Written by David D’Alessandro, John Heffernan, Sheldon Turner, directed by David R. Ellis and starring Samuel L. Jackson. The film finished filming principal photography in September of 2005 including five days of additional re-shooting to raise the MPAA film rating system rating from a PG-13 to an R[1]. It is now unofficially the biggest buzzed film of all time with tremors going back as early, as the Blair Witch Project era in 99. Buzzed is the right word and for once, it is not down to cast, crew or script,…and has anyone approaching the phenomenon quite taken aback by the way it all started. SOAP, as it is now known, started as a quirky little film on a plane, post 9/11. It was difficult for any respectable producer to think about green lighting a high-profile project involving planes flying.

Sam was brought into the picture – ‘because of the title’ – and all of sudden, the producers (Craig Berenson, Gary Levinsohn and Don Granger), realized that they were sitting on a good film. The film’s working title was then changed to ‘Pacific Air flight 121′

Perceptive fans – Hollywood insiders? Outsiders? – picked up on this change of name and started writing poems, songs, bloggs, trailers,…to ‘protect’ the title? Revive it? It started a cult followed by many and like the great men once said ‘Never was so much owed by so many to so few’
How and why it started will remain a webmystery. However, the title has now became in Internet-lingo an explanation for fatalistic feelings ranging from ‘c’est la vie’ to “shit happens.” …

Here is one of those poem by SuperMatricks:

Snake On A Plane or SOAP…

Internet aphorism…
Sentence precluded of any serious meaning
If only the very serious…meaning of life….
Over-reaching the foremost tentacles
Down the deep end of the wide web
Cruising like the riding zeitgeist.

For this is the Google age, we enter a new page
Clicking away at every turning point.
We are mere mortals and should not be on a plane
For this is the moment when running from the joint

The only ghost moved on the femme fatale
She, bless her, decided to refuse the rascal

Fixing up and looking sharp
Holding the mirror like a true lady
I unleashed my lyrics in a welcoming park
I have your snake down in my plane.
I never said it would be so easy
Her smile made you feel alive
Is it possible for a snake to be on two different planes?
Was my opening chat-up line…
I could never see the reality sign
Will Hoxton ever, ever, ever be cool again?
And my head never felt so much pain
I could never, never, see, she was a real dame

And she replies: Are you always so sneaky?
Maybe cheeky, never monkey!

She smirked….almost…
Am I in?
At any cost
Magic grin…I am the boss
Think…positive like a butterfly

She gazes…Make a move?
She oozes…should I fade

I start campaigning…for my own party:
Word flowing like a proper arty..

You are the candidate, of my heart…
I’ll fly your colors to the other end of the earth
…..
.
It’s alright I’ll stay on the plane, for the rest of the flight.
She replied
Tough cookie I thought…
Browne sausage she replied
D’you know a Chinese bookie? I uttered
‘My favorite dish’ she smiled

Like I said, the snake was not for turning…hmmm just maybe for fuming
First the snake then the plane…how did it get sooo lame?
She asked.
My cover was blown ‘pff’ confetti-style…
My pride? Down the sink… ‘Sssh’ Linguini style
I’ve been plucking chicken like you all my life.
I’ve been staring at you all the flight
‘Get your snake out of here!’
The plane was still full …of other Snakes…
END.
As published on the official fanblogg: http://www.snakesonablog.com/Soooo.

Green Light

You saw the movie…liked it? Enjoyed the theater or your home cinema…? Not yet! The only problem is you haven’t seen a single frame of the film so far. The problem is the film has started a bizarre internet fever never seen before in the Google age. The problem is chat rooms, news rooms, blogg, super-community website, fansites alike…are full of it. Full of stories about the filming, the press is at it, and the growing legions of fans as well…to the point where they’ve actually been able to reorder the shooting of a few scenes and the addition of dialogues of their choice to satisfy their browsing egos. To add to the insult, I will therefore write the first review of a movie I have never seen!

Before you asked yourself, is he mad? Remember that some even made a movie of how the audition was conducted, without being there! … So let me now do my mo#*#* fu#*#*#** review!

