Frank Mackay Anim-Appiah
Transcription
Frank Mackay Anim-Appiah
LA CHARTE DE LA FÉDÉRATION PEN | PEN CHARTER La charte du PEN est basée sur les résolutions adoptées à ses Congrès Internationaux, et peut être résumée comme suit: Le PEN affirme que: 1 La littérature ne connaît pas de frontières et doit rester la devise commune à tous les peuples en dépit des bouleversements politiques et internationaux. 2 En toutes circonstances, et particulièrement en temps de guerre, le respect des oevres d’art, patrimoine commun de l’humanité, doit être maintenu au-dessus des passions nationales et politiques. 3 Les membres de la Fédération useront en tout temps de leur influence en faveur de la bonne entente et du respect mutuel des peuples; ils s’engagent à faire tout leur possible pour écarter les haines de races, de classes et de nations, et pour répandre l’idéal d’une humanité vivant en paix dans un monde uni. 4 Le PEN défend le principe de la libre circulation des idées entre toutes les nations et chacun de ses membres a le devoir de s’opposer à toute restriction de la liberté d’expression dans son propre pays ou dans sa communauté aussi bien que dans le monde entier dans toute la mesure du possiblé. Il se déclare en faveur d’une presse libre et contre l’arbitraire de la censure en temps de paix. Le PEN affirme sa conviction que le progrès nécessaire du monde vers une meilleure organisation politique et économique rend indispensable une libre critique des gouvernements, des administrations et des institutions. Et comme la liberté implique des limitations volontaires, chaque membre s’engage à combattre les abus d’une presse libre, tels que les publications délibérément mensongères, la falsification et la déformation des faits à des fins politiques et personnelles. The PEN Charter is based on resolutions passed at its international congresses and may be summarised as follows: PEN affirms that: 1. Literature knows no frontiers and must remain common currency among people in spite of political or international upheavals. 2 In all circumstances, and particularly in time of war, works of art, the patrimony of humanity at large, should be left untouched by national or political passion. 3 Members of PEN should at all times use what influence they have in favour of good understanding and mutual respect between nations; they pledge themselves to do their utmost to dispel race, class and national hatreds, and to champion the ideal of one humanity living in peace in one world. 4 PEN stands for the principle of unhampered transmission of thought within each nation and between all nations, and members pledge themselves to oppose any form of suppression of freedom of expression in the country and community to which they belong, as well as throughout the world wherever this is possible. PEN declares for a free press and opposes arbitrary censorship in time of peace. It believes that the necessary advance of the world towards a more highly organised political and economic order renders a free criticism of governments, administrations and institutions imperative. And since freedom implies voluntary restraint, members pledge themselves to oppose such evils of a free press as mendacious publication, deliberate falsehood and distortion of facts for political and personal ends. PEN INTERNATIONAL Volume 58, No. 1, Autumn 2007 Context: Africa Contexte: Afrique Contexto: África The magazine of International PEN Le journal de PEN International El periódico de PEN Internacional www.internationalpen.org.uk Published biannually with the assistance of UNESCO Publié semestriellement avec le concours de l’UNESCO publicado semestralmente con el apoyo de la UNESCO www.unesco.org/culture CONTEXT: AFRICA CONTENTS Contents Editor’s Note Poème/Poem Amadou Lamine Sall Amantes d’aurores/Aurora’s Lovers Story Mary Watson Seoighe The Lilitree Extrait Mohamed Magani Scène de pêche en Algérie Excerpt Monica Arac de Nyeko The Jambula Tree Poem Toyin Adewale Listen to Yourself Excerpt Sefi Atta Everything Good Will Come Poems Jack Mapanje From: Beasts of Nalunga Now That September 11 Should Define Mr Western Civilisation ... The Stench of Porridge Can of Beasts Madonna Opened Extrait Sami Tchak Le paradis des chiots Story Mwila Agatha Zaza A Strange Kind of Gravy Poems Sylvester Omosun My Dirt, Untitled Extrait Nadia Galy Alger, lavoir galant/Algier, Wash-house Tryst Poem Toyin Adewale Explorer of Aromas Poema/Poem Manuel Ulacia Express a Marraquech/Express to Marrakesh Interview: Chenjerai Hove Rhoda Mashavave CONTEXT: AFRICA CONTENTS Excerpt Shimmer Chinodya Chairman of Fools Poem Alkasim Abdulkadir Flight of Sleep Story Jackie Mansourian In the Light of the Moon Poème Nicole Barrière Grand brasier blanc Poem Benjamin Ubiri Home Extrait Léonora Miano Contours du jour qui vient Pensées Pierre Astier Demain l’Afrique Poema/Poem Manuel Ulacia Fiesta en un jardin de Tánger/Fiesta in a Garden in Tangier Story Ethel Ngozi Okeke Once Upon a Night Extrait Nassima Touisi Une lettre à Kahina Poem Frank Mackay Anim-Appiah Sygiria Poem Seyi Adigun From: Greet for Me My Osheni I Reach the Confluence Poema/Poem Manuel Ulacia En el Ritz de Meknés/At the Ritz in Meknès Excerpt Wangari Muta Maathai Unbowed Poem Uche Peter Umezurike I Am Set in a Burden to Sing Extrait Djamel Mati Les signes de la main Poem Alkasim Abdulkadir Lamuso CONTEXT: AFRICA CONTENTS Poèmes Jean Auguste David Bonnaire Fragments d’étoiles Le Preux tirailleur africain Poem Sarah Lawson Evening in Dakar Poems Seyi Adigun From: Letter to My Sister and A Reply for My Brother Pompholyx Vitriol Story Maliya Mzyece-Sililo Through the Curtain of Eyelashes Extrait Djamel Mati Les amants Excerpt Unity Dow The Heavens May Fall Obituary Un certain regard: Ousmane Sembène 1923–2007 Amadou Gueye Ngom Contributors Acknowledgements CONTEXTE: AFRIQUE AMADOU LAMINE SALL Amadou Lamine Sall Amantes d’aurores Aurora’s Lovers Je t’ai cherchée partout et nulle part I looked for you everywhere and nowhere entre la fleur et la tige between flower and stem entre le jour et la nuit between day and night parmi les rires du sommeil among the laughter of slumber parmi les caresses de l’absence among the caresses of absence Où