Fatos Kongolli ka studiuar për matematikë, pjesërisht në Pekin, pjesërisht në Tiranë, ku është diplomuar në vitin 1967. Ka punuar për një kohë të gjatë si gazetar letrar dhe redaktor në Shtëpinë Botuese “Naim Frashëri”. Është autor i një vargu librash. Librat e Kongolit janë botuar në Francë, Itali, Zvicër, Greqi, Gjermani, Poloni, Sllovaki, Bullgari e Serbi, me jehonë në disa nga gazetat dhe revistat më të mëdha evropiane si Le Monde, Le Figaro, La Stampa, Le Temps, Le Soir, L’Express, Magazine Littéraire, Der Tagesspiegel, etj. Është tri herë fitues i çmimit vjetor për librin më të mirë në prozë dhënë nga Ministria e Kulturës (1995, 2000, 2002), si dhe i çmimit Velia (2000). Është fitues i çmimit dërkombëtar “Balkanika”-2002. Është fitues, gjithashtu, i çmimit më të lartë letrar në Shqipëri “Penda e Artë” (2004). Shoqata e Botuesve Shqiptarë e ka vlerësuar me çmimin “Shkrimtari i vitit” për 2006-ën, ndërsa romani “Lëkura e qenit”, përkthyer në gjermanisht, u shpall libri i muajit qershor 2006 në Gjermani
Tituj të veprave
- Ne të tre (1985),
- “Karuseli” (1990),
- I humburi (1992),
- Kufoma (1994),
- Dragoi i fildishtë (1999)
- Ëndrra e Damokleut (2004),
- Lëkura e qenit (2003),
- Te porta e Shën Pjetrit (2005)
- Jetë në një kuti shkrepësesh, roman, 2007,
- Bolero në vilën e pleqve, roman, 2008,
- Iluzione në sirtar, roman, 2010,
- Si-do-re-la, roman, 2011,
Fatos Kongoli (born 1944) has recently become one of the most forceful and convincing representatives of contemporary Albanianprose. He was born and raised in Elbasan and studied mathematics in China during the tense years of the Sino-Albanian alliance. Kongoli chose not to publish any major works during the dictatorship. Rather than this, he devoted his creative energies at the time to an obscure and apolitical career as a mathematician, and waited for the storm to pass. His narrative talent and individual style only really emerged, at any rate, in the 1990s, since the fall of the communist dictatorship.
His first major novel, I humburi, Tirana 1992 (The Loser), is set in March 1991, when over 10,000 refugees scrambled onto a decrepit and heavily rusting freighter to escape the past and to reach the marvelous West. There they washed up, unwanted, on the shores of southern Italy. At the last moment before setting sail, protagonist Thesar Lumi, the ‘loser’ for whom all hope is too late, abandons his companions, disembarks and walks home. “I returned to my neighbourhood at the nightfall. No one had seen me leave and no one saw me come back.” The narrative of the novel returns at this point to the long and numbing years of the Hoxha dictatorship to revive the climate of terror and universal despair which characterized day-to-day life in Albania in the 1960s and 1970s. Thesar Lumi was born on the banks of a river (Alb. lumi) in the looming shadow of the people’s own cement factory, which produced more dust than it ever did cement. Despite a skeleton in the family closet, an uncle who had earlier fled the country, Thesar manages to get himself registered at the university, and penetrates briefly into a milieu which is not his own and never will be, that of the ruling families of Albania’s red aristocracy. “At a tender age I learned that I belonged to an inferior race or, as I saw things at the time, to a category of mangy dogs to be kicked about and chased away.” Thesar, whose fate in Albania’s hermetic and suffocating society has been sealed once and for all, returns to live a life of futility and despair in a universe with no heroes. Far from the active protagonist struggling to control of his own destiny or even from the staid positive hero of socialist realism, Thesar Lumi is incapable of action and incapable of living. He is the voice of all the ‘losers’ who glimpse the silver clouds on the horizon and know full well that they will never reach them. “My existence is that of the mediocre, setting out from nothing and going nowhere.” When first published in 1992, in what was a comparatively large edition of 10,000 copies, the novel found immediate success among the reading public. Who could not identify with the confessional monologue and the unending tribulations and torment of Thesar Lumi?
Among Kongoli’s subsequent novels are: Kufoma, Tirana 1994 (The Corpse), the story of another loser caught up in the inhumane machinery of the last decade of the Stalinist dictatorship in Albania; Dragoi i fildishtë, Tirana 1999 (The Ivory Dragon), which focuses primarily on the life of an Albanian student in China in the 1960s; and Lëkura e qenit, Tirana 2003, a tale of love and forgotten affections. Kongoli’s novels have been translated into French, German, Italian, Greek, Esperanto and Slovak.
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