur, dhe ndezem cigaret, dhe p\u00ebr nj\u00eb koh\u00eb nuk fol\u00ebm, se t\u00eb skllav\u00ebruar nga err\u00ebsira mezi e shihnim nj\u00ebri tjetrin, thjesht rr\u00ebshqisnim para, her\u00eb ai, her\u00eb un\u00eb, mbaheshim p\u00ebr timon, dhe s\u00eb bashku prishem tingullin e nat\u00ebs s\u00eb qet\u00eb dhe t\u00eb detit t\u00eb rr\u00ebmbyer leht\u00eb, sip\u00ebfaqja e tij si dysheme e sapolyer.<\/em><\/p>\n

Gjasht\u00eb vjet e ndajn\u00eb k\u00ebt\u00eb sken\u00eb nga filli i dyt\u00eb rr\u00ebfyes i librit, i cili nis pas p\u00ebrpjekjes s\u00eb Bujarit p\u00ebr vet\u00ebvrasje. Bujari i rritur, v\u00ebshtir\u00eb se p\u00ebrputhet me adoleshentin. Ai e bredh Europ\u00ebn i vet\u00ebm, duke kaluar koh\u00eb n\u00eb Berlin, Madrid dhe Helsinki; n\u00eb secilin qytet, shpik nj\u00eb em\u00ebr t\u00eb ri, komb\u00ebsi t\u00eb re, histori t\u00eb re. M\u00ebsojm\u00eb se me t\u00eb ardhur n\u00eb Itali, kishte k\u00ebrkuar azil me pretendimin se ishte p\u00ebrndjekur n\u00eb Shqip\u00ebri si homoseksual. Por ai k\u00ebrkon status minoritar p\u00ebr arsye t\u00eb pastra strategjike, nd\u00ebrkoh\u00eb q\u00eb marr\u00ebdh\u00ebniet e tij pasqyrojn\u00eb nj\u00eb seksualitet t\u00eb ndryshuesh\u00ebm. B\u00ebn seks me gra dhe me burra; ndonj\u00ebher\u00eb vesh rroba grash. \u00cbsht\u00eb n\u00eb gjendje t\u00eb shfaq\u00eb mizori dhe dhun\u00eb trondit\u00ebse, dhe rrenat q\u00eb thot\u00eb vazhdimisht, kan\u00eb pasoja shkat\u00ebrrimtare.<\/p>\n

Rrall\u00ebher\u00eb kur mendon p\u00ebr t\u00eb kaluar\u00ebn, ajo \u00e7far\u00eb p\u00ebrshkruan duket se nuk p\u00ebrputhet me skenat paraprake. Flet sesi ka qen\u00eb i fiksuar me studimet, p\u00ebr shembull, dhe si ka vdekur urie, dhe p\u00ebr dhun\u00ebn e t\u00eb atit, t\u00eb cilin e kemi par\u00eb ta ket\u00eb trajtuar vet\u00ebm me dashuri. Ndonj\u00ebher\u00eb, emri Bujar zhduket p\u00ebr dhjetra faqe, dhe mund t\u00eb b\u00ebhet sikur \u00ebsht\u00eb b\u00ebr\u00eb karakter kryek\u00ebput tjet\u00ebr, ose q\u00eb \u00e7do identiteti i q\u00ebndruesh\u00ebm \u00ebsht\u00eb shp\u00ebrb\u00ebr\u00eb. P\u00ebrmendja periodike e p\u00ebrrallave popullore q\u00eb Bujari i ka d\u00ebgjuar si f\u00ebmij\u00eb paraqet t\u00eb vetmen lidhje me t\u00eb kaluar\u00ebn e tij. Rezultati nuk \u00ebsht\u00eb ai lloji i pabesueshm\u00ebris\u00eb q\u00eb na e ka m\u00ebsuar romani modern por, n\u00eb vend t\u00eb k\u00ebsaj, di\u00e7ka si zbraz\u00ebtir\u00eb e karakterit: Bujari b\u00ebhet burr\u00eb bosh, fantazma q\u00eb ndjen s\u00eb \u00ebsht\u00eb n\u00eb sken\u00ebn e par\u00eb t\u00eb librit.<\/p>\n