es-tu fille de la nuit Where are you girl of the night déjà le poème s’essouffle et les mots s’esquivent already the poem is out of breath and the words are slipping away la plume danse des arabesques saoule de son vin noir drunk with its black wine the pen dances arabesques les voyelles sont distraites the vowels are absent-minded et les consonnes rétives errent en procession and the restless consonants wander in procession sur le vide de la page qui bâille on the emptiness of the yawning page Tu seras seule à comprendre ce soir pourquoi You will be the only one to understand tonight why j’écris ce poème de sexe et d’olive de sang et d’amour I am writing this poem of lust, olive, blood and love Je voudrais te parler dans le ventre de la nuit I would like to speak to you in the belly of the night À l’heure où des miettes d’étoiles dansent sur ta bouche When crumbs of stars are dancing on your mouth de miel et de fièvre of honey and fever CONTEXTE: AFRIQUE AMADOU LAMINE SALL Où es-tu fille de la nuit Where are you girl of the night je sais que tu reviendras I know that you will come back parce que je suis le fauve de ta tanière for I am the wildcat of the lair le reptile qui te serpente the reptile that winds around you and brings you back et qui te ramène à la lumière du jour to the light of day Déjà je mords tes paumes Already I am biting your palms et chante dans la fraîcheur de tes cheveux and singing in the coolness of your hair et je n’ai plus d’oreille que pour l’évangile de ton chant and I no longer have ears for anything but the gospel of your voice quand l’harmattan du désir when the harmattan of desire flagelle nos corps scourges our bodies Tout à l’heure quand je te retrouverai Soon when I see you again tu me diras l’heure you will give me the time t plus tard tu me rediras l’heure and later give me the time once more nous irons acheter des journaux de droite et de gauche we will go to buy newspapers right and left gauche-droite droite-gauche left-right right-left je les lirai de l’est à l’ouest I will read them from east to west tu les commenteras du nord au sud you will comment on them from north to south puis nous les disperserons à tous les vents then we will scatter them to the winds aux quatre coins de l’analphabétisme et de la faim to the four corners of illiteracy and hunger Nous irons ensuite écouter les politiciens Then we will go to listen to the politicians CONTEXTE: AFRIQUE AMADOU LAMINE SALL il y a de toutes les tailles et des toutes les couleurs they come in all sizes and colours des menteurs sérieux graves solemn serious liars des prophètes à la bonne heure opportune prophets Car il paraît que le COMMUNISME est à bannir pour For it seems that COMMUNISM must be banned la paix du monde for world peace le CAPITALISME à combattre pour la paix du monde CAPITALISM fought for world peace le SOCIALISME à redéfinir pour la paix du monde SOCIALISM redefined for world peace et que pas une nation n’a pris pour idéologie l’AMOUR and it seems that not one nation has taken LOVE as its ideology. Nous irons vivre ailleurs We will go to live elsewhere car Dieu doit habiter ailleurs for God must live elsewhere Nous ferons des enfants de toutes les races We will make children of all the races je t’aiderai à bercer les uns à faire manger les autres I will help you cradle the ones and feed the others Je sais qu’ils seront beaux nos enfants I know our children will be beautiful et qu’ils n’entrerons pas dans la vie par la grande porte and that they will not enter life through the wide gate d’argent et d’insolence of money and insolence ni par celle de la vanité et de la lâcheté nor that of vanity and cowardice ils ne seront ni les aînés de la bassesse they will neither be the eldest children of baseness ni les benjamins de l’assassinat nor murder’s youngest J’irai avec toi par toutes les routes offertes aux pas I will go with you on all the roads that can be walked semer à la berge des souffrances les premiers plants to sow on the bank of suffering the first seedlings de la LIBERTE CONTEXTE: AFRIQUE AMADOU LAMINE SALL of FREEDOM Nous bâtirons des cités sans maisons et sans rues We will build cities without houses or streets sans prisons et sans haine without jails or hate Manthie j’aurais tant aimé te mentir Manthie, I would have liked so much to lie to you te dire qu’aucun petit garçon n’a faim quelque part to tell you that the hungry little boys do not exist anywhere sur la Terre on Earth te mentir te dire to lie to you to tell you que les cimetières ont fermé leurs portes that cemeteries have closed their gates te mentir te mentir Manthie te mentir to lie to you to lie to you Manthie to lie to you te mentir to lie to you pour que tu ne connaisses jamais la haine so that you never know hate pour que tu ne reconnaisses jamais le délire des fauves so that you never acknowledge the wildcats’ madness pour que tu ne côtoies jamais l’orgueil et la folie sortie de so that you never come into contact with the pride and madness leurs grottes glacées coming from their freezing caves Te mentir Manthie To lie to you Manthie pour t’aimer d’innocence to love you innocently Merci à toi Binta de Awa l’aurore Thank you Binta de Awa the aurora ma mère belle comme jamais sept lunes sur une my mother beautiful as ever seven moons on a savane d’argent silver savannah Locataire du néant Tenant of nothingness fou d’une liberté sans terre mad about freedom with no land CONTEXTE: AFRIQUE AMADOU LAMINE SALL le monde est infidèle à mes rêves the world is unfaithful to my dreams Et les femmes sont amputées du rêve d’aimer And women are cut off from the dream of loving les hommes du rêve de vieillir men from the dream to grow old Les oiseaux du cœur ont donc migré la pleine lune Thus the birds of the heart have migrated by the full moon et je flirte avec des cœurs dégarnis and I am flirting with bare hearts seul parmi la roche effeuillée alone among the stripped rock la fête des péchés the festival of sin parmi l’arachide rebelle among the rebel peanut parmi le mil rebelle among the rebel millet le coton rebelle the rebel cotton le germe rebelle the rebel sprout Seul avec l’hirondelle offensée Alone with the offended swallow