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collectivized or nationalized all private l<strong>and</strong> in Albania. Frosina describes this period with the<br />

example <strong>of</strong> the fisherman <strong>and</strong> local hero Niko Dabo, who asks for “hundred metres <strong>of</strong> the<br />

seascape by the Aril” <strong>and</strong> thus defines the sea space as a place where his fishing area is<br />

situated. “Take everything; just leave me hundred metres <strong>of</strong> the seascape by the Avril where I<br />

always fish”<br />

The story <strong>of</strong> Pavlos starts from a place, which he describes as “those rocks over there”. By<br />

determining this position (“Those big rocks which stick out from the sea?”), by naming it<br />

(Jaliskari), by explaining the name (“[…] which means the port.”), <strong>and</strong> by placing it into the<br />

past (“It used to be a port once […]”) Pavlos defines the place. By naming the wealthy soia,<br />

which had their boats anchored in Jaliskari, he continues to determine the place, namely the<br />

village. “Muço, Papajani, Duni <strong>and</strong> Zhupa were some <strong>of</strong> the prosperous soia (pl.) who used to<br />

own large boats. In Drimades boats were rare. There were approximately three or four <strong>of</strong><br />

them.” With the description <strong>of</strong> boats, which were “[…] imported from Greece or Italy”, he<br />

connects the village port <strong>of</strong> Jaliskari with places over the sea, with Greece <strong>and</strong> Italy. Later on<br />

he recalls the path which leads from the coast to the village. “It was very hard to bring the<br />

imported goods up to the village.” He maps the village space again by mentioning this path<br />

<strong>and</strong> different activities associated with it (transporting goods, paving it with stones). “A<br />

cobblestone path, made by the village women led from the coast to the village. The women<br />

were the main collectors <strong>of</strong> stones for the village paths <strong>and</strong> houses.” Descriptions <strong>of</strong> working<br />

village women <strong>and</strong> their different activities (such as taking care <strong>of</strong> the family, gardening,<br />

bringing the water, washing, <strong>and</strong> collecting the firewood <strong>and</strong> stones) “take” Pavlos into the<br />

village <strong>and</strong> its pub. There are men, in contrast to their working wives, seating, drinking <strong>and</strong><br />

playing cards. In the last part <strong>of</strong> his story he mentions fishermen (“Some <strong>of</strong> them were<br />

fishermen”) <strong>and</strong> trading done by men from wealthy families (“[…] those who originated from<br />

rich families traded with the outside world”) <strong>and</strong> so returns back to the shore, to trading with<br />

places over the sea, which are seen as being “outside”. In contrast to the “outside”, there are<br />

places that are “in”, that is, inside the village. In his opinion, the connections with places<br />

“outside”, in Greece <strong>and</strong> Italy, make villagers more civilized than other people in Albania. By<br />

demarcating Dhërmi/Drimades from other places in Albania Pavlos conceptualizes<br />

civilization as social <strong>and</strong> economical development. His story, therefore, continues to<br />

distinguish people <strong>of</strong> Dhërmi/Drimades as being richer than people in the north <strong>and</strong> east <strong>of</strong><br />

Albania. Similarly to Frosina, Pavlos also ends his story with the period <strong>of</strong> communism (or<br />

“[…] the times <strong>of</strong> the system […]”), when the “state” (the communist party) <strong>of</strong> Enver Hoxha<br />

180

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