Culture Supplement

"20:15", a book that makes you angry

Descriptive Text

Hamarisja, that is, the first thing that grabs attention in the book "20:15", is the title of the book. Why 20:15? This arouses curiosity from the first moment. Why not "8:15"? What can this title have to do with the event? Why is the moment written with numbers? Why an algebraic and not a social perspective? Isn't the number cold, and isn't it enough to headline a big event? Why is there accuracy? So 20:15, not something like "around 20"?

The book "20:15" is unpredictable, just like this winter. This book is warm, just like our pockets, but it is also cold like the outside of our clothes. This book is like Lumbardhi, it flows without stopping, it does its work without asking about us. In each reading he makes it his own; the hidden craftsmanship inside the book tightens my throat. This book is a must-have. There is pain in it, but hidden, there by the door path. The narrative of this book is like the first layer of deep water: to see the depth one has to look a little longer. This book should be contemplated, not seen. The important details that touch on essential human subjects are arranged in the book like the colors of an abstract painting on canvas, which says something concrete, it just depends on which angle you look at it. Confessional is like a friend who stays by your side even in those moments when you don't want it. You are not separated in conversations, your thoughts, like the long nights full of stars hidden under the fog. Even this story, since the day I read it, has not been shared with me. This book is warm like our soul, but cold like our skins. There are glimpses of warmth hiding behind the rays of the sun that hit the eyes. This to me is an elegant book, qibar.

Confession is like an ancient voice, which with the passage of time becomes even more present and deeper in our everyday life. This presentation is not interesting to me. It is an attempt to analyze this narrative with a few theoretical perspectives.

I was lucky enough to hear about this book from the author when he was still in the conceptual stage. I was attracted to it, since the topic that is being treated is very private, but it affects all of humanity. This honest account, based entirely on a true event, presents the family relationship, and indeed a great event of a great family. Great in the human dimension, that which is greater than all animal instincts.

One of the moments that connected me to this story was Ditar's question about my opinion if this story is a book. He himself reminded me that the oak rests for a book. Therefore, we need to know if this narration is a book. Yes, I told him, this story is a book, a good book even. I didn't tell him that the elements of the story are cooked up like the light dishes of family moments, in which everyone laughs. I didn't even tell him that the book touches on life issues, which extend from hospital corridors to homes and decision-making offices. I didn't tell him that perhaps hundreds of images and not a few thoughts had been created for me by reading this book, since when we spoke I was still influenced by reading the manuscript.

The book is written according to academic rules, more precisely, it is written as it should be. The lightness of the word and the non-use of the grotesque have protected the weight of this great event. So the deliberate lightness, the knowing lightness of the author has given weight to the book. Lightness here holds the weight.

Aristotle in his book "Poetics", on which many books of literary theory are based, talks about the two necessary principles that a drama should have, alluding to a narrative that has dialogue. In those days, they called drama the event that has a dialogue, and if we translate it in today's sense, we can say that it is a novel. Aristotle's two principles are necessity and truth.

By the first it is meant that the narrative should not have any element that has no function in the narrative. Such should be removed, even if it is a nice-sounding word, sentence, metaphor, irony, or idiom. The author in this book, speaking from the mouth of literary theory, has experienced a dynamic internal conflict from the beginning. Dynamic internal conflict is when you are faced with a necessity to decide. But this decision is difficult. Conflicts in characters occur when they have dualism, when they are forced to choose between two things or people. For example, if someone has two children, and he has to decide which one to live and which one to die, since someone else forces him to do so. The diary has not experienced such a tense static internal conflict, but it has experienced one by deciding to write lightly, delicately and simply, rather than bursting out all its writing skills. He did this for the sake of the event and its authenticity.

This book could be hundreds of pages larger in volume, but not in quality. Since the event is real, big, deep and heavy, the Diary has done the right thing by choosing to tell it in short sentences, without the addition of loaded literary figures and without language burdens. Literary studies also say that this is how it should be done.

Whereas, Aristotle's principle of authenticity implies that the narrative and its dramatic flow should not be separated from the reader's logic. This book has respected these two principles. There are no repetitive sentences in the Diary book. There is a successful trend that as much as it is necessary to say a lot. There are no metaphors, ironies or idioms used out of place. There are metaphors, irony and idioms that further dilute the narrative style. This is qibar style.