seul parmi l’enfance délaissée alone among the abandoned children le désir mutilé the mutilated desire parmi l’étoile faussée among the distorted star l’émeraude brisée the shattered emerald les cauris effrayés the frightened cowries les cercueils cloutés the nailed coffins les fenêtres fermées les portes fermées the shut windows the closed doors Je veille ces pays mon pays I watch over these countries my country ce pays fou de ses fils CONTEXTE: AFRIQUE AMADOU LAMINE SALL this country mad about its sons fou de sa liberté mad about its freedom infidèle à ses rêves unfaithful to its dreams Mon pays n’est pas né d’une femme My country was not born to a woman et pourtant dans min pays vois-tu and yet in my country you see le soleil est une femme le jour est une femme the sun is a woman the day is a woman le pardon est une femme le chant est une femme forgiveness is a woman song is a woman et je suis né du chant des femmes and I was born of the song of women Viens Come partageons l’étoile tombée cette nuit let us share the star that fell last night derrière le sommeil des Prophètes behind the prophets’ slumber J’aime regarder I love to watch le Sénégal s’endormir le soir sur tes paupières Senegal fall asleep at night on your eyelids et se réveiller le matin dans tes yeux and awaken each morning in your eyes Tu seras l’Unique Miracle des goélands You will be the Singular Miracle of the seagulls la grande terre the great land celle pour qui je veux encore that for which I want yet vivre et accepter D’AIMER to live and to accept LOVE Special thanks to B. E. Hopkins for new translation CONTEXT: AFRICA MARY WATSON SEOIGHE Mary Watson Seoighe The Lilitree Quinton planted the Lilitree in the back garden. It wasn’t much of a garden, muddy with patchy flowers and weeds growing haphazardly, scrawny tomato plants dwarfed by a monster crop of broad beans. Lilitrees are, of course, illegal and very rare. No one knows where they’re from, but in the old days you’d find them mostly in the sandy areas, in the notorious Cape Flats. And also near water; they always move towards water. But you don’t find them so much these days, not for a long time. Just now and then you hear of one. But Quinton had connections. He bought the seed at twilight in a little alley off Main Road. He went right at the minibus taxi rank, past the Virgin Active gym where people were eerily framed in the lit windows, jogging up and down. He wove his way through the tattooed men out looking for trouble, until he came to the crossroads where Adultworld and the post office meet. The dealer sheltered in the doorway of an old abandoned Victorian building, smoking a pipe. Quinton could not see the face of his supplier, which was hidden in the folds of the long cape. Rough hands dropped the seed into a brown paper bag, knotted it with string and furtively took the wad of notes. Quinton planted the Lilitree beneath the exposed roots of the cabbage tree before Marlene could stop him. When she found out that they were to grow a little girl in the muddy backyard, she was livid. “How are we supposed to feed her? We just don’t have the money, Quinton. Use your head for once in your life.” She headed to the yard, her sinking heels leaving a fine track in the mud. Marlene, down on her knees, was about to unearth the seed when Quinton’s voice came from behind her: “You can’t do that, it’s – it’s abortion.” Marlene, who was still grappling with the residual effects of her early years as a Catholic, wouldn’t speak to him for days. But nothing happened. Every day Quinton checked the spot where he had planted the Lilitree, but the caked brown soil yielded nothing. Marlene wore an insufferably smug, tight-lipped smile. She whistled primly while she washed and ironed the huge bags of other people’s clothes that made her hands so reddish raw. When they saw the dreaded Kikuyu grass springing up like uninvited guests, Quinton began to feel he had been taken for a ride. And the seed hadn’t come cheap – he had used a month of Friday night drink money to pay for it. “Just think how many more bags of dirty clothes we could wash, if she did it for us. And we’d never need get up to change the TV channel ever again,” Quinton sighed as he poked Marlene up to change the TV channel. They didn’t have a remote control for their old box. That weekend, Marlene was about to uproot the grass before it could spread and cover their nice muddy yard, when she noticed something different. A patch CONTEXT: AFRICA MARY WATSON SEOIGHE of grass had grown into thin green fingers, spread out on top of the soil and gently pressing down as if about to hoist out of the mud. She screamed. The next day, a little head appeared, like a cabbage sprung up overnight. Every day their Lilitree grew and grew: first firm green stalk-like arms, then a barky brownish green trunk, then the long, muddy tendrils that coiled and snaked down her back, until by the end of the month, there was a little girl growing in the garden. “When can we pick her?” asked Marlene, who was tired of doing the dishes. Quinton never helped with the housework, never mind their laundry service. He liked to think of himself as the public relations department, answering the phone and greeting the customers, especially the nice ladies. Marlene ached with the strain on her back; she most hated bending over the bath to wash the delicates. “We can’t pick her – she has to walk out of the pod. The instructions say that she will come knocking at the door.” Now it was Marlene who was the more eager to have their Lilitree ready for harvest. She covered her feet (a bit like exposed roots) with compost, including nice wriggling maggots that made the Lilitree shudder. Marlene, despite the rain, watered the tree every day until the little girl cried from the relentless cold spray. “Aw, shut it,” yawned Marlene, “otherwise we will eat you.” The Lilitree cried louder in her little cat-like voice. The August rain lashed down and she caught a cold and sniffed miserably. (Lilitrees can only be planted in early July, otherwise they just turn into cabbages.) “A bit of a wet blanket,” Marlene nodded to Quinton. “I should give her something to cry about.” Throughout