First let’s command the fine and subtle acting genius that is Samuel Lee Jackson the first, who in his inimitable fashion has been able to deliver a performance of the highest caliber for his legions of admiring fans. Second let us remember the premises of the film: There is a plane full of snake, Samuel Lee Jackson has to save the world, and will he do it? Sure he will, but before that he will have to deliver pin-point sharp one-liners, kick some a#*#* and stutter the sentence: Get the mo#*#*#* snakes out of my m#*#*# plane!
All in the name of poetry then….

What started as a movie made for popcorn lovers – The lead should have been younger; Think Fast and Furious – made in September 2005 in Canada, is now the biggest buzzed film of all time with tremors going back as early, as Blair Witch Project era in 99(post web 2.0 then) Sam was brought in and all of sudden, the producers (Craig Berenson, Gary Levinsohn and Don Granger), realized that they were sitting on a good film. The film’s working title was then changed to ‘Pacific Air flight 121′.

erceptive fans – Hollywood insiders? Outsiders? – picked up on this change of name and started writing poems, songs, bloggs, trailers,…to ‘protect’ the title? Revive it? It started a cult followed by many and like the great men once said ‘Never was so much owed by so many to so few’
How and why it started will remain a web-mystery. However, the title has now became in Internet-lingo an explanation speak for fatalistic sentiments that range from c’est la vie to “shit happens.”

Cut to the chase….
Sam is flying a key witness from Hawaii to LA on a plane. He is an FBI agent. Sam obviously enjoy playing law-enforcement character from Jedi knights, to SWAT team leader, to private eye, to simple cop,…His character is coming straight from the Die Hard book of widow and orphan rescuer, but where Nelville Flynn has the edge on John McLane it is in his ability to deliver badaaasss one-liners while remaining ultra-cool. A ‘tour-de-force’ done effortlessly thanks to the quiet and unassuming action-packed direction of David R. Ellis. D.R.E is known to be a surf enthusiast and was in a previous life stunt coordinator on ‘cult’ films like ‘Invasions of the body snatchers’ (1978) or action 2nd unit director on ‘Patriot games’ and ‘Clear and present danger’ (1994), both with Harrison Ford…

Have you said coincidence?
Woody Allen he ain’t. But that’s exactly the point, for he is well too aware of the danger of letting angst-ridden dialogues taking over the film’s subconscious message: ‘Kill all the muthaf#*#*#*#*# snakes’. A few additional characters complete the casting, sometimes as snakes-fodder like -Tyler (Kennan Thompson) and Ashley, a married couple; Cowboy Rick (David Koechner) from Texas; Cash Money, a gangsta rapper, his bodyguards Big Leroy (Keith Dallas) and Two-Ton; Mercedes, Rachel Blanchard as a Paris Hilton look-alike…some air hostesses, puppeteer (Adam Behr)…etc. And of course the snakes, stars of the films hissing their way through the cockpit with evocative names like Scarface or Hannibal with 20 foot long Kong stealing the show.
We leave you with a few lines dropped from the trailer and hope to hear from you soon:

Nelville Flynn: It’s my job to handle life and death situations on a daily basis. It’s what I do, and I’m very good at it. Now you can stand there and be the panicked, angry mob and blame him, me and the government for getting you into this, but if you want to survive tonight, you need to save your energy and start working together.
Or the most memorable one: I’ve had it with these mother fucking snakes on this mother fucking plane!

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Nina considers the musical language of jazz to be one of her greatest inspirations. Her exhibition, Jazz in the City is the culmination of a life’s work for this innovative and unique artist.

It also begins a tour featuring Nina as an artist in residence, to include The International Jazz Festival in Moscow, during which Nina’s work will be exhibited at the State Museum for Contemporary Art, Moscow.

Nina was born in the Russian city of St. Petersburg and obtained a Masters Degree from Moscow’s Gubkin Academy. In 1991 after

she moved to Germany, Nina started her career as an artist where she studied under teacher and artist Margarita Budini. From 1994 to 1998 she established her studio in The Netherlands and in 2000 she moved to London where she has been living and working as an artist. Now based in Richmond, Nina finds artistic inspiration for her paintings in music, poetry and philosophy. The powerful colours and dramatic shapes in her paintings reflect her own experience of living in different cultures, while still infused within her Russian heritage. Nina says of her traveling experience, “I have found the most success in London, because London is a cultural centre and a major port. Kinky-Kalinki Transrussian Express is a tribute to London’s art scene, to show how you can be poor and foreign in London and still be accepted.”

