Palankin VII

1. Dikush e shkruan librin e vet të jetës,
2. dikush përshkruan librin e huaj dhe
3. hymnizohet edhe në kohën kur
4. profetë nuk ka dhe tempuj e orakuj s'ka.
5. Secili është lënë ta kërkoj zotin e vet,
6. atje ta gjej dëshpërimin e ta ndjej
7. madhësinë dhe peshën e tij.
8. Dikush shkruan librin e vdekjes
9. e dikush e përshkruan atë- zellshëm!

Authors, Poets, Critics on Fahredin Shehu's Work in Poetry

                                         Photo by Rromir Imami, Skopje, Macedonia, 2018




https://www.goodreads.com/author/show/6923683.Fahredin_Shehu
a few words from the Publisher . . .
I first met Fahredin Shehu in September of 2015 at the inaugural Kosovo International Poetry Festival. I have known him through cyberspace since 2011 when we at Inner Child Press, now Inner Child Press International launched our first initiative of the anthology World Healing, World Peace.

Meeting Mr. Shehu, who I now embrace as my brother was a very rewarding experience in spite of my awe-struck consciousness of participating in my very first International Poetry Festival. I have since went on to be a part of, as well as being a key note speaker and lecturer at many other subsequent events to include Morocco, Tunisia, Macedonia, Jordan, Palestine to name a few. Because of Fahredin’s catalystic-ism, my personal poetic life has been greatly enhanced . . . but this is not about me, though it may appear so.

Mr. Shehu has that particular type of empowering, insightful and learned spirit that affects the unassuming and the “aware” in a very profound way. I once told my beloved hülya, that Fahredin is the type of soul who I could sit at his feet and listen as well as probe the depths of his knowledge and be quite content. I too am a lover of knowledge. In his conversation, this manuscript and all of his previous publishings if you listen carefully to the voice of his evocations and sharing there is a fruit, sometimes hidden and some times obvious. For myself, it is a divinely sweet fare that I always look forward to ingesting and hopefully digesting to add to the girth of my consciousness as I seek to expand. His poety makes it that much more palatable.

In conclusion, all I can say is that I hope you find Mr. Shehu, aka Fahredin, my brother’s work rewarding for your soul, your consciousness and the journey you are on.

Bless Up

Bill
Chairperson
Inner Child Press International


When a writing by a non-English native author is of the caliber that is exceptional in its exquisite versatility, an editor faces a challenging task: To maintain the integrity of textual complexity while situating the mechanical aspects of language into the authentic authorial voice. Fahredin Shehu is a courageously visionary writer of passionate dedication to any subject of universal relevance he takes upon himself. He is acutely aware of and knowledgeable in lyrical symbolism, the Islamic as well as Christian spiritual and mythological traditions, and linguistic heritages. Shehu does, however, not merely display his keen awareness and knowledge through his written art when his individual poetic objects are concerned but rather enriches the long-established perimeters of poetry as a genre at large. Where, when and to what extent, then, does an editor join in?

Fahredin Shehu is a writer who does not shy away from adopting a modernist approach for his lyrical compositions. Regardless of the name or the fame of an author, such tendency is too often misunderstood. The lack of punctuation, capitalization, a missing rhyme scheme, etc. but also the use of non-Western referents in any given verse are largely viewed by those in the field as “a mistake”. HERENOW displays a considerable number of poems in which the author does not allow such potential critique to standardize his writings. He does not deviate from his creativity. In fact, he is masterfully attuned to it. In sum: He eloquently and confidently assumes poetic license.