September Marlene continued to nurture their little tree as it grew steadily. By November Quinton was bored with it all. But still, the Lilitree did not step out of her pod. The mangy stray cats came and hissed at the tree and she hissed back. Marlene waited impatiently. They thought up names for her; they tried to coax her into the house by waving nice sweeties and marshmallows at the window. In late spring, the Lilitree started to grow little green breasts. Marlene found it quite indecent and covered them with a kitchen cloth. Finally, during a sweltering week in late December, there was a knock at the kitchen window, a small tentative tap-tap. Marlene and Quinton were watching TV and almost didn’t hear it. “Hello, Mommy,” said Quinton kissing Marlene, “I think that’s our little girl!” But the Lilitree was not a little girl. There, standing at the kitchen door, was a fully grown woman. Green with barky skin, she had fashioned a shift made of rubble bags and swung the red-checked dishtowel around her waist. Quinton had never seen a more beautiful woman. “You idiot!” Marlene shouted at Quinton. “You got the wrong seed.” “It’s your fault,” Quinton shouted back. “If you hadn’t watered her so much and rubbed all that compost on her feet ...” But he remembered guiltily how the seed dealer had been standing too close to Adultworld. Maybe this was a different kind of Lilitree? “We can look it up on the Internet,” he pacified Marlene. “Please can I have some water?” rasped the Lilitree, leaning against the CONTEXT: AFRICA MARY WATSON SEOIGHE doorframe. “Look at the poor girl,” Quinton fussed. “Marlene, get her some tea!” Quinton was enchanted by the fragile creature that took on their household tasks with an impassive vigour. Not only did she do all the housework, but she also washed an inordinate number of dirty clothes. Marlene was pleased. Soon they could afford a new TV, with a remote control. But the Lilitree couldn’t settle. She preferred bedding down in the mud beneath the cabbage tree. She shunned the tasty sausages that Marlene made and rummaged through the compost heap for her supper. She drank greedily the water that gushed straight from the outside tap into her mouth. She loved the hosepipe. She tracked mud into the house, her dirty toes against the scrubbed tiles. And best, she worked like a demon. But even as hundreds of great big, white laundry bags were effortlessly dispatched, the Lilitree was weighted down as if by an invisible burden. There was a forlornness about her that stirred Quinton’s curiosity. When Marlene tried to lock her inside during the heavy rains, the Lilitree stared out at the garden and yearned for the smells, the soft and varied textures of the scraggly plants that grew there, the feel of the rain against her skin. She didn’t seem interested in much else. One night, as she brought them hot chocolate during their favourite shows, they discovered that she liked reality TV. She watched with them and once she even laughed out loud, like the sound of wind rustling leaves. But after a few nights of intent viewing, she lost interest. Halfway through Peepshow, she wandered out, and Quinton found she had climbed high up the cabbage tree, with its branches wrapped around her. Quinton tried to console her with magazines and chocolates. First she grabbed them greedily, ripping through the celebrity pictures while sucking the soft caramel out of the chocolates. Not long after, magazines lay unopened; chocolates were trodden into the mud. He bought her a pretty yellow dress, which brought out the colour of her skin, and she danced around in it, delighted. Marlene found it two days later, in the vegetable patch, like a dirty pumpkin. Quinton gave her flowers, but the Lilitree shrieked when she saw her cut sisters and laid them tenderly in her muddy bed. Quinton crept beneath the cabbage tree where she lay, and listened to her unhappy woody breathing. Marlene observed silently. She watched those long elegant fingers wringing sheets, ironing and folding the endless stacks of shirts and trousers. She watched the Lilitree bending over the tub to wash the delicates, her body gently swaying. Marlene thought of taking a nice Sunday afternoon walk in the forest with the Lilitree. Because they were one happy family. They veiled her greenish skin with a coat and shawls and tied back her thick tendrils with scarves. They entered the forest with the tightly wrapped woman and immediately, when she smelt the damp wood and leaves, she bolted, pulling at the jacket and scarves that bound her. She ran off the path and was easily camouflaged by the trees. Quinton sprinted after her and they raced between the pines. He puffed behind her, but she remained out of reach. She heard the low, guttural tones first, but even so she was unprepared: turning a bend, she saw a great gush of water from beyond what was visible – right up to the clouds – and was entranced at the sight. Never had she seen such an enormous tap. Unable to resist, she paused for a second and drank from the spray of the waterfall. Hearing footsteps, she turned and ran, but Quinton CONTEXT: AFRICA MARY WATSON SEOIGHE had gained on her, and, with a flying leap, rugby-tackled her to the ground. They rolled in the moss and stones. He loved her then; no one had ever been lovelier. He couldn’t let her go, he told her beneath the insistent chatter of the waterfall. She begged and pleaded to stay in the forest with the other trees and the giant tap. But Quinton couldn’t. So, in his arms, he carried her back to the car, and Marlene drove them home. Heading back to the disquieted suburbs, they all felt let down. The Lilitree could not forget the forest. The little muddy yard was suddenly too small because she could hear a distant whisper of trees from beyond those high cracked walls; she heard the call of the sea she had never seen. She thought only of the water gushing from the mountain spring and lost her taste for the outside tap. Marlene also dreamed of the forest. She dreamed of the Lilitree being eaten by porcupines, of the manky smell of rotting wood, of lightning severing limbs with branched-out fingers and a slow death by ants. In her dreams