Kjo paraqet v\u00ebshtir\u00ebsi, meq\u00eb romanet, edhe at\u00ebher\u00eb kur tregohen nga rr\u00ebfimtar\u00eb q\u00eb s\u2019u zihet bes\u00eb, zakonisht varen nga vazhdim\u00ebsia e vet\u00ebdijes q\u00eb ofrohet nga kujtesa, burimi kryesor p\u00ebr prodhimin e subjektivitetit q\u00eb ka qen\u00eb qendror p\u00ebr romanin modern. Por refuzimi i satisfaksioneve t\u00eb karakterit i Statovcit \u00ebsht\u00eb qendror p\u00ebr shqet\u00ebsimet m\u00eb t\u00eb m\u00ebdha t\u00eb librit.\u00a0\u201cZemra e Tiran\u00ebs,\u201d<\/em>\u00a0me refuzimin e nocioneve t\u00eb pal\u00ebvizshme t\u00eb identitetit, ka nj\u00eb lloj af\u00ebrsie me librat e fundit t\u00eb autor\u00ebve t\u00eb tjer\u00eb t\u00eb rinj\u00a0\u2018queer\u2019<\/em>, mes tyre\u00a0\u201cPaul merr form\u00ebn e vajz\u00ebs s\u00eb vdekshme\u201d [Paul Takes the Form of a Mortal Girl]<\/em>\u00a0t\u00eb Andrea Lawlor-it, me heroin\/heorin\u00ebn q\u00eb nd\u00ebrron format g\u00ebzuesh\u00ebm, dhe\u00a0\u201cUj\u00ebrat e \u00cbmbla\u201d [Freshwater]<\/em>\u00a0t\u00eb Akwake Emezi-t, ku protagonisti l\u00ebviz mes gjinive, i mb\u00ebrthyer nga shpirtra t\u00eb mitologjis\u00eb afrikanoper\u00ebndimore. \u00cbsht\u00eb tunduese t\u00eb lexosh k\u00ebta libra si mohime t\u00eb politik\u00ebs esencialiste\u00a0\u2018queer\u2019<\/em>, q\u00eb ka mbizot\u00ebruar n\u00eb dhjet\u00ebvje\u00e7ar\u00ebt e fundit n\u00eb Amerik\u00eb dhe Europ\u00eb Per\u00ebndimore, t\u00eb cilat e kan\u00eb b\u00ebr\u00eb konceptin e seksualitetit t\u00eb lindur dhe identitetin gjinor themel t\u00eb aktivizmit p\u00ebr t\u00eb drejtat civile. N\u00eb fakt, veprat i p\u00ebrkasin nj\u00eb tradite rivale\u00a0\u2018queer\u2019<\/em>, n\u00eb t\u00eb cil\u00ebn identiteti shihet si i ndryshuesh\u00ebm, performativ, e ndonj\u00ebher\u00eb, madje gazomor \u2013 tradita e\u00a0\u201cOrlando\u201d<\/em>-s s\u00eb Virgina Woolf-it dhe e veprave t\u00eb err\u00ebta t\u00eb Jean Genet-s\u00eb.<\/p>\n

Mendova shpesh p\u00ebr Genet-n\u00eb duke lexuar romanin e Statovcit, me rrenat e bujshme dhe p\u00ebr\u00e7arjen e jet\u00ebve t\u00eb t\u00eb tjer\u00ebve, i del karshi secilit prej bandit\u00ebve t\u00eb Genet-s\u00eb. Megjithat\u00eb, nj\u00eb paraardh\u00ebs m\u00eb i af\u00ebrt mund t\u00eb jet\u00eb nj\u00eb kriminel tjet\u00ebr\u00a0\u2018queer\u2019<\/em>: Tom Ripley i Patricia Highsmith-it. N\u00eb fund t\u00eb romanit t\u00eb Statovcit, Bujari lidhet n\u00eb Helsinki me nj\u00eb grua t\u00eb re trans, Tanj\u00ebn, studente e teologjis\u00eb nga nj\u00eb familje e pasur t\u00eb cil\u00ebn e takon n\u00eb nj\u00eb gej bar. Bujari befasohet kur i tregon Tanj\u00ebs emrin e tij t\u00eb v\u00ebrtet\u00eb dhe, me koh\u00eb, nj\u00eb version pak a shum\u00eb t\u00eb sakt\u00eb t\u00eb s\u00eb kaluar\u00ebs, duke na ofruar t\u00eb vetmet pamje t\u00eb \u00e7astit t\u00eb viteve t\u00eb para n\u00eb Itali:<\/p>\n