It may be safely argued though that poetic license should not obscure important content. The entire work of a writer who is not a native of an English language-environment can easily be mistaken as being flawed, if that work’s content is not adjusted to fit into the broad context of the philological target. And, it is herein where the editor’s work comes in. HERENOW, thus, has only been subjected to minor changes in language use and to selected application of the traditional form in order to represent itself for what it originally was: An outstanding literary creation.


hülya n. yılmaz, Ph.D.
Liberal Arts Professor, retired from Penn State
Director of Editing Services and Co-Chair,
Inner Child Press International

Stop worshipping Time, as Time is God no more. Distant Earths rotate, but for you there is no East or West. To be Here, to be Now, to bark like a dog, to be sonorous like the sky. There you find yourself resembling nobody and name your self Fahredin Shehu. The last angel of love on earth, or trying to be one.

Prof. Keijiro Suga
Meiji University, TOKYO

In Fahredin Shehu´s poetry I find a rare combination of passion and compassion. He is a learned poet who knows that true creativity in art is to know the traditions – his own first, and then the other important traditions –. Then the creative poet is adding something new into the traditions, something which was not there before his poem was created.
This is how I met the Kosovar poet Fahredin Shehu both as a person who became my friend, and his poetry which has developed into something very important during the last years.
Empathy is a word which I like to use when describing his poetry. Here we will find a closeness to earth, body, we find not just sensibility but also wonderful expressions of man´s lust. This is all combined with an awareness of the sacred. He is learned in symbolism and mythology, both from the Islamic and Christian traditions, but also from the rich folklore of his native part of Europe and wider.
He can be direct, he can be overwhelming, but first and foremost he expresses a sincere belief in poetry as a power to heal the wounded souls and show us something more important than greed and wealth. We read about East and West, here are also the North an the South. But the poet knows that whatever and wherever this is on our small planet Tell us, people are very much alike – seen from the perspective of the Universe. There is happiness and hope in these poems written by a poet from a small country where the people have been suffering for decades by wars and suppression.

Dr. Knut Ødegård
Norway

"Some poetry collections work on the emotions, some work on the intellect – HereNow works on all levels to beguile. These are poems that are deeply felt with something spiritual infusing them all. Spiritual not religious, though the poems often find a wellspring in Sufi approaches to Islam which underlines the journeys made, the reaching out from the personal, the familial to the universal. There is an immediacy here; poems are sensual with smell, taste, sound, touch taking you to the heart of being there. There are also fierce and angry poems that rail at injustice and offer love instead. One poem, Toward Hope, might well have been the title of the collection – “Say a word, oh poet/ the word as rocket to hit/ the hearts made of stone”. HereNow is such a rocket."

Dr Patrick Lodge
Ireand/ Walles (less)


Fahredin Shehu is a highly Noted and Acclaimed World Renowned Poet, Author, Teacher and so much more.

Fahredin hails from Rahovec, South East of Kosova and has been embraced affectionately for his acutely gifted insightful poetic expressions by the Global Poetry Community. The depth and knowledge of many spiritual aspects that affect Humanity subtly shines through in his work. Pleroma’s Dew is such a graceful work that serves to add to the accolades of this much celebrated Poet / Author / Philosopher.

We are deeply humbled and honored here at Inner Child Press to be able to work with such a Gifted Human Being.

William Samuel Peters

Inner Child Press, New York, USA

Il poeta Fahredin Shehu stesso definisce il suo modo di comporre “noetico”. La Noetica è quella psudo scienza filosofica che studia le correlazioni dell'universo della mente (coscienza, anima, spirito)e ha come oggetto di ricerca il cosiddetto "sesto senso" e un diverso rapporto al conscio.

Se si guarda l'etimologia della parola Noetica potrebbe stare anche nel senso “di Noè”, e siccome è risaputo che il grande personaggio biblico faceva uso, a volte non moderato, di vino, poesia noetica potrebbe significare anche poesia sotto i fumi dell'ebbrezza. A parte la battuta io credo che la poesia di Fahredin, più che alla Noetica si rifaccia al filone letterario e poetico del “Nonsense” cioè

espressione (parola, frase o altro) che appare priva di significato. La letteratura del nonsenso, sia poesia che prosa, si basa sull'equilibrio tra ordine e caos, tra senso compiuto e non. Spesso presenta un mondo capovolto o alterato. Presenta frequentemente, ma non sempre, una matrice umoristica, ma non è il caso di Fahredin. La correttezza formale è spesso bilanciata da un caos semantico o dai doppi significati. Secondo Wim Tigges l'effetto del nonsensi è spesso ottenuto per eccesso di significati, e non per assenza.