Kinky-Kalinki Transrussian Express is a documentary film charting London’s art, music and club scene from 2000 to 2005, the length of time that Nina has lived here. “I have focused on one east London club in this film,” says Nina, “Rhythm Factory on Whitechapel road where it is possible to have live music, art on the walls and a club night all in one. East London is a buzzing area, that’s not to say that Richmond where I am based is not buzzing, but East London has a modern and contemporary feel.”
Old Vinyl.

Nina has exhibited her work in both solo and group shows and has begun to exhibit her work across Europe and overseas. In December 2003 Nina represented the UK at The Florence Bienniale and in November 2004 was invited to be Artist in Residence for Black History Month at the National Opera Studios in London. Other artistic residencies include River Walk at The OXO Tower and The Players Theatre in The West End.

Carol Cordrey will be in conversation with Nina on the 22nd of September at the Glass House Gallery and comments, “Jazz was once the music of yesteryear. Now, it is growing in popularity in cities the world over. Its powerful rhythm and improvisation have always appealed to performers with strong characters. Using instruments or voices, passion or pathos, they have used jazz to stir the human spirit. Nina Gruschwitz has an expressive personality, loves jazz and imbues all her work with a plethora of emotions. With brushes for instruments, this artist reinforces the contemporary impact of jazz. It is now seen and not just heard.”

Nina Gruschwitz’s exploration of Jazz and its influence on her art is to be exhibited at the Glass House gallery from the 13th of September.

The Glass House Gallery
2-3 Bull’s Head Passage, Leadenhall Market, London EC3, 13 Sept – 9 Oct
In Conversation: Artist talk with Carol Cordrey: Thu. 22 Sept 6 – 8pm
Special event: Kinky-Kalinki Transrussian Express: Wed 21 Sept 8pm-midnight
Rhythm Factory
16-18 Whitechapel Rd, London E1 1EW
info@thecynthiacorbettgallery.com
www.thecynthiacorbettgallery.com

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‘Catalyst’ is a collaborative mix media project based around poems by London writer and visual artist Cat Miranda aka Cat Catalyst. Cat’s poetry explores spiritual and humanist concepts, embracing emotion and looking for a deeper meaning.

Choreographer Briar Adams creates the movement and composer Danbob Clarke contributes electronic beats, with lyrics by director Cat Miranda.

In addition to Cat Catalysts poetry, there are special guest appearances from active poets David J, Tim Wells, Ramshackle Event, Salina Saliva, Baden, Pom Pom Poets and more.

Rhythm Factory
16-18 Whitechapel Road
London E1 1EW
020 7375 3774

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East London Metropolitan Opera continues to bring together top professional musicians with members of the local community and children from Hackney schools accompanied by a full orchestra.

For those with more contemporary, independent tastes, a hip triple bill on the 13th July with Billy Childish and the Buff Medways, Ed Harcourt and Paul The Girl, is not to be missed. A cult figure in America, Europe and Japan, Billy Childish is arguably the most prolific painter, poet and songwriter of his generation. In a twenty-year period he has published 30 collections of his poetry, recorded over 90 full-length independent LP’s and produced over 2000 paintings. High praise comes from Alternative Press, USA, “Of all the ’70s punk survivors Childish is one of the select few who didn’t sell out, or end up sucking.” Whilst Time Out describes Billy as “terse, gutsy and powerfully humane.” Ed Harcourt, reviewed by the Observer Music Monthly, has been praised also, “the blissful sound of a besotted drunk in love…Harcourt retains a composer’s eye for detail which repays whatever attention you care to give it.” British artist, Paul The Girl is an admired and accomplished musician; The Guardian review wrote,”…on her own tiny label, Paul is making the most original music of any British artist, of either gender.” Spice festival goers will be spoilt for choice with the line-up of drama performances. From Cardboard Citizens; an clectic mix of theatre, circus and music developed and devised by This Way Up, the UK’s largest arts performance programme for homeless people, to Rajni Shah Theatres’ story of Queen Elizabeth I, a traditional Indian bride and according to the synopsis, “…the relationships we have to the land we live on, and the theatres we all invent.”

