That's why he pushed Kadare to write Enver Hoxha

“The writer's family conflict with his sister's” was not such a simple issue, as a common fight. The backstage of that conflict actually played on the doors of State Security. The writer himself, but also Helena Kadare, have partially confessed to the Kadare family's interest in the writer's sister, who had spoken such dangerous things in a social “ ” where there were State Security spies. This negligence threatened not only the life and work of the writer but also his sister and the entire Kadare family.

This letter in which part of this difficult event is mentioned actually hides another political background.

The writer was involved at this time in a major Italian-French cinematographic project based on his novel “the general of the late army”. The cinematists' team had received the consent of the Albanian government and had come to Albania to prepare the shoots. As was the case with almost all foreign teams that violated our country or Albanian teams being sent abroad, surveillance by security workers was inevitable.

A series of documents preserved in the AQA relate countless experiences that the Italian-French team passed to 3-4 their visits to Albania and that all in August 1982, when they had made nearly all the coverage and preparations, with an order from above was eventually expelled from Albania by not allowing them to film the film.

The spring of 1980, when this letter is written, was the culmination of Italian-French team co-operation with Albanian writer and team that would help film this film. Reference to the correspondence on this issue, writer Ismail Kadare considered the moment of script writing as extremely important and that his assistance during the scenario interventions was necessary.

This meant many trips and visits by Kadare to Paris and the group of Italian and French cinematists to Albania. The foreign cinematists' group had set as the last time limit to wrap up the scenario on June 1st 1980. Throughout March Kadare applied to travel to Paris to be able to close the scenario. The documents prove that by this time, writer Ismail Kadare “was hanging out” different from the other times.

The writer had written to Deputy Prime Minister Manush Mufti several times, but Ramiz Alia as well as Enver Hoxha himself. In some correspondence, Ramiz Alia, Manush Mufti, and even Lighto Agoli as chairman of the Writers League criticized Kadare for not following the official way of submitting travel requirements. The official route was a request to the Writers' League, which after receiving approval from the District Party Committee, sent it to the prime minister, who passed it on to the Ministry of Education and Culture, the Interior Ministry and the Central Committee. If in one of these links the answer was “not”, permission was hardly given to travel abroad.

It turns out which link had its “differences” displayed. The signal had probably come from the Interior Ministry and the event involving the writer's sister would have significantly influenced her to put under surveillance, as well as doubts about the foreign cinema team, which during her trips to Albania, were kept under strict surveillance, fearing they would discover strategic military points.

The writer, after some trials with timely scenarios and pressures, repeated his requests to travel to Paris. His demands were covered by silence and delays, throughout March 1980, unable to find solutions from either the prime minister or the Ministry of Education or even the Central Committee. Thus Kadare wrote this letter on April 2nd to Enver Hoxha, thinking he would find solutions to the obstacles he was facing regarding the film Dead Army General. /Albanian/