Per intenderci un esempio di Nonsense è la canzone “Cuccurucù paloma” di Battiato, ma anche e soprattutto Il linguaggio onirico di James Joyce nella novella Finnegans Wake e in certi passaggi di Dubliners e dell'Ulisse. Ma anche Edward Lear (1812-1888) e Lewis Carroll (1832-1898), John Lennon, Frank Zappa, Rino Gaetano e ancora giù giù Nino Frassica o la celebre “Supercazzola con scappellamento a destra come fosse Antani” degli Amici miei di Monicelli.

Mario Rigli, Poet and Translator, Italy

TALKING TO THE POEM . . .

Striving towards blasphemous response to the expressed wishes, Fahredin Shehu finds his journey within the stated desire of creation seeking.

What kind?

Entanglement of words, thoughts and aspirations. And not just any: sincere, genuine emotion which aspires towards Love. Not even for a moment not wanting to ignore the fact that he "talks poetry, " he "is talking to the poem".

How?

Transfusing his own inspiration with the richness of the metaphor

out of implied acts? Yes.

And even more: Significantly emphasizing the size of other

detriment of his own hopes. Convinced that with this helps himself to finally understand his own personality. In the other. Because of himself.

While we read between the lines. Because he is heading towards

that.

Again. Because of himself.

And, sometimes, because of us.

Readers, of his.

Sabahudin Hadzialic

Diogen Magazine, Sarajevo, Bosnia & Herzegovina

Fahredin Shehu’s poetry in Pleroma’s dew is full of critical awareness and with humor. Amazing imagination, make his poetry open wings free to fly, and rich imagery in poems; whether write flowers, trees, and even every little life, of all comes from his subtle observation and rational thinking.

For Fahredin, poetry is from God's gift, and is a cultural spirit.

Hadaa Sendoo

Editor-in-chief of World Poetry Almanac

La Poesía de Fahredin Shehu

Ampliamente conocido en Europa del Este y asimismo traducido a diversas lenguas, tanto del Viejo Mundo como de América, Fahredin Shehu es un notable exponente de la poesía contemporánea que ha merecido trasponer les fronteras de su país, Kosovo. Siendo poco difundida  en nuestro medio la poesía proveniente de Europa Oriental, es interesante para el lector adentrarse en ella a través de uno de sus mejores ejemplos.

El poema seleccionado para traducirlo de su versión inglesa, titulado ”Asi hablo Tamara”, exhibe reminiscencias de Walt Whitman  -por la amplitud de su abarcamiento y el tono a veces bíblico de sus versos- que se combinan con matices de trascendentalismo sin duda provenientes de la formación universitaria de su autor.

Luis Benitez

Buenos Aires, Argentina 

https://www.worldartfriends.com/en/club/criticize/authors-poets-critics-publishers-fahredin-shehu-s-work-art

Near Prizren

I could not burry my father
for the first time
after the war when I went

toward empty roads of Prizren
with the thoughts of return
stepping Via Ignatia
where the temple without oracle was

In those mornings
two things I could not by-stand
the smell of Cilantro and
the rage of lust

Today when I zealously count my gray hair
whose in number exceeds
the written words
I did write in twenty-five years
my mouth is drying solely for a word
of a distant friend
who heals the wound of juvenile

distrust from there

We my love
are going to fast today
just as before, but
we shall look God
in the eyes of children
that sparkles
in each longing

For KIBATEK- With Ankha Michaela Bruma

1.     What is your experience with poetry festival? A) As an organizer of it, Poetry and Wine festival B) AS a participant to other poetry festivals