Let’s not forget the little people for whom the Movingstage Marionette Company bring double bill, Captain Grimy and The Three Little Pigs, a charming puppet show re-telling these familiar, timeless tales. Also presented by Spice Festival is Richard Pinner, Gold Star BAFTA award winner who will be performing, “excellent close-up magic,” as described by The Stage.

The diverse drama available includes internationally renowned theatre company Rotozaza presenting their unique and innovative acts without any rehearsal. Actors perform by following live instructions. ROMCOM or The Distance Love Can Be Maintained Between Any Two Fixed Points, by Glen Neath is performed by two unprepared actors with headphones telling them what to say and do. The Glasgow Herald likens it to,”…one of Godards movies…as well as comedy it’s a complex study of compatibility and communication.”

2005 Events

Opera Gala Evening:
Hackney Empire:
Tuesday 12th July: 8pm, Tickets: £8, concessions £2.50

Billy Childish and The Buff Medways, Ed Harcourt, Paul The Girl:
Hackney Empire:
13 July: Doors 8.15pm Tickets: £10, conc. £7.50

Cardboard Citizens:
Acorn Theatre:
Thursday 21st July: 7.30pm

Rotozaza:
Hackney Empire:
17th July: 3pm: Tickets: £12/£8

Rajni Shah Theatre:
Acorn Theatre: Sunday 24th July: 4pm & 7.30pm: Tickets:£10/ £7

Movingstage Marionette Company:
Acorn Theatre:
16th July. 11am & 2pm: Tickets:£6, children £4.50.

Richard Pinner:
Bullion Theatre:
Sunday 24th July: 2.30pm: Tickets: £6 children, £4.50.

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There are six awards in total – five category awards (Novel, First Novel, Biography, Poetry and Children’s) and, from these, one overall winner – the Whitbread Book of the Year.

Ali Smith Won Whitbread Novel Award 2005 for her work The Acceidental.

This year the awards attracted 476 entries – the highest total ever – and included a record number of entries in the Biography and First Novel categories with 114 and 80 books submitted respectively. Each category’s shortlist was chosen by a panel of judges, who this year included writer and broadcaster John Humphrys; authors Philippa Gregory, Margaret Drabble and Linda Newbery; comedy writer and performer Arabella Weir and CBBC children’s presenter Lizo Mzimba.

Since the introduction of the Whitbread Book of the Year award in 1985, it has been won seven times by a novel, three times by a first novel, four times by a biography, five times by a collection of poetry and once by a children’s book.

Novel Award
Renowned writer Ali Smith won the Whitbread Novel Award 2005 for her first full-length novel The Accidental. It is the portrayal of a 12-year-old girl. Astrid is spending the summer in a holiday home with her family in Norfolk. It is a substandard house in a substandard town and she knows for sure nothing is going to happen there all substandard summer. So she starts filming the dawn breaking each morning on her Sony digital camera. Essentially a modern-day reworking of Pasolini’s 1968 film Theorem, this remarkable novel is at once dazzlingly bright and profoundly dark.

About The Accidental, Whitbread Award judges said: “This extraordinary novel of family life combined humour, sadness and mystery with a wonderful linguistic playfulness and invention.”

Ali Smith was born in Inverness in 1962 and lives in Cambridge. Her first book, Free Love, won the Saltire First Book Award. She is also the author of Like (1997); Other Stories And Other Stories (1999); Hotel World (2001), which was shortlisted for both the Orange Prize and the Booker Prize in 2001 and won the Encore Award, the East England Arts Award of the Year and the Scottish Arts Council Book of the Year Award in 2002; The Whole Stories and Other Stories (2003) and The Accidental (2005). Ali Smith also writes for the Guardian, the Scotsman and the TLS.

First Novel Award
Tash Aw wins the Whitbread First Novel Award for his novel The Harmony Silk Factory. It is the story of four people: Johnny, an infamous Chinaman whose shop house, The Harmony Silk Factory, he uses as a front for his illegal businesses; Snow Soong, the beautiful daughter of one of the Kinta Valley’s most prominent families; Kunichika, a Japanese officer who loves Snow; and an Englishman, Peter Wormwood, who went to Malaysia like many English but never came back, who also loves Snow to the end of his life. A journey the four of them take into the jungle has a devastating effect on all of them, and brilliantly exposes the cultural tensions of the era.

