Sulkuqi’s poetry as a song and a typological code, to be read by generations / By: Prof. DR. Fatmir Terziu


Sulkuqi’s poetry as a song and a typological code, to be read by generations


Along with the daily life, without ignoring the various themes of the creativity of the poet Iliriana Sulkuqi, the Aspectuality[1] of female culture and love are some of the most powerful, overwhelming and radically transformative effects of her creativity. Love, affection, power games, reproduction, surrender, degradation, consolation, mercy, obedience, deception, betrayal, death of love … the whole spectrum of human experience can be seen and reflected by the poetic reading of her poems in this discourse. Otherwise, it could be said more clearly that by reading these poems, we only add love and romance and have ardent desire, pleasure and poetic inspiration in the message they bring to our eyes and attention. For those who have been lucky enough to read Iliriana, they understand best that love-romance can become transformative and illuminating in a wide cultural space. As her poetry expresses in a few words the numerical potency of our awareness of life, so even its symbolic illustrations of love and romance turn into powerful, unique and ever-increasing poetry of value and culture, with message strength and discipline. This is the early, long-lasting effect of the author’s poetry. It is the effect that has been in the eyes of others.

In the focus of the eye “Other”

Some time ago, the poetic effect of the poetry of the poet Iliriana Sulkuqi was placed in the attention of many authors and creators, where we re-emphasize that Klara Kodra, Anton Çefa, Nase Jani, Fatime Kulli, Kolec Traboini, Pëllumb Kulla, Faruk Myrtaj, Fation Pajo, Aleko Likaj, Lindita Agolli, Demir Reshiti, Astrit Bishqemi, Petraq Risto, Pandeli Koçi and hundreds of others are the most prominent names in the poetic treatment of Iliriana. If we quote some of them, we naturally understand why most of Iliriana’s love poetry is always youthful, outside of her physical age, and why she is always one step ahead of poetic time. This is explained to us by the quotation of Anton Çefa who says that Iliriana Sulkuqi stands out from the erotic poets of modern times. According to him, “Sulkuqi has enriched our erotica with new motives, which have not been encountered before in our literature.” Furthermore, Sadik Elshani calls the poetry of Iliriana Sulkuqi as fluent with full of inspiration, where there are no excessive words, and “poetry is as accurate as the notes in Mozart’s musical compositions.” Mevlyde Mezini Saraçi writes that in Iliriana Sulkuqi “The term love poetry has a wide meaning, because in addition to erotic poetry it also includes love poetry for the homeland, the country of birth, love poetry with social, universal, reflective themes, etc. “

It is immediately clear that with Sulkuqi’s poetry the discourse itself has created a clearer and more sincere closeness to what connects and prolongs life. This discourse is the myth itself that has come as such from time to time, or as it has been expressed before for this author. The myths of the creation of many cultures begin with this discipline, typically a heaven where it is symbolically referred to as the “father” and an earth that is also in our symbolism “mother”, although sometimes it is a solitary act, such as the Milky Way the result of the self-satisfaction of a god. Eroticism, love and romance are a regular part of the existence of many deities, among them and with ordinary people. Sometimes the immortal partners of these bonds are not human at all; The Greek king-god Zeus certainly holds the record for the change of form for his romantic trifles: a bull, a swan, a rain of gold, and so on.

An indispensable poetic code

Even in this new poetic volume, with the very significant title “Words for tomorrow” (2020-2021), of course with a perception in bilingualism, Sulkuqi only expands her semantic discipline of love and gives one more reason to the reader more broadly understand the value of her poems. This volume of poems shows that her poetry speaks quite well in other languages as well, especially in English, of course and Italian. He begins with “You are my creature Love”, thus giving us a message, a strong symbolic sign, a tendency that seeks to illuminate what comes from the sacred refuge of life, to give us a code, a discipline, a key to measuring the poetic word, to resizing the verse, to understanding poetry itself. Let us express it more simply among the perfect example of the author:

“I gave birth to you spiritually.