she tried to help, she was always coming with a basket of sweets and a bottle of milk and a bottle of gin. But she never got there. Without water, the Lilitree’s skin took on a greyish tinge and her fingers faded to yellow. Her limber gait slowed down and her movements worked to an arthritic grind. Quinton hovered, eager to do anything she wanted, but for the one thing that the Lilitree asked of him. “You wouldn’t be safe there,” he pleaded with her. Then, more assertively, “I am responsible for you.” She stopped eating decaying vegetables from the compost heap. She cowered when Quinton sprayed her with the hosepipe. “Let me go back,” she asked again. But Quinton could not. The Lilitree wilted. Her face lined with faint concentric rings that deepened as if scored into her skin. On the day that she could no longer lift the heavy laundry bags, she raised herself from the delicates and found that she hurt in a way that she had never hurt before. She went to lay herself beneath the cabbage tree, her trunk held within its roots. There she stayed, and her skin turned a silvery brown, and the leaves swished above her. They never talked about her after that. Later, they forgot that, for almost a year, they had known and even loved a tree woman. When their children played in the garden, beneath the two cabbage trees, they knew only a vague story about how Quinton had carried the silver bough from the forest, and how, soon after, the second tree had sprouted from its trunk. CONTEXTE: AFRIQUE MOHAMED MAGANI Mohamed Magani Extrait du roman Scène de pêche en Algérie Le réchauffement climatique lui apparut concentré sur un point unique de la terre, le lieu de destination que choisit notre voisin du troisième pour ses vacances à la campagne. Il partit en voyage tenir parole et emmener son fils taquiner le barbeau et l’anguille: la toute première fois. Il l’avisa qu’il n’avait nul besoin d’emporter des appâts et lui conseilla même de prendre un livre plutôt, sans oublier sa casquette rouge. Au lieu de vers de terre, ils amorceraient les hameçons avec des sauterelles pèlerines. Au lendemain de leur descente sur le coin, en tandem avec les milliers de millions de criquets pèlerins, il en resterait fatalement quelques centaines d’individus, le tube digestif sans doute trop lourd pour pouvoir s’élever dans les airs. L’enfant comprit qu’il n’avait aucune chance de trouver des vers de terre dans les champs privés de pluie des années à la file. L’oued serpentait en filet mince, s’étirait le long d’une berge en surplomb afin de se dérober aux regards, d’échapper aux assoiffés hommes et bêtes, aux irrigateurs clandestins et baigneurs pollueurs. Le père et le fils marchaient au bord de l’eau, remontaient le lit de l’oued plus qu’aux trois quarts tari. Ils marchaient tantôt sur un cailloutis uni, ciselé et bleuâtre, tantôt sur du sable poudreux. A leur droite, le cours grossissait timidement. Ils arrivèrent à leur destination, une sorte de barrage d’à peine deux mètres de hauteur, d’où chutait une pluie limpide, chantante comme une source poétique. Une traînée crayeuse festonnait le pourtour de la retenue d’eau qui se désertifiait. A l’angle du muret et de l’eau, le père déposa les attirails sur un banc de sable, endroit familier de son enfance. Il entreprit de garnir les hameçons sous le regard plus qu’attentif du fils, qui ne cessait de lui poser des questions sur son passetemps d’autrefois. Les yeux brillants d’excitation, le garçon découvrit bientôt que le barbeau est un poisson à bouche dure et, qu’avec cette espèce-là, on perdait rarement sa prise. Il lança sa ligne avec l’aide du père et riva aussitôt les yeux sur le bouchon. Notre voisin Mestor Rezzaka guidait maintenant les premiers gestes de son fils dans l’art de la pêche. L’enfant apprenait avec docilité. Vingt minutes ou plus s’écoulèrent, le père leva sa ligne et la relança dans l’eau. Le garçon refit les mêmes gestes, prêtant l’oreille aux précautions que l’adulte murmurait. Une demi-heure plus tard Mestor Rezzaka et son fils se retrouvèrent assis sur le sable, à quelques pas l’un de l’autre, sans quitter les bouchons des yeux. Dix autres minutes d’attente, puis le garçon tira un livre de son sac à dos et l’ouvrit à une page cornée. Du coin de l’œil, le père l’observait. Il finit par délaisser les bouchons et se CONTEXTE: AFRIQUE MOHAMED MAGANI tourner vers son fils qui tenait la ligne d’une main, le livre de l’autre, tournant les pages avec le menton. Il était assis sur le monticule de sable, à se dire que la pêche seule peut offrir pareil tableau. L’agitation sourde dans l’attitude figée et concentrée du garçon, le mouvement affleure en l’absence même du poisson qui mord, l’action se trouve dans les pages auxquelles il consacre toute son attention. D’où cette compatibilité vivante entre la pêche et la lecture. Un livre entre les mains d’un pêcheur peut tout aussi bien lui tenir lieu de prise, ce qui n’est guère le cas du fusil sur l’épaule du chasseur. La pêche inculque la contemplation, non la vigilance propre à la chasse, elle donne au temps une qualité bien connue des chevaliers de la gaule. Au fil de l’attente, semblable au temps entre l’envoi d’une lettre et la réponse qui tarde à venir, le pêcheur laisse jouer son imagination. - Alors, oulidou, tu ne peux lire tout le temps? - Non. - Tu ne peux pêcher tout le temps non plus. - Non. - Alors, que te reste-il à faire? - Aucune idée, fit le garçon. Mestor Rezzaka sortit sa ligne de l’eau. La sauterelle pèlerine s‘effritait au bout de l’hameçon. « Je vais te dire ce qui te reste à faire », la lenteur et la minutie des gestes retenaient les mots du père. - Quoi? dit le garçon, impatient. - Ce que tu as déjà fait. Ton histoire débute sur un pont. Un jour, un matin pour être plus précis, tu passais ce pont avec ton grand-père. Tu portais cette casquette rouge à cause du soleil qui tapait fort, un peu moins fort qu’aujourd’hui tout de même. Vous étiez sortis pour quelques petits achats, et une promenade dans la foulée. Sur le chemin du retour, au beau milieu du pont, tu t’arrêtes, tout étourdi par la chaleur. Le dos contre le parapet, tu te laisses glisser lentement sur le sol. Ton grand-père marchait à cinq mètres