{"id":2761,"date":"2026-05-31T15:39:08","date_gmt":"2026-05-31T15:39:08","guid":{"rendered":"https:\/\/hani2roberteve.com\/?post_type=kritikat&p=2761"},"modified":"2026-05-31T16:07:13","modified_gmt":"2026-05-31T16:07:13","slug":"shpetim-selmani-mbi-kritiken-letrare","status":"publish","type":"kritikat","link":"https:\/\/hani2roberteve.com\/en\/kritikat\/shpetim-selmani-mbi-kritiken-letrare\/","title":{"rendered":"Shp\u00ebtim Selmani: On Literary Criticism"},"content":{"rendered":"
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This article was presented as part of the curatorial program of Hani i 2 Robert\u00ebve, during one of the public discussions in the \u201cEmpowering Culture\u201d series, on the topic of Literary Criticism Today.<\/em><\/p>\n\n\n\n

First, allow me to thank you for this invitation as part of the discussions being held at Hani i 2 Robert\u00ebve, a place with an important cultural and social legacy. I would also like to thank Xeni, who, in my early days as a young author, appreciated my work and was, in fact, a good critic. And I like critics who like my work.\n\nI believe that Xeni and I settled matters once and for all, and there is little left for me to add beyond the criticisms that have since turned into advice. There is a fine line between advice and criticism. When critics become our friends, criticism transforms into advice.\n\nBut let us return to experience, because the wise have long told us that it is the mother of knowledge. In this case, I would say it is the mother of examples.\n\nAfter Ali Podrimja had edited my first book, whenever he saw me on the street (he was always in a hurry), he would smack me on the back of the head without even greeting me, all the while hiding behind a faint smile. I did not fully understand the reason for this behavior, but I assumed it had something to do with the publication process of my book, since at one point I had dared to disagree with him. He was overseeing the preparation of my first book, and a first book is always important; all those that follow are merely important successors.\n\nOnce he had the manuscript in his hands, he crossed out many of the poems from that period right before my eyes with a pen that, to me, seemed almost barbaric. He removed the title from one poem and gave it to another. He even changed the title of the book itself, mocking the one I had thought was fitting.\n\nPerhaps he was the first literary critic of real weight that I encountered, and, to be honest, he hurt me. From time to time, he would direct harsh reproaches toward a literary sentiment that was taking shape within me. As a young man, as a dreamer (and who could ever justify dreamers?), I found myself confronted with a form of literary criticism that was sharp, severe, and invasive.<\/p>\n\n\n\n

It was a form of criticism that had wounded me deeply and, after several failed attempts, had deprived me of the ability to resist it and, in doing so, to defend that early authenticity I believed I possessed. So let us forgive those who make such claims as well.\n\nIn the end, of course, I silently accepted it because of his authority within Albanian literature (though later I would become an incurable anti-authoritarian).<\/p>\n\n\n\n

It is simple, and we all know that literary criticism is the evaluation of literary works. Podrimja both valued and devalued me. He wreaked havoc on my early poems in the courtyard of the Art Gallery, and it seemed to me that with every poem he removed from the book with astonishing ease, he was removing a part of my body. I even felt physical pain. Yet it was a pain that had been eclipsed by literary criticism.\n\nAt its core, literary criticism can, in a way, annihilate an author. This is why I later became a great admirer of writers who cultivated a harsh criticism of the critics themselves. Some of them felt no need for an intermediary between their works and their readers. An intermediary, that is. Much like the traditional matchmakers of our collective memory who practiced their trade, the critic is, in a sense, a kind of matchmaker between a work and its reader.\n\nSome marriages work, and some do not. There are healthy relationships between readers and certain works, just as there are strained and troubled relationships between readers and others. There can even be hostility and open conflict, especially when a writer lives and works in a place dominated by unhealthy ideologies.\n\nIn the end, criticism ultimately arrives at the judgment of the reader, which for authors may be the most important judgment of all, even though there are writers who dismiss readers as well, perhaps because they themselves feel diminished by this fragile relationship. But let us not forget that literary activity is, at its essence, a solitary act. It consists of a certain loneliness, and confronting readers can be traumatic, uncomfortable, and unwelcome. For this reason, some authors assume the posture of anarchists within this highly complex relationship and defend such a philosophy because, ultimately, writing may touch existential boundaries for them. It may be something without which life loses meaning. They may not even attempt to resolve their relationship with nature or the reasons for their existence, for why they are who they are and why they were born this way (I am speaking of those who do not deceive themselves on this matter).\n\nIn this way, they declare war on criticism in all its forms. And the most interesting critics, for me, are the creators themselves, who often accuse critics of being failed writers.\n\nOne of the most fascinating examples, at least for me, is the protest movement of a group of writers in Mexico who called themselves the Infrarealists, led by the remarkable Chilean writer Roberto Bola\u00f1o.<\/p>\n\n\n\n