As an organizer I think in two categories, one as Poet and another as Facilitator. As poet surely I did not read but was able to see people for the fist time and people who never knew each other before had the opportunity to meet, exchange books, and collaborate in the future. As a facilitator to other poets a gatherings such as festivals are huge responsibility and exhaustive, yet the pleasure remains and continues. As an organizer you should understand that it is pretty huge burden but the felling of responsibility and strengthening the relationships, unification with others, new contacts, contribution to the World Literary scene, this also means economic growth for the particular area. In such events there’s no losers, everybody gains physically, artistically and spiritually.

Poetry Festivals have broadened not only my experience as poet in terms of getting to know directly from the reading of the others, their perspectives, their trends etc., they are also helpful in creation of Human and Artistic Bonds.

2.     What experience you gained from such literary exposure.

It all depends how much you impede seriously, how much effort and dedication, how much you are open to others. My experience is always incredible. I love Earth, I love every Country and I wish to visit all countries. And every poet brings some distinction from her/his culture and heritage. The real magic happens in follow up after everything is gone. Communication afterwards, collaboration, book exchange etc.

3.     What do you know about KIBATEK in general? Have you heard about this Literary foundation before or just recently?

I’ve heard of KIBATEK earlier as I was invited some years ago in Izmir, Turkey but couldn’t attend due to personal justified reasons. I have also been invited by respected Leyla Isik to attend in Italy but it was amidst my Festival so I again could not attend and contribute. I really look forward the upcoming edition.

4.     What are you expectations in relation o KIBATEK 40 festival?

I’m looking forward to get to know other people, their work, contribute to the festival with debate and active participation.

http://ancamihaela16.blogspot.ae/2016/04/interview-with-fahredin-shehu-by-anca-m.html

https://www.facebook.com/groups/1746225478956873/1760278197551601/?notif_t=like_tagged&notif_id=1461251337970257

Tribute to Antoni Bertoli, Espace Senghor, Le Jardan, Brussels, May 2016

Unë kam kohë

…sepse mësimet që i mësova 
ishin të vrazhda si plagë shpirti 
nuk u shëruan asnjëherë nga asnjë ilaq i njohur 
as lumturia, as buzëqeshja e madje as edhe puthja 
vetëm DASHURIA nuk lë hije

sepse unë kam kohë të dëgjojë 
të qarët e jetimit 
dhe të qeshurat në çerdhe fëmijësh

Unë kam kohë ta ngjes 
polenin e lulediellit 
në qepallët e mia dhe 
vrapoj përreth në grurishten e artë

Kam kohë t’i shartojë llastarët 
dhe eglendisem me aromën e luleve të imëta të rrushit 
vrapojë përgjatë vreshtave 
të fëmijërisë sime të largët

Unë kam kohë yjet t’i numërojë 
Siç bëra dikur si i ri dhe 
yjet më të mëdhenjë që i numërova 
Ato shfaqën lytha në duar të mia

Unë kam kohë t’i kap dy ylberë 
e t’i lidh ato në nyjen e marinarit 
që është atje lartë në majë mali

Unë kam kohë për lulet e qershisë 
në kopshtin e sajë dhe pres  
frute pasionante shumë para 
vapës së gushtit derisa 
ne ftohnim shalqinin në 
përroskën rrjedhëse të dëshirave

Unë kam kohë t’i dëgjojë  
pëshpëritjet erotike të bylbylave 
dhe dëgjojë melodi të shkëlqyera  
që të dytë përçojnë nëpër eter

Unë kam kohë ta vjetërojë verën veç të vjetër 
uthëll për shërim ta bëj 
dhe terr djathin më të mirë Kosove 
nga malet më të larta të Sharit

Unë kam kohë të mbledh petalet 
të kuqërremta, pembe dhe të verdha nga 
kopshti i gjyshes sime 
dhe gatuaj reçel për ta shijuar ditën