Hamarisja, that is, the first thing that grabs attention in the book "20:15", is the title of the book. Why 20:15? This arouses curiosity from the first moment. Why not "8:15"? What can this title have to do with the event? Why is the moment written with numbers? Why an algebraic and not a social perspective? Isn't the number cold, and isn't it enough to headline a big event? Why is there accuracy? So 20:15, not something like "around 20"? The title here has its function.

In addition, the book's potential highlights are as follows: the phone call that comes to the author in the first chapter of the book titled "That Day". And in this chapter, the metaphor of a dull sun is also an element that has the ability to be a curse. Was the sun really dull, or was it something within the author's inner world that stood dull? Another element which in its substance had the greatest depth to present the hamaris was the very name of the chapter "That day", because it prompts the question "which day?". We all have a "That day", a day that still has no name, definition, or courage to describe it.

The manner of the narrator's frantic return to Kosovo, only a few days after he had gone abroad for doctoral studies, also brings to light the "sensory motor" literary technique, with which the character of the narrative is encouraged, pushed, forced to act.

Aristotle says that there are two forms of narration, that of the Iliad and that of the Odyssey. The model of the Iliad has the shape of a square, and here the essential thing is that the character enters or exits a square. The square in the Iliad can be concrete, like a prison, a house, or any object, and it can be abstract, like the human being itself, the state, or anything we could understand where one can enter and exit abstractly. While the form of the Odyssey implies that the character of the narrative must go on a journey to reach a goal, which is mostly necessary. Since the book "20:15" is written in the first person, the author himself goes on a journey and in the end returns to the starting point. So it makes a circle by traveling. The Odyssey form on the road encounters obstacles which the character must solve with logic and not with the Deux ex Machina technique. This is how the diary acted. That is, the autobiographical narrative of the Diary fits the model of the Odyssey.

The author titled the obstacles during this journey with the term "Displacement". The narrative has five shifts. On the theoretical level, they are all difficult obstacles. In this case, the term "obstacle" does not refer to something that hinders you, but a confrontation that must be overcome, like a path that must be overcome, and overcoming the path leads to a more difficult path. Each shift in the book is not only about making solutions as the form of the Odyssey requires, but is also more difficult than the previous shift.

This narrative, in terms of the emotional and neurovegetative cold element, became warm, but strong, with the publication as a book, just like the nature of the wood, from which the pages of this book are made.

The author of the book "20:15" also avoided a mistake that occurs in some literary works. That mistake is the "soft belly" concept. This concept requires that the impact of the parts of the story be chronologically connected and that the narrative line be in the form of a crescendo, in other words, the tension of the event and the elements of the parts increase as the event develops. If each part of the book is not more tense than the previous part, we fall into the mistake of the softness of the belly. Ditar Kabashi has not fallen into this theoretical error, and this is an extremely important thing. What if he decided to literaryize this true event to heaven, and express all his linguistic abilities? He would fall into the error of gentleness of the belly. Staying true to the truth of the event and not to the intoxication of the moment, the author has made the book more and more interesting to read. This is because each chapter has more tension than the previous one and with the frequency of metaphors and irony, emotions are conveyed more accurately than in the previous chapter.

At times during the narration, the author feels the need to present the first part of a symbol, message or meaning to the reader's mind to quickly reveal the whole of that symbol. The first part of the symbol that the author gives in the chapter "20:15" is a telephone number that is written in small font on a piece of paper attached to the entrance door of the anesthesia intensive care unit. Showing that between 20:00 and 21:00 was the time when the hospital's phone line was opened for consultation calls, the author had set a phone alarm at 20:15. So the first part of the symbol in chapter 20:15 is the letter attached to the door, while the remaining part of the symbol, quickly introduced by the author, is the alarm on his phone, set at 20:15. It is here that the theoretical literary technique "general preparations" appears, which he used exactly.

The sun has set for today, but it will rise tomorrow and again the sun's rays, like this book, will light up the pupils of our eyes. The sun with its rays; the book with words, sentences, sequences and with its own event.