devant toi. Il se retourna. Tu veux savoir ce qu’il fit? - Oui, continue. - Il vint vers toi. Arrivé à ta hauteur, il se saisit de ta casquette. Et la posa à tes pieds. Veux-tu savoir ce qu’il fit ensuite? - Je crois deviner, il s’assit dessus et l’écrasa sous son poids. - Tu es loin du compte, oulidou. Il jeta une pièce de un dinar dans la casquette et reprit la marche, sans se retourner. A ton grand étonnement, tu vis des passants jeter des pièces dans ta casquette. Tu restes là, incapable de bouger, les yeux ronds, allant des hommes et femmes, – même d’enfants généreux – au tas de pièces qui grossissait. Vingt bonnes minutes s’écoulèrent avant que tu ne coures rejoindre grand-père, sans rien lui dire de l’argent dans ta poche. C’est que, une grande idée a déjà germé dans ta tête. Ta longue vie d’enfant te pèse déjà... Le soir, après mûre réflexion, tu dis à ton père: « papa, un jour je serai plus riche que toi. » Quand bien même tu savais que le train de vie de ton père, de ta famille, était aux antipodes de l’aisance et de la richesse. D’ailleurs, tu n’arrêtais pas de lui demander l’argent de poche, de lui dire de lever le nez des copies de ses élèves et de trouver un emploi plus rémunérateur. Le jour suivant, tu joues au mendiant. Oh! juste une petite demi-heure, car CONTEXTE: AFRIQUE MOHAMED MAGANI tu craignais d’être reconnu malgré la précaution d’éviter le pont; tu cherchais un endroit éloigné de la maison. Autre précaution: tu t’arranges pour mettre de vieux habits. A ta grande surprise, ça marche! Et mieux que la première fois! Les pièces s’entrechoquent dans la casquette. Le surlendemain tu te donnes une autre demiheure, dans un endroit différent, toujours loin de chez toi. - Tu ne t’es pas rendu compte? dit le garçon. - Comment l’aurais-je su? dit Mestor Rezzaka, tu étais en vacances de printemps, et je te voyais souvent avec tes camarades de classe. Je me disais que vous passiez le temps au cybercafé ou que vous alliez au stade, au cinéma... - Dois-je penser que j’ai continué? - Evidemment! Ton grand-père t’avait mis dans la tête, involontairement, un plan pour t’enrichir et pouvoir dire à ton père qu’il n’était plus indispensable dans ta vie. Tu continues donc à travailler de la main tendue et à amasser de l’argent. Les vacances de printemps arrivées à leur fin, tu comptes et recomptes ta fortune. Un beau tas de pièces que tu as pris le soin de changer en beaux billets chez des épiciers, hors de vue de ta famille et de tes connaissances. Tu caches les billets et attends le jour de les dépenser comme bon te semble. Tu retournes à contrecoeur au collège et attends avec impatience les grandes vacances. Tu auras tout le temps de faire fructifier ta petite affaire. Seulement voilà, une idée de ton père va contrarier tes projets. Le livre encore entre les mains, le garçon tournait les pages d’une histoire captivante. Est-ce trop te demander d’arrêter de tourner ces pages, fit Mestor Rezzaka, tu ne peux pas oublier ce livre? - Je sais pas. Quelle est cette idée? - Ton père s’est mis dans la tête de passer l’été du côté de tes grands-parents. Ta mère et tout le monde sont de son avis. Ils veulent fuir la ville et son été infernal. Ils rêvent d’un peu de verdure, d’arbres fruitiers, de figuiers de Barbarie qui foisonnent autour de la maison de tes grands-parents. L’idée te déplait souverainement. - Fais-tu semblant d’oublier que c’est moi, tout le temps, qui te demande, te supplie de nous emmener chez grand-père et grand-mère? A cet sur une pierre instant, par trois fois, le bouchon du garçon s‘évanouit en une fraction de seconde de la surface de l’eau. « Attention! » s’écria à mi-voix le père. Affolé, le fils tournait sur lui-même. Ses gestes incontrôlés firent tomber et livre et ligne. Mestor Rezzeka se précipita et les repêcha. - oulidou, dit-il, l’œil à la fois sévère et amusé, ni la pêche ni les livres ne te réussissent. Tiens, reprends tes instruments. - Puisque tu en parles, mes grands-parents me manquent, soupira le garçon avec dépit, ne sachant plus quoi faire de ses mains et des deux objets dégoulinant. - Non, pas cette fois-ci, tu te dis qu’il n’y aurait pas moyen de faire la manche du côté de tes grands-parents. Voyons! C’est la campagne, le bled? Tout le monde se connaît à des kilomètres à la ronde. Quand arrive un étranger, tu peux être sûr qu’il ne passera pas inaperçu. Un petit mendiant! Tu imagines la réaction... Tu enrages à l’idée de ne pouvoir lancer à ton père: « papa, un jour je serai plus riche CONTEXTE: AFRIQUE MOHAMED MAGANI que toi ». Le garçon déposa le livre ouvert en son milieu sur une pierre chauffée comme une braise. « Il sera sec avant que tu n’aies attrapé une sardine, fit le père. Tiens, accroche cette sauterelle à ton hameçon, dans le sens de la longueur. Et tu pourras continuer la lecture de ton livre. » Le garçon prit délicatement l’insecte aux ailes coupées. - Et mon histoire? - Elle est tombée à l’eau avec le livre. - Je ne te crois pas. - Tu as de la suite dans les idées, oulidou, tu ne te laisses pas souffler ton histoire. Tandis que tu passes les grandes vacances à la campagne, entouré de tous tes proches, un autre garçon en habits de mendiant se charge de demander la charité pour deux. Un ami de ta classe, sûr, que tu as mis dans le secret. Tu lui as indiqué les bonnes adresses où tendre la main sans risque: les heures de pointe de la mendicité, ce qu’il faut faire et ne pas faire. Bref, tu l’as transformé en authentique mendiant. Lui, par contre, va aller plus loin. Il aime l’argent plus que tout. Il va mettre la moitié de ta classe au courant. Tes camarades, du fait de leur nombre, rêvent désormais, non de petites pièces, mais de trésors! - A l’avenir, je ne lui confierai plus rien, réagit le garçon. - Il va les entraîner tous derrière ton slogan: « papa, un jour je serai plus riche que toi ». Tes camarades devenaient audacieux, ils s’aventuraient partout ailleurs, et dédaignaient les endroits connus de toi. Ils changeaient de ville dans leur quête de richesse. Chacun de son côté amassait de l’argent et ils se rencontraient pour échanger astuces et habits usés de circonstance. Et c’est à la suite d’une de ces rencontres que deux pères aperçurent leurs