Tash Aw was born in Taipei and brought up in Malaysia. A graduate of the University of East Anglia, he now lives in London. He began his career writing short stories. Citing his influences as Flaubert, Faulkner and Nabokov, he is now writing his second novel.

Book of the Year Award
Biographer Hilary Spurling has won the prestigious 2005 Whitbread Book of the Year award for the second part of her masterful biography of Matisse, Matisse the Master, a work which took her 15 years to complete. The announcement was made on 24 January at an awards ceremony held at The Brewery in Central London.

Matisse the Master, published by Hamish Hamilton, is the fifth biography to take the overall prize. Claire Tomalin was the last author to win the Whitbread Book of the Year with a biography taking the prize in 2002 for Samuel Pepys: The Unequalled Self.

Since the introduction of the Whitbread Book of the Year award in 1985, it has been won seven times by a novel, three times by a first novel, four times by a biography, five times by a collection of poetry and once by a children’s book.

Biographer Hilary Spurling was born in Stockport, England, in 1940. Educated at Somerville College, Oxford, she was arts editor, theatre critic and subsequently literary editor for The Spectator during the 1960s. She is a regular reviewer for The Observer and the Daily Telegraph.

Her first book was a biography of the novelist Ivy Compton-Burnett, published in two volumes in 1974 and 1984. She is also the author of a biography of the novelist Paul Scott and of the painter Henri Matisse, published in two volumes in 1998 and 2005. The latter volume, Matisse the Master: The Conquest of Colour 1909-1954 (2005) won the 2005 Whitbread Book of the Year Award.

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by John Donne

SEND me some tokens, that my hope may live
Or that my easeless thoughts may sleep and rest;
Send me some honey, to make sweet my hive,
That in my passions I may hope the best.
I beg nor ribbon wrought with thine own hands,
To knit our loves in the fantastic strain
Of new-touch’d youth; nor ring to show the stands
Of our affection, that, as that’s round and plain,
So should our loves meet in simplicity;
No, nor the corals, which thy wrist enfold,
Laced up together in congruity,
To show our thoughts should rest in the same hold;
No, nor thy picture, though most gracious,
And most desired, ’cause ’tis like the best
Nor witty lines, which are most copious,
Within the writings which thou hast address’d.
Send me nor this nor that, to increase my score,
But swear thou think’st I love thee, and no more.

Source: John Donne. Poems of John Donne. vol I. Edited by E. K. Chambers. London: Lawrence & Bullen, 1896: 80-81.

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This poem on Whitechapel Library is reprinted here by kind permission of the poet and publisher. Bernard Kops will read from his work at the Nelson Street Synagogue on 4 September at 6pm.

How often I went in for warmth and a doze
The newspaper room whilst my world outside froze
And I took out my sardine sandwich feast.
Whitechapel Library, Aldgate East.
And the tramps and the madman and the chattering crone.
The smell of their farts could turn you to stone
But anywhere, anywhere was better than home.

The joy to escape from family and war.
But how can you have dreams?
you’ll end up on the floor.
Be like your brothers, what else is life for?

You’re lost and you’re drifting, settle down, get a job.
Meet a nice Jewish girl, work hard, earn a few bob.
Get married, have kids; a nice home on the never
and save up for the future and days of rough weather.

Come back down to earth, there is nothing more.
I listened and nodded, like I knew the score.
And early next morning l crept out the door.

Outside it was pouring
I was leaving forever.

I was finally, irrevocably done with this scene,
The trap of my world in Stepney Green.
With nowhere to go and nothing to dream

A loner in love with words, but so lost
and wandering the streets, not counting the cost.
I emerged out of childhood with nowhere to hide
when a door called my name
and pulled me inside.

And being so hungry I fell on the feast.
Whitechapel Library, Aldgate East.

And my brain explodes when I suddenly find,
an orchard within for the heart and the mind.
The past was a mirage I’d left far behind

And I am a locust and I’m at a feast.
Whitechapel Library, Aldgate East.

And Rosenberg also came to get out of the cold
To write poems of fire, but he never grew old.
And here I met Chekhov, Tolstoy, Meyerhold.
I read all their worlds, their dark visions of gold.

The reference library, where my thoughts were to rage.
I ate book after book, page after page.
I scoffed poetry for breakfast and novels for tea.
And plays for my supper. No more poverty.
Welcome young poet, in here you are free
to follow your star to where you should be.

