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Free: Coming of Age at the End of History is a memoir of her Albanian childhood. Ypi wrote most of it during the Covid-19 pandemic, but it shows little sign of hurried composition. With a winning humour she describes a country consigned to half a century of Marxist-Leninist ideological hibernation. Western luxuries were so coveted that even empty Coca-Cola cans were cherished as domestic adornments. (Those lucky enough to own one would display it on top of the television set next to a photo of Hoxha.) While ordinary Albanians starved in what was then the poorest country in Europe, party members enjoyed Italian salamis, French wines, American cigarettes — and Norman Wisdom. Ypi’s own socially downgraded, middle-class parents scrimped to put milk on the table.
Small wonder the towering bronze statue of Hoxha was toppled during the riots in Tirana in February 1990. As a rebellious teenager in the capitalist democracy that followed, Ypi listened to Metallica heavy metal while drug dealers shot at sex- traffickers on the streets with Kalashnikovs. Overnight, the old socialist collectives gave way to dubious market economies. As Ypi comments laconically: ‘Things were one way, and then they were another.’ Desperate to escape, Albanians clambered aboard ships bound for Italy or scaled the walls of Tirana’s foreign embassies. Ypi found herself questioning the meaning of freedom. (She is now a professor of political theory at the LSE.) With its delicious sour-sweet comedy and pages of precise observation, Free opens a window on to one of the most bleakly isolationist regimes in human history.
Not one of Hoxha’s secret police — the feared Sigurimi — was ever put on trial for torture or other cruelties. Nexhmije Hoxha, Europe’s last unrepentant Stalinist, was nevertheless sentenced to 11 years in jail for embezzlement and abuse of state power. (When I met her in Tirana in December 1991 she was under house arrest in Party Villa No. 6 but still smartly dressed in patent leather shoes and a twinset.) Her ghost hovers over Mud Sweeter than Honey, a collection of interviews with Albanian writers, artists, chauffeurs, fishermen, stonemasons and others who survived the Sigurimi and its depredations. None of them has a good word to say for Nexhmije, who helped to run the Sigurimi in the 1960s when she was propaganda minister. (‘There was never a shortage of pain; there was always more of it to inflict,’ one of them says typically.) Margo Rejmer, the Polish writer who assembled this extraordinary book, offers a ‘polyphonic’ account of the victims of Albanian communism in the style of Svetlana Alexievich’s Chernobyl Prayer. The book is certainly depressing but, as the journalist Tony Barber notes in his introduction, it serves as an ‘essential reminder’ of dark days in the Balkans.
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