Ata vendosnin kur hanim e \u00e7far\u00eb hanim dhe kur laheshim, dhe na dhan\u00eb t\u00eb vishnim rroba t\u00eb t\u00eb huajve, k\u00ebpuc\u00eb t\u00eb djersitura prej tjet\u00ebrkujt, k\u00ebmisha t\u00eb zverdhura te sqetullat e pantallona t\u00eb grisura nd\u00ebrshal\u00eb, dhe si t\u00eb burgosur na ndan\u00eb nj\u00eb hap\u00ebsir\u00eb q\u00eb na lejonin ta p\u00ebrdornim, dhe pjesa m\u00eb qesharake \u00ebsht\u00eb se, p\u00ebrkund\u00ebr gjith\u00eb k\u00ebsaj, nuk doja gj\u00eb m\u00eb shum\u00eb se t\u00eb isha Italian, uroja q\u00eb t\u00eb ndryshoja me t\u2019i veshur rrobat e tyre e t\u00eb b\u00ebhesha si ta, q\u00eb era e rrobave q\u00eb m\u2019i kishin dh\u00ebn\u00eb t\u00eb b\u00ebhej aroma ime, gjithashtu, edhe pse gjat\u00eb gjith\u00eb koh\u00ebs i urreja me gjith\u00eb shpirt.<\/em><\/p>\n

Kjo \u00ebsht\u00eb proza e Statovcit n\u00eb lart\u00ebsin\u00eb e saj m\u00eb t\u00eb madhe, ku d\u00ebshirimi e zem\u00ebrimi ngjeshen n\u00eb nj\u00eb fjali t\u00eb vetme, rr\u00ebmbyesh\u00ebm e kumbueshme dhe nj\u00ebher\u00ebsh e rr\u00ebnjosur n\u00eb detajet m\u00eb t\u00eb imta. S\u00eb shpejti, Bujari dhe Tanja do t\u00eb jetojn\u00eb s\u00eb bashku. Tanj\u00ebn, ndryshe prej personazheve t\u00eb tjera t\u00eb Statovcit, e mundon trupi i saj \u2013 ajo nuk do q\u00eb t\u00eb preket apo t\u00eb shihet n\u00eb publik si \u00e7ift me Bujarin. \u201cAjo b\u00ebn gjith\u00e7ka si nj\u00eb bashk\u00ebshorte shqiptare,\u201d thot\u00eb Bujari. Ai, n\u00eb an\u00ebn tjet\u00ebr, adopton sitilizimet gjinore t\u00eb f\u00ebmij\u00ebris\u00eb s\u00eb tij, duke k\u00ebrkuar q\u00eb ajo t\u00eb k\u00ebshillohet me t\u00eb para se t\u00eb shpenzoj\u00eb shuma t\u00eb m\u00ebdha, dhe duke ngulmuar q\u00eb, p\u00ebrkund\u00ebr kund\u00ebrshtimeve t\u00eb saj t\u00eb buta, t\u00eb takoj\u00eb familjen e saj: \u201cMund t\u2019i thosha \u00e7far\u00ebdo dhe gjithmon\u00eb t\u00eb merrja t\u00eb nj\u00ebjt\u00ebn p\u00ebrgjigje, nj\u00eb falje dhe gjith\u00eb dashurin\u00eb q\u00eb kishte,\u201d thot\u00eb Bujari.<\/p>\n