enfants, fagotés comme des gueux, assis à même le sol et tendant la main, à quelques mètres l’un de l’autre. Dès ce moment-ci, tu seras le grand responsable des égarements de tous ces enfants. À la rentrée, des foules de parents demandent ton expulsion du collège. - Que va-t-il se passer? - Les journées calmes au bord de l’eau te reviennent et tu vas reprendre ta ligne. - Ca ne mord pas et mon livre est tout mouillé! - Tu dois croire de toutes te forces que ce que tu tiens à la main n’est pas une canne à pêche, mais une baguette magique. Tu ne sens pas l’orage venir? L’enfant leva les yeux. Depuis longtemps il n’avait vu un ciel aussi bas et noir. C’est le murmure d’un oued qui ruisselait à peine audible d’abord, puis bruissait, s’agitait et basculait dans l’orage torrentiel, tandis qu’un paquet d’eau se balançait dans tous les sens, que le reste du jour s’obscurcissait et devenait propice à tous les déchaînements. Les cataractes de pluie lessivaient les champs nus en amont et firent surgir des flots qui se déversaient, couleur de terre, de toute la longueur du barrage. « Tu peux te jeter dans l’oued! cria Mestor Rezzaka, faisant signe à son fils de se débarrasser de sa casquette, cette pluie est une bénédiction! » - Regarde! dit le garçon, les pages de mon livre se détachent! - Ne crains rien, demain tu le retrouveras tout sec. - Tu penses revenir? Moi, pas! Il nous faut rentrer! - Si tu me quittes, tu n’entendras plus jamais le reste de ton histoire. Passe-moi d’abord ton hameçon que je l’amorce! CONTEXTE: AFRIQUE MOHAMED MAGANI Le déluge redoubla d’intensité et de roulements assourdissants. De furieuses colonnes d’eau s’abattaient si drues sur l’oued que les poissons auraient pu nager dans la pluie. Le père et le fils se distinguaient à peine, l’invisibilité les enroulait presque, isolément. Mestor Rezzaka donnait de la voix pour continuer le reste de l’histoire. Le garçon n’entendait que des bribes de mots incompréhensibles. Il se mit à pousser des cris de protestation. Devant ses gestes et éclats de voix de singe hurleur, le père explosa d’un rire de baleine qui le secoua tout entier. « Nous avons une règle, nous les pêcheurs à la ligne. Tu attrapes le poisson ou c’est le poisson qui t’attrape: tu te jettes à l’eau! Ah, ah, ah, ah! – Oh, oh! Une touche!... Dépité, le garçon porta son regard sur le livre se vidant de ses lignes, de son encre qui se liquéfiait, se mêlait à la pluie et roulait vers l’oued. Une inconsolable tristesse emplit son cœur. Le livre prit une signification qui embrassait l’histoire dans ses pages, celle qui commença un jour sur un pont, celle encore, naissante et mémorable, de la folle partie de pêche au bord d’un filet de cours d’eau transmué en torrent furieux sous des pluies diluviennes, et puis, intarissable sur toutes les autres, celle dont lui ferait sans faute le récit à son grand-père et à l’ensemble de sa famille. Voilà pourquoi je tournais machinalement la page, se dit-il. Trempé de la tête aux pieds, il pensait au jeune héro du livre, sauvageon qui a la passion des ponts et le génie du dessin. La ligne à la main, Il fit quelques pas en arrière et ferma le livre en y fourrant les pages détachées. Il posa une grosse pierre dessus. - Que fais-tu? s’écria Mestor Rezzaka, retourne à ton poste! - Je ne peux pas le laisser. Je ne veux pas. - Je te le redis, il sera sec en moins de rien. C’est un orage passager. Mais l’orage se prolongeait. Le poisson ne mordait pas. Mestor Rezzaka et son fils avaient toutes les peines à retenir les lignes dans le courant tumultueux. « Nous nous sommes habitués au bruit, » dit le père, « tu peux entendre la fin de ton histoire maintenant. Tu ne seras pas renvoyé du collège. Tu passes en conseil de discipline et on t’inflige deux semaines d’expulsion... » A ce moment précis de l’histoire du garçon, un coup brusque et violent faillit arracher la ligne de sa main. Le père, aux aguets, se précipita. - Ça mord! Ça mord! Tiens bien ta canne! Doucement, doucement. La canne pliait à coups répétés. Le garçon tirait de toutes ses forces. La pluie fouettait son visage et ses mains glissaient. - Aide-moi, papa! - Tu dois t’en sortir tout seul! Comme dans ton histoire! - Je n’ai rien entendu de sa suite! - Tu verras bientôt sa fin devant tes propres yeux. Un bout de la canne enfoncée dans l’eau, la ligne s’élançait dans toutes les directions. Dans un héroïque effort contraire, le garçon pencha le dos en arrière et manqua de tomber à la renverse. Mestor Rezzaka restait de marbre. - Il est clair que vos forces sont inégales. Tu ne dois pas lutter contre le poisson. Il faut le noyer! - Quoi! Il est déjà dans l’eau, papa! - Donne-lui du champ! Fatigue-le! Fort des exhortations du père, le fils maîtrisa de proche en proche son agitation éperdue. Il abandonna la lutte et surveillait le bouchon jouant au yo-yo CONTEXTE: AFRIQUE MOHAMED MAGANI dans les flots. Puis, Il céda à la force qui le tirait et se mit à avancer au fil de l’eau dans sa direction. Il fit une quinzaine de mètres le long de la berge. Les furieux mouvements de la ligne s’apaisèrent. Pas à pas, le garçon commença ensuite de marcher à reculons. Il vit alors émerger de l’eau, lentement, un poisson si développé qu’il songea à un requin. Mestor Rezzaka accourut. Le poisson se débattait sur le sable gras et sombre, sous le regard incrédule de son fils. « La voilà la fin de ton histoire! Quel magnifique barbeau! il ressemble à la fin de ton histoire, n’est-ce pas? - A moins que tu ne veuilles continuer de pêcher? Tu devrais l’offrir à ton grand-père pour te faire pardonner. » Les frères du livre La crise nationale des années quatre-vingt-dix s’ouvrit touchant Amokrane Lebsir à la tête et l’estomac, les prix du pain et du livre grimpaient de pair. Il étouffa en lui le dilemme cornélien en faveur du pain et se mit à lorgner le bureau de tabac bouquinerie de l’immeuble en face. L’endroit lui avait de tout temps offert un spectacle sans intérêt. Amokrane Lebsir n’appréciait guère la cigarette et le tabac à chiquer, encore moins la liquéfaction des genres sur les rayons poussiéreux: romans roses, policiers, livres scolaires, parascolaire, de recettes culinaires, bandes dessinées de l’âge des fresques