Unë kam kohë të vizitojë të sëmurët 
dhe shëroj gjakderdhjen nga 
gjuri i të birit tim të lastuar 
i cili vrapon pas fluturave blu 
në muzg të verës së vonë

Unë kam kohë t’i kreh flokët e gjata 
të çupëzës sime dhe parfumojë ato 
me vaj livande dhe 
numërojë dhëmëbët e saja si perla nga 
thellësitë e Oqeanit të madh

Unë kam kohë të mbledh koralet e kuqe 
ta bëj qaforën për nusen time të dashur ndërsa

nga leshteriku të disenjojë fustan të bukur të qëndisur

me dashurinë timë më të skajshme

Unë kam kohë të vuaj për të barqet 
e uritura diku larg nga 
të korrurat e mia të bollshme dhe 
shpërndajë ato larg këtej

Unë kam kohë të vë mjaltë në fletë formë 
zemre të gjethe- dellit 
të shërojë plagë dielli të të tradhëtuarve dhe...
dhe lexoj & përgjigjem miqëve të largët të 
Facebook-ut të cilët ma urojnë ditëlindjen

Unë kam kohë ta shikojë hënën tek ngjitet 
lartë në kodër dhe di se ajo 
nuk është e ndarë vetëm se  
qepalla ime është e thyer

Unë kam kohë të dua, dua, dua... 
vetëm sepse dua dhe 
nuk ka asgjë tjetër të lihet pas 
asgjë përpos Dashurisë njeriu nuk mund të pendohet 

I have time

…for the lessons I’ve learned

Were severe as soul’s wounds

Never cured by any known remedy

No happiness, no smile nor a kiss

Only LOVE leaves no shade

For I have time to listen

The cry of the orphan

And the smiles in kindergarten

I have time to attach

The pollen of the sunflower

On my eyelashes and

Run over a golden Wheatfield

I have time to grafting sharts

And enjoy the smell of grape’s tiny flowers

Run across the vineyards

Of my distant childhood

I have time to count the stars

As I did as juvenile and

biggest stars I enumerated

showed the nipples in my hands

I have time to grab two rainbows

And knot them in sailor’s knot

High above the mountain’s peak

I have time for cherry blossoms

In her garden and wait for

The passionate fruits far before

The heat of August while

We cool the watermelon in

A flowing ravine of desires

I have time to hear

The erotic whispers of nightingales

And hear splendid melodies

They both deliver to the ether

I have time to mature the already old wine

And make vinegar for healing

And dry the best cheese of Kosovo

From the highest Shar mountains

I have time to collect scarlet

Pink and yellow rose- petals from

The garden of my grandmother

And make a jam to rejoice the day

I have time to visit sick

And heal the bruise from

The ankle of my spoiled son

Who run after blue butterflies?

In the sunset of the late spring

I have time to comb long hairs

Of my daughter and perfume them

With lavender oil and

Count her teeth as pearls from

Depths of the grand ocean

I have time to collect red corals

To make a necklace for my beloved wife

And out of kelp

Design a dress well embroidered with

My utmost Love

I have time to suffer for the hungry

Stomach somewhere far from my

Abundant crops and

Deliver it far away

I have time to put honey on the heart shaped

Leafs of plantain

To heal the sunburn of betrayed and

And read & respond to distant Facebook

Friends greeting my birthday

I have time to contemplate

The most difficult Koan

And do remember MY-ness

Instructed by Gurdijjeff

I have time to watch the Moon climbing

Above the hill and know it’s

Not split in two just because

Of my broken eyelash

I have time to Love, Love, Love…

Just because I Love and

There’s nothing to be left over

Nothing but Love one may not regret

Me Serge Pey, Amir Or, Jack Hirschman, David Gianonni, Marco Parente

Me Gilles Bernard Vechon

Me Jack Hirschman

Tribute to Antoni Bertoli, Brussels, 14 May 2016

FLATRA

FLATRA