Nd\u00ebrkoh\u00eb q\u00eb Tanja i tregon Bujarit p\u00ebr v\u00ebshtir\u00ebsit\u00eb e tranzicionit p\u00ebr n\u00eb grua, pengesat burokratike dhe kontrollet e tep\u00ebrta, ngjan nj\u00eb trasferim i \u00e7uditsh\u00ebm. \u201cSapo t\u00eb m\u00eb ket\u00eb treguar tregimin e jet\u00ebs s\u00eb saj, ndjehem sikur m\u00eb kan\u00eb ngacmuar, sikur edhe mua t\u00eb m\u00eb ken\u00eb zhveshur nga e drejta e themelore p\u00ebr t\u00eb ekzistuar dhe jetuar ashtu si\u00e7 dua,\u201d thot\u00eb Bujari. Ai fillon t\u00eb mbath\u00eb rrobat e Tanj\u00ebs; p\u00ebrcjell ligj\u00ebratat n\u00eb universitet, gati t\u2019i p\u00ebrgjigjet kujdo q\u00eb pyet se quhet Tanja. P\u00ebrvet\u00ebsimi i identitetit t\u00eb saj na ndihmon t\u2019i japim kuptim mosp\u00ebrputhjeve mes dy filleve t\u00eb tregimit t\u00eb tij: kishte qen\u00eb Agimi q\u00eb kishte studiuar me zell, q\u00eb gati kishte vdekur urie, dhe q\u00eb ishte rrahur nga i ati. Si Tom Ripley, mashtruesi i talentuar i Highsmith-it, Bujari kishte p\u00ebrvet\u00ebsuar detajet e jet\u00ebs s\u00eb nj\u00eb t\u00eb dashuri.<\/p>\n

N\u00eb nj\u00eb moment, Bujari merr pjes\u00eb n\u00eb nj\u00eb gar\u00eb k\u00ebndimi n\u00eb TV p\u00ebrderisa vesh rrobat e Tanj\u00ebs. Juria e nd\u00ebrpren menj\u00ebher\u00eb; kur i thon\u00eb se as k\u00ebndon mir\u00eb as nuk ka ndonj\u00eb storie interesante, atij i shp\u00ebton nga goja: \u201cjam grua trans,\u201d dhe shpejt e gjen veten duke kaluar raund pas raundi, p\u00ebrkund\u00ebr performancave mediokre. Gjat\u00eb intervistave p\u00ebr spektak\u00ebl, kombinon detajet e tregimit t\u00eb Tanj\u00ebs me trillime ekstravagante. Nj\u00eb an\u00ebtar i juris\u00eb i thot\u00eb, \u201cJe individ aq unik, bota ka nevoj\u00eb p\u00ebr m\u00eb shum\u00eb si ti.\u201d K\u00ebtu kritika e Statovcit, e politik\u00ebs s\u00eb identitetit merr pamje t\u00eb r\u00ebnd\u00eb satirike. Bujari refuzon n\u00eb vazhdim\u00ebsi identitetet kolektive, q\u00eb prej klasifikimit t\u00eb refugjat\u00ebve si \u201cbarbar\u00eb\u201d te p\u00ebrkrahja liberale e pakicave. Por\u00a0\u201cZemra e Tiran\u00ebs\u201d<\/em>\u00a0\u00ebsht\u00eb poaq i pam\u00ebshirsh\u00ebm n\u00eb kritik\u00ebn ndaj individualizmit heorik q\u00eb n\u00ebnkuptohet n\u00eb moton e spektaklit \u2013\u00a0\u201cNdaj Tregimin T\u00ebnd\u201d<\/em>\u00a0\u2013 dhe nga k\u00ebshillimi i instruktorit t\u00eb shkrimit, i cili i thot\u00eb n\u00eb fillim t\u00eb librit se \u201ci gjith\u00eb shkrimi buron thell\u00eb nga brenda. S\u2019mund t\u00eb tregosh tregimin po nuk je i v\u00ebrtet\u00eb.\u201d Bujari ka m\u00ebsuar se ve\u00e7antia e jet\u00ebs s\u00eb dikujt nuk do t\u00eb thot\u00eb gj\u00eb karshi varf\u00ebris\u00eb, luft\u00ebs dhe moskok\u00eb\u00e7arjes. Pak koh\u00eb pas arritjes n\u00eb Itali, Bujari thot\u00eb, \u201cPrita e prita, nj\u00eb vit, nj\u00eb \u00e7ast e m\u00eb shum\u00eb, q\u00eb dikush t\u00eb ma shoh\u00eb ve\u00e7antin\u00eb, por autoriteteve e pun\u00ebtor\u00ebve social\u00eb nuk u b\u00ebhej fort von\u00eb p\u00ebr planet e shpresat e mia, m\u2019i p\u00ebrqeshnin \u00ebndrrat.\u201d<\/p>\n

