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The only written model framed among the features of the verism in the Albanian literature is the Teodor Keko’s (1958-2002) work as a prose, a literature now ended with the author’s death.When Teodor Keko started to give to his prose full verist features, the Albanian literature was still facing problems with its development in the branch of the realism-socialist method, a method which forcefully got trumpeted from the politics of the time. We think that T. Keko could have had knowledge on the Italian Verism of the end of the XIX century, that comes as a branch of naturalism, but what we believe and verify in his art is that this literary direction does not come to Keko as something looked for, or as an ordinary imitation, but as an urge, an initiative that could be defined as a revolt, an artistic challenge of his toward the false spirit of the art of that time. But which are some of these original features of his work that bring it so close to the Italian verist art?Firstly “the surveillance camera” of Keko looks for the unclean and his art is “uncombed”, with lots of street subjects. Keko’s heroes represent with themselves the model of an anti-hero. Deepen in the apathy of life and the wrong choices they have nothing to be commented about, to be taken as an example, nothing heroic. They are characterized as marginal, suburban characters.Secondly: They (the characters) and the subject lines, mainly aim the lively truthfulness. They are as real and reliable just like Kapuna’s, Verge’s characters that they seem as if they have been taken out of a same reality, it looks like these kind of people came into you on the street. Thirdly: Their language is that of the street that ensures the truthfulness and Keko, just like the verist writers, is seen nowhere, it seems like the characters speak themselves as taken out of the real life. DOI: 10.5901/jesr.2013.v3n7p408

Representatives of Verism in the Albanian Prose Issued in Totalitarism in Albania