As a sign of opposition to the official culture, which they believed was dominated by the intellectual, poet, and Nobel laureate Octavio Paz, it is often said that they shouted during his poetry readings, poured red wine on his shirt, and even threw crumpled copies of his poems in his direction.\n\nPart of my admiration for these acts stems from the courage and intellectual confrontation embodied in this rivalry. Let us not forget that criticism has its own levels.\n\nI would be overwhelmed if the Norwegian who made a pact with the devil, Karl Ove Knausg\u00e5rd, or the English gentleman Julian Barnes were to offer a favorable critique of a verse my poet's mind had produced. On the other hand, I would take it quite calmly if someone on social media described my work as miserable, unworthy, or humiliating, thereby sheltering the peculiar beauty of stylistic criticism.\n\nThe truth of a work of art provokes dozens of other truths. We are immersed in this plurality of truths. The discovery of the ultimate truth would be tragic. We do not want it. At least I do not. The search for it gives meaning to my life. Or perhaps the laziness of finding it, or even avoiding it, while accepting as the only truth the fact of its variations.\n\nThat is to say, the variations of criticism.\n\nYet one thing must be said: the clash of giants is always seductive. And that is where the battles begin. After the battles come the winds.<\/p>\n\n\n\n

As for myself, I did not realize that through literature I was nourishing myself on the bread of concise pessimism until an English critic pointed it out to me. Critics, therefore, often provide new dimensions and help shape the very physiognomy of an author, who, in foreign literary environments, may remain a lasting impression in the minds of readers.\n\nAn impression, perhaps, that is impossible to break.<\/p>\n\n\n\n

The shell that critics often place upon authors comes to define them in literary environments that are otherwise unfamiliar to them. Yet good authors know how to move like turtles, calmly and confidently, amid the claws of critics hissing from every direction. <\/p>\n\n\n\n

The macho Hemingway used to say that critics are people who watch the battle from a high place, then come down and shoot at those who have survived.\n\nSince we have mentioned this unavoidable figure of literary culture, let us recall a scene from the film \"Hemingway & Gellhorn\", based on a period of his life. After a critic had written a contemptuous review of his work, the two happen to meet by chance in what one might call an aristocratic setting, though I confess I have something against that word. What follows is both comic and revealing in its portrayal of the relationship between an author and a critic.\n\nHemingway lunges at the man and tears open his shirt, exposing his chest hair while physically threatening him. I experienced the scene as comic, but at the same time I empathized with the ferocity of Hemingway\u2019s character. And I liked the shirt buttons flying through the air at the moment the shirt was ripped apart.\n\nAnyone who has read about Hemingway knows that he was a man who preferred danger: a man who participated in wars, reported from the front lines, was wounded, survived plane crashes, and, without any doubt, was a survivor. Life itself had proven this as much as literature had.\n\nThe battle had ended, and perhaps, after the critic had descended from his high place, he had taken his shot. Hemingway had won the Nobel Prize, and seven years later he blew his own brains out. Perhaps even the prestigious recognition of the Swedish Academy could not save him from himself, from the demons that prowled within him.\n\nThe critics had not spoken a single word about those demons.<\/p>\n\n\n\n

I had the privilege of taking part in a one-month writers\u2019 program in a Swiss village in Lavigny, in a castle owned by the major German publisher Rowohlt, and I took pleasure in knowing that many years before me, Hemingway had once set foot in those very same spaces. Meanwhile, the demons that critics had said nothing about, I could feel everywhere, even there, eternal.<\/p>\n\n\n\n

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(Additional note)<\/em><\/p>\n\n\n\n

However, anything that suffers from a lack of interpretation risks slowly fading away. From this perspective, critics keep works alive. Even when they despise them, even when they consider them insufficient within a rich literary environment. As long as there is discussion about them, it means that the works are undergoing various processes of revitalization. Today we are living in a time of great devaluation, and I regret this. Thus, even within the field of literary criticism, it seems that the author devalues the critic\u2019s judgment, and likewise the critic devalues the author. To a large extent, criticism has spread onto social media platforms and is dominated by aggressive language, or by superficial language, or even by various interests that dominate social life.<\/p>\n\n\n\n

Moreover, even the reader is suffocated by the sheer volume of information, which is often overwhelming. In a society that suffers from a kind of epistemic fascism, devaluation becomes a weapon. In every human field, devaluation seems to become a value, or at least to move toward defining value itself. The more one devalues, the more present one becomes. This is what people want, to be present. The rule of the narcissist is, ultimately, total. <\/p>\n\n\n\n

Literary criticism is a complex branch of literature, and I am not trying to put a final point on it through a single text, nor is that my intention. Rather, we should try to remain considerate and reasonable. The relationship between writer and critic, in many respects, resembles the dynamic that exists between an actor and a director. And finally, let us draw on one of the finest critics, the American Harold Bloom, who says that it is very difficult to live without hoping to encounter the extraordinary. So let us confront it, and let us hope. Let us recognize the extraordinary. <\/p>\n\n\n\n

Shp\u00ebtim Selmani, writer and actor<\/p>\n\n\n\n

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The blog was published with the financial support of the Swiss Agency for Development and Cooperation (SDC) as part of the project \u201cEmpowering Cultural Expression.\u201d Its contents are the sole responsibility of Hani i 2 Robert\u00ebve and do not necessarily reflect the views of the Swiss Agency for Development and Cooperation.<\/strong><\/em><\/p>\n\n\n\n

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