Nostalgia," writes Antonio Prete quoting Niccolò Tommaseo, "is the noble privilege of poor countries." 1 Though both exile and nostalgia may befall those from more affluent countries and cultures, the conditions are noble and privileged only for those who hail from less developed countries which, as Witold Gombrowicz notes when referring to Poland, have "a minor role," 2 are doomed to imperfection and produce less sophisticated men. Polish poet Zbigniew Herbert and his Albanian counterpart, Gëzim Hajdari, share a similar fate to that of Gombrowicz as they also struggle with the inherent inferiority of their homelands and, consequently, have difficulties finding a clear position as writers in a global sense. Joseph Brodsky defines this position in more universal terms stating that "the truth of the matter is that from a tyranny one can only be exiled to a democracy." 3 Thus, Brodsky implies that the departure from any country signifies an escape from overbearing or threatening circumstances toward bearable and safer ones. Brodsky also suggests that, while the condition of exile is relative and encompasses vastly different experiences, all of these differences entwine with each other and become reduced to this common experience. However, the experiences of exile are not the same. Those from more developed regions experienced un-nostalgic and voluntary exiles during the 19 th century, where the longing was directed forward, toward the destination that would bring freedom from the tyranny of development. This process was at the very core of Romanticism. Jean Starobinski notes that "the English, in order to heal their spleen, would flee from their native air and 1