That door of the library was the door into me

And Lorca and Shelley said “Come to the feast.”
Whitechapel Library, Aldgate East.

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To those who used it down the years it was much more than a simple storehouse of books, as the poem here by Bernard Kops well shows. From its early years it was known affectionately, but accurately, as the University of the Poor (and not ‘of the Ghetto’, as has been said), a haven for those many without the means to buy books. It was certainly a meeting point where intense discussions took place, where Isaac Rosenberg met with Mark Gertler, John Rodker, David Bomberg and others, and where in more recent times people’s eyes were opened to work of poets such as Nazrul Islam or Jasim Uddin.

Bill Fishman recalls frequent visits to the Library as a youngster to do homework, sometimes interrupted by the voices of Hasidic scholars rising above the Silence of the Library. By 1960 it held substantial volumes of Judaica, in Yiddish, Hebrew & English and latterly the Whitechapel Library was one of the first in the country to introduce significant numbers of new books in Bengali, reflecting the demographic changes in Tower Hamlets. The then librarians Neil Veysey and Kanai Datta spent real energies establishing a strong Bengali-language section and introduced books in Urdu and Hindi also. Kanai Datta in particular was instrumental in achieving this, allowing the work of Rabindranath Tagore, Kobi Nazrul Islam, Manik Bandhopadhyay, Shamsur Rahman and many others to come to Bengali and non-Bengali speakers alike.

Built in 1901 with funds raised by Canon Barnett (yes, as of the local school) and his wife Henrietta, Whitechapel Library not only provided throughout its life books of and for the main spoken languages of Tower Hamlets, it also provided the very first Children’s Public Library in the UK. The historian-polymath Dr. Jacob Bronowski wrote of his use of the Library: “I wanted a book which I could read, which I could follow, and from which I could learn good English.” He asked and got it from the Librarian, and as he went on to say, “From that time on, much of my education was formed by public libraries”. Such was their vital function, their creative art.

It was a vibrant place: Joseph Leftwich wrote how Isaac Rosenberg, the great East End poet who died in the First World War, would “run off to the Library whenever he could, to read poetry and the lives of the poets, their letters, their essays on how to write poetry, their theories ….” Rosenberg’s plaque is on the street wall by the Library’s entrance: apt spot, for that is where so many people walked in from Whitechapel High Street, coming from homes in Brick Lane, Hanbury Street, the Chicksand Estate, Henriques Street, Backchurch Lane, the Berner Estate, Commercial Road, Fieldgate Mansions, Watney Market, Shadwell and the whole of what has been, and still intimately is, the inner East End, Stepney to Spitalfields. From small children to old men and women crossing busy streets to get there: this Library was, until a few days ago, simply a place freely to walk into, to read and write in, browse at, rest and be revived by. It is easy to underestimate the Library’s importance and easy, in the climate of spun politics, to lose what cannot really be replaced.

It was like a table that people could come to for sustenance: you walked in and sat down and some time later you walked out, back onto the street again. A few years ago Rachel Lichtenstein and Alan Dein ‘exhibited’ a table from the Library in the Whitechapel Art Gallery next door, curating memory and history through people’s words: the atmosphere of the Library as much as its presence has meant very much to many people. It was “an orchard within for the heart and the mind”. Maybe the new Ideas Store that is to replace it will also be an orchard with fruit and warmth and shade. Even so there is now no longer a Public Library in Aldgate East. And the hearts and minds of many people will be saddened, lessened, by that. Whitechapel is neither a university nor a ghetto, but the loss of this library seems salutary and painful.

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Send at least two of your unpublished poems with a photograph and a brief biography including contact phone and e-mail to London Poets, 132 Rounton Road, London E3 4EX by 30 September. Poems should not exceed 50 lines.

If you have published a poetry collection and want your book reviewed, please send two copies of it to the above address. Books must be received by 20 September.

If you run a poetry reading session or offer a poetry course in London, send your information right away. London Poets has a section for poetry events. Special introductory prices will be offered to poets and publishers of poetry who would like to place an ad in the magazine. Contact: londonpoets@tiscali.co.uk

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Ismail Kadare, Albanian writer of broad international reputation who has been living in France, has won the first ever Man Booker International Prize recently. He has received the prize of £60,000 and a trophy at the Award Ceremony on 27 June 2005 in Edinburgh.

