(For the poetry book “Fateful space” by Jeton Kelmendi, published by Data Pesnopoj, Bitola, 2018)
Jeton Kelmendi is a poet who has his first step forward in the poetry from the state of solid silence. Reading his poetry we have an impression that his verse universe doesn’t correspond to our enthusiasm and so a priori we cannot lean on our exaltation. The reflection on these verses with staccato rhythm states us to establish a phenomenological deal with that sparse, but very wordy verse and it would be rhetorically pronouncing those verses internally, in our lingual optimum and by rethinking before interpreting them. Always, when we attempt to learn some foreign language, we consider it learnt only when we learn to think on that language. “Fateful space” is a book with wide semiology panopticum of its verse. The pulse of the strophes, while the poem flows, seems as if they are constructing on their own. That poem infuses in our knowledge so far and states us to rethink again the issue it has themed and to return on the phenomenological constellation of all verse stipulations and then, to close the book just for in a few minutes to open it again and carry ourselves inside.
Generally, Jeton Kelmendi’s poetic adventure is moving in three esthetic directions – lyrics, reflective and epic iconoclastic. Even though, his lyric poetry occasionally enters a stormy and contradictory apotheosis of the female virginity, it makes us to consider the woman herself, not only in erotic, but in existential context as well. That means that this very interesting author’s love poetry is not only one-linear reaching to the secret and intimate corridors, but it’s a part of the suffering, compatible with one so far uninvestigated female principle of the painful passion:
Dreamed lyric poetry
All directions have only one way
You, who didn’t spoil the willingness of the dream
What do you demand of the reality,
Where Yesterday becomes The Day Before,
And tomorrow becomes today,
You took all mine with you,
And scattered them so far of me,
Far of you,
I always afraid
It could be very late.”
What do you demand of the reality
The time catalyst in Kelmendi’s lyric poetry sounds like suffering, and it’s continuously present in almost all poems which are treating love, woman and the atavism of the female sense. The poems like: “I Dream Her Sleeping Inside Me”, “A Devilish Ghost”, “Hoe To Name You”, “We Love Each Other With Words”, “After the Introducing”, and as well as the longer one “Lady’s Word”, are mixing that alchemy of the love turbulences imposing one experiment both inside the verse essence as well as in the content and formal meaning. The love lyricism of Jeton Kelemndi’s excites with its uniqueness exactly because of the ambivalence of the verse itself, its magic dualism whose impression leads us into reaching our own conclusions, but only after the second, or maybe after the third reading of the book.
The reflection, the philosophy aspect of this poetry book flows through the veins of general reminiscences, who stream through the verse penetrate into an eclectic decisiveness, leading us, as readers, not to keep only on the generality, but to find all considerations and deliberations in our life experiences and to establish conclusions on our own.