Ndonj\u00ebher\u00eb, bot\u00ebkuptimi i Bujarit duket si vet\u00ebmohim n\u00eb ball\u00eb t\u00eb kategorizimit burokratik. \u201cMund t\u00eb zgjedh \u00e7far\u00eb jam, mund t\u00eb zgjedh gjinin\u00eb, t\u00eb zgjedh komb\u00ebsin\u00eb dhe emrin, vendlindjen, t\u00eb gjitha sall duke u hapur goj\u00ebn,\u201d ngul k\u00ebmb\u00eb ai, sikur \u00e7do dit\u00eb t\u00eb ishte festival i vet\u00ebshpikjes. Por Bujari vjen e kupton se refuzimi p\u00ebr t\u2019u p\u00ebrkufizuar, madje edhe nga e kaluara e tij, t\u00eb d\u00ebnon n\u00eb vetmi, duke i b\u00ebr\u00eb t\u00eb pamundura marr\u00ebdh\u00ebniet kuptimplota.\u00a0\u201cZemra e Tiran\u00ebs\u201d<\/em>\u00a0vjen n\u00eb momentin kur t\u00eb gjith\u00eb prej nesh jemi b\u00ebr\u00eb dyshues ndaj kategorive monolitike \u2013 homoseksual, heteroseksual, finlandez, shqiptar, burr\u00eb, grua \u2013 dhe kemi filluar t\u00eb pranojm\u00eb sa joadekuate jan\u00eb etiketimet e tilla p\u00ebr t\u00eb ng\u00ebrthyer realitetin e jet\u00ebve individuale. Romani portretizon dhimbjen q\u00eb mund t\u00eb shkaktojn\u00eb etiketimet e tilla; dhe sugjeron, gjithashtu, q\u00eb mbase nuk do t\u00eb mund t\u00eb jetojm\u00eb pa to.<\/p>\n

—-<\/p>\n

P\u00ebrktheu:<\/strong> Bardhi Bakija<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Artikulli origjinal n\u00eb The New Yorker \u201cZemra e Tiran\u00ebs\u201d i Pajtim Statovcit i p\u00ebrket tradit\u00ebs letrare n\u00eb t\u00eb cil\u00ebn identiteti shihet si i ndryshuesh\u00ebm dhe performativ. N\u00eb fillim t\u00eb \u201cZemra e Tiran\u00ebs\u201d [Tiranan syd\u00e4n] (Pantheon), romanit t\u00eb dyt\u00eb t\u00eb Pajtim Statovcit,\u00a0nj\u00eb burr\u00eb nj\u00ebzetedy vje\u00e7ar, i veshur me xhinse dhe sytjena t\u00eb mbushura \u2013 \u201cburr\u00eb i […]<\/p>","protected":false},"author":185,"featured_media":10619,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[672,765],"ppma_author":[214],"class_list":["post-5516","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-eu","tag-lgbtq"],"authors":[{"term_id":214,"user_id":185,"is_guest":0,"slug":"garth-greenvell","display_name":"Garth Greenwell","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-1-12.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-1-12.jpg"},"user_url":"","last_name":"Greenwell","first_name":"Garth","description":"Garth Greenwell \u00ebsht\u00eb poet, autor e kritik letrar amerikan."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/users\/185"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=5516"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5516\/revisions"}],"predecessor-version":[{"id":10620,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5516\/revisions\/10620"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/10619"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=5516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5516"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}