Kadare was born in 1936 in Gjirokaster near the Greek border in the south of Albania. He studied first at the University of Tirana, and then in Moscow, at the Gorky Institute for World Literature, a training school for writers and critics. Returning home in 1960 after his country broke off relations with the Soviet Union, he worked first as a journalist and also published his first poems. He then wrote a short story, which he redrafted several times before it was published as his first novel, The General of the Dead Army, which made his name in Albania. He was then able to become a full-time writer. He also served as editor of a literary review, Les Lettres Albanaises, published simultaneously in Albanian and in French.

He had begun his literary career in the 1950s as a poet with verse collections such as the modest Frymezimet djaloshare (Youthful inspiration, 1954) and Enderrimet (Dreams,1957) which gave proof not only of his ‘youthful inspiration’ but also of talent and poetic originality. His influential Shekulli im (My century, 1961) helped set the pace for renewal in Albanian verse. Perse mendohen keto male (What are these mountains thinking about, 1964) is one of the clearest expressions of Albanian self-image under the gruesome years of the Hoxha dictatorship. Kadare’s poetry was less bombastic than previous verse and gained direct access to the hearts of the readers who saw in him the spirit of the times and who appreciated the diversity of his themes. He soon became widely admired among the youth of Albania for his verse. With candidness and sincerity, he contributed in particular to the evolution of love lyrics, a genre traditionally neglected in Albanian literature.

In the sixties, Kadare turned his creative energies increasingly to prose, of which he soon became the undisputed master and by far the most popular writer of the whole of Albanian literature. He was thus the most prominent representative of Albanian literature under the dictatorship of Enver Hoxha and, at the same time, its most talented adversary. His works were extremely influential throughout the seventies and eighties and, for many readers, he was the only ray of hope in the prison that was communist Albania.

Kadare was granted political asylum in France in October 1990. In support of him asylum, he said, “Dictatorship and authentic literature are incompatible… The writer is the natural enemy of dictatorship.”

His years of Parisian exile have been productive and have accorded him further success and recognition, both as a writer in Albanian and in French. He has published his collected works in ten thick volumes, each in an Albanian-language and a French-language edition, and has been honoured with membership in the prestigious Académie Française.

Kadare’s works are published in France by Editions Fayard. The first eleven volumes of his Complete Works are now in print in Albanian and in French. Translations of Kadare’s novels have been published in more than forty countries and for some years Ismail Kadare has been considered as one of the greatest writers of his epoch.

He is a writer who “maps a whole culture – its history, its passion, its folklore, its politics, its disasters. He is a universal writer in a tradition of storytelling that goes back to Homer,” said Professor John Carey, Chair of the judges. In response to winning the prize, Kadaré comments: “I am a writer from the Balkan Fringe, a part of Europe which has long been notorious exclusively for news of human wickedness – armed conflicts, civil wars, ethnic cleansing, and so on. My firm hope is that European and world opinion may henceforth realise that this region, to which my country, Albania, belongs, can also give rise to other kinds of news and be the home of other kinds of achievement, in the field of the arts, literature and civilisation.”

Other writers who were nominated for the International Booker Prize this year were Margaret Atwood (Canada), Saul Bellow (USA: passed away on 5 April 2005), Gabriel Garcia Marquez (Colombia), Gunter Grass (Germany), Milan Kundera (Czech), Stanislaw Lem (Poland), Doris Lessing (UK), Ian McEwan (UK), Naguib Mahfouz (Egypt), Tomas Eloy Martinez (Argentina), Kenzaburo Oe (Japan), Cynthia Ozick (USA), Philip Roth (USA), Muriel Spark (Scotland), Antonio Tabucchi (Italy), John Updike (USA), A.B. Yehoshua (Israel).

The following of Kadare’s titles have been translated into English: The General of the Dead Army, The Three Arched Bridge, Broken April, Chronicle in Stone, Durontine, The File on H, The Concert, The Palace of Dreams, Albanian Spring, The Pyramid, Elegy for Kosovo, Spring Flowers, Spring Frost, The Successor (forthcoming, January 2006), Agamemnon’s Daughter (forthcoming, date TBC)

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