I raised you with dewdrops.

I caressed you with my fingertips,

where the biorhythm is transmitted to the marrow of the soul

to treat pain …”

This is in fact more than a powerful material shown in a beautifully elaborated way aesthetically, poetically, in a visible philosophical tendency and convinced in what the message gives, in what poetry itself reveals by narrating us, by decoding us the essence of a love, but doing what should always be one more reason in the background of the sequence. Here we have the background of the last sequence of Sulkuqi’s poems, which are filled with feelings of love and are numb from depression, which coincides with their years. In a period of intense and aesthetic devotion, Sulkuqi wrote love poems as sensitive as anything ever written by a great poet or poetess. The poems of this volume are brilliant and impressive. In their entirety, even though they hide the invisible sensation again, they discover that Iliriana Sulkuqi, even when she is ill, exhausted, led to mass fatigue, protects the essence of life, then respects herself as the essence of a code for Others, using its aesthetic oven, where the maturity of a model itself, or such a typical, poetic form, is baked and grown with fingers that caress only love:

My fingers – after and after

fondled love

through forbidden novels… –

Although with removal pigments

in life steps –

they did not complain…”

The timbre of the last word itself, does not have the complaint in essence, nor does it emphasize or try to say or foretell anything about it, but has as its own code the effect of a message, outside the dilemma of silence, outside the product of the meaning of first, so in a poetic reflex condensed within the rhetorical question he constructs a special aesthetic code, which transcends the myth of godfather, which speaks with only one meaning, which becomes “meaning”:

I to be silent

when a needle stuck in me like in ringdove…

To be silent when silence comes to me from Silence

and it makes Sense to me…”

When we say “meaning” we do not immediately mean the essence of this word, but the whole discourse where aesthetics seeks to make the bed, where its code shows that in this type of poetry the poems themselves help the author to say, help to show how it feels, but they also present with the visible and invisible feelings of Sulkuqi, the ways of being in the world, people, very different from her, maybe even people from a long time ago. Some of the author’s poems even show that this is what they can do with the “code of silence” itself:

“To be silent, to be shut up,

more than any code,

that Silence, that Silence

has its code –

weighs more than one crystal tear,

more than a globe

that does not hold it under the eyelid…”.

Exactly here is the essence of this code that shows that good poetry can learn the seasons as in “Autumn of my seasons”, where the simplicity has a special code and calls it:

“Baby of my childhood,

boots and umbrellas do not protect you

from the rains of stormy life…”

but also, a typographic code to get a valid message there without sounding like a sermon:

“The first night I put them under the chair

to dream rainy…

with the river Shkumbin and Zaranikë out of the stream,

to near my lodge, to fill my boots with their water,

to listen to the music of “slabs” … “

Sulkuqi’s poetry clearly confesses in this case that it can be like a song and it is also a joy to read.


Reading Sulkuqi’s volume, her own poetic codes, they rush to trap you in a sensitive space without already realizing that you are someone who is about to delve deep into its essence. And so, the reader feels that the author’s poetry is one of the strongest ways to leave out the unknown and in the dive, he finds and discovers the whole world with all its shadows and light shadows. For that matter, everything that keeps you happy and alive, is like in music, dancing, is all that can be and is used as a beautiful approach to let the enthusiasm explode within yourself.

This is how he best understands that the poetry of this volume in bilingualism plays a very important role in poetic life. For all the moods of reading, you no longer need someone to tell you another reason all the time, of course in quite a few cases, maybe most of the time just a pen and a letter to express the feelings you have recoded from reading Sulkuqi’s poetry in other words within the discourse itself. Sulkuqi’s poetry, it should be strongly emphasized, is not just a poem that should only be read, but studied, even well placed in all texts where her art seeks to make art for other generations.

[1] Aspectuality is described as signifying “the manner and way in which the action of the verb proceeds” (Brugmann 1904: 493).


Prof. Dr. Fatmir Terziu

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s