du Tassili, vieux numéros de revues de femmes et romans-feuilletons, dans leur ensemble de seconde main. Trois frères se relayaient dans les lieux. Le dernier-né, jeune homme dans sa vingtième année, était le plus retors et triplait, quadruplait allègrement le prix des livres usés. (La femme d’Amokrane Lebsir fit les frais de sa voracité lorsqu’elle acheta un livre cadeau d’anniversaire – un Dos Passos. Elle déboursa le triple du prix qu’il aurait lui réussi à arracher). L’aîné vivait la tenace frustration de n’avoir pas continué sa scolarité au-delà du primaire; il s’en ouvrait à lui de temps à autre. Dans son cas, le compromis était rarement un objectif inatteignable. Après un rituel qui les amusait à chaque occasion, sans qu’on puisse dire qui est le plus dupe des deux, Amokrane Lebsir arrivait à ses fins et emportait le livre convoité. Il prenait quatre, cinq ou six livres à la fois (un salmigondis de genres à rendre perplexe un illettré, au milieu duquel il glissait l’objet convoité) et demandait le prix global. Le buraliste les prenait à son tour, examinait leur état général, la brillance des couvertures et la blancheur des pages, les auscultait et soupesait comme des melons, puis lançait un prix, qu’Amokrane Lebsir considérait à juste titre exagéré. Il lui fallait alors procéder par élimination, et à chaque fois redemander le prix des livres restant, jusqu’au tout dernier, objet réel de toutes les tractations. Le manège prenait du temps et exigeait de la patience, mais la récompense arrivait au bout du compte. Ainsi, en pleine crise du livre, Amokrane Lebsir put-il pêcher des perles au fond des abîmes: Dib, Ben Jelloun, Green (Graham), Joyce, Asturias, Bernanos, Bôll, Vonnegut et bien d’autres. Face au troisième frère, rondouillard au cœur d’artiste, la tâche était relativement aisée. Le troisième frère des livres se faisait un devoir de mettre de côté et réserver, sous le comptoir, une place aux livres qui présentaient des différences manifestes avec les genres présents. Amokrane surveillait le bureau CONTEXTE: AFRIQUE MOHAMED MAGANI de tabac comme on attend le facteur qui viendrait avec la bonne nouvelle. Il attendait le bon livre, le bon frère, au bon moment. Au fil des années quatre-vingt-dix, les joyaux qu’il recherchait se raréfiaient de plus en plus. Amokrane Lebsir tenta bien d’en connaître la source et les causes de son tarissement. Les trois frères faisaient la sourde oreille. Néanmoins, à force de patience, de surveillance du bureau de tabac, il découvrit qu’un rival s’approvisionnait à la même adresse en littérature et, connexion inconcevable à se représenter au départ, ce concurrent et son fournisseur anonyme ne faisaient qu’un en vérité. C’était un voisin, disons lointain, il habitait à trois immeubles du sien. Pour boucler des fins de mois difficiles , l’homme vendit, avec grande discrétion, la majeure partie de sa bibliothèque aux trois frères. Il connaissait par cœur des passages entiers de livres acquis par Amokrane Lebsir. L’émotion saisit son visage lorsqu’il entendit ce dernier dire que ses livres ne servaient pas à garnir les rayons de belles bibliothèques, comme « ces livres meubles de l’ignorance. » Sur quoi, son bonheur serait, ajouta-il de récupérer un ou deux Dib, un ou deux Djaout, si Amokrane Lebsir en avait fait l’acquisition chez les frères du livre. Le passeur C’est par un de ces matins où sourd déjà une grosse part de nostalgie, pessimisme et sentiment d’injustice profond qu’Ahmed le pêcheur retourne au meilleur des endroits pour s’abandonner au moment érémitique, avec vue sur le cimetière de carcasses métalliques, s’absenter de la familiarité désespérante des temps présents où tout donne le spectacle permanent de la dégradation. Il s’installe, sans ligne à surveiller, sur son perchoir habituel, des blocs rocheux en gradins surplombant autrefois la partie la plus profonde de l’oued, d’où les tourbillons, observés d’en haut, ne cessaient de fasciner le regard. Les eaux scintillantes dévalaient le lit en pente, s’écrasaient contre la rangée inférieure de rochers et reprenaient leur cours en remous tournoyants. Ahmed qui se considère, et l’oued avec lui, comme deux orphelins dépendants l’un de l’autre, l’oued abandonné de l’Etat, de la nature et des hommes, et lui de l’oued à son corps défendant – qui ignore même où sont remisé sa canne de roseau, les crins de ligne et les hameçons – et se demande à quand remonte sa retraite anticipée et forcée de la pêche. Il fronce les sourcils comme si une autre personne, lui faisant face, venait de lui poser la question. Mais la personne est dans son dos. L’homme, un riverain de l’oued, s’approche en tapinois avec toutefois l’intention amicale de le surprendre. Il tient quelque chose à la main, comme une feuille de papier. A deux pas derrière Ahmed le pêcheur il se ravise et fourre la chose dans sa poche. « Ah! te revoilà! Tu nous reviens un peu plus souvent ces derniers temps », fit-il. Ahmed serre la main du riverain qui sent comme une contrariété dans cet échange. « Est-ce à dire que tu comptes te remettre à la pêche? Désolé, je plaisantais. » Voilà pourquoi je viens ici, imbécile! Se dit Ahmed qui invente une histoire de fraîcheur matinale. - Sans l’oued, je me demande d’où peut venir la fraîcheur? - Tu ne perds rien à l’attendre comme moi, cher Ali, dit Ahmed le pêcheur. - Il y a une question que je voulais toujours te poser. CONTEXTE: AFRIQUE MOHAMED MAGANI Ali commence par évoquer sa longue vie auprès de l’oued, dont il se sent si proche au point de se croire en mesure d’écrire sa biographie jour après jour, ou mieux encore son journal, de le décrire intimement chaque heure de la journée et de la nuit, chaque saison de l’année, de discerner les variations de sa couleur en fonction des données de ses fonds – invisibles aux autres – sa profondeur et même la vitesse de son cours à différents endroits, et finalement de nommer toutes les espèces qui viennent s’abreuver à ses eaux: animaux, insectes, oiseaux, reptiles, etc. etc. Ahmed le pêcheur l’écoute sans mot dire, agréablement surpris par un tel aveu d’attachement, mais se demandant néanmoins où veut en venir Ali. Voilà des décennies qu’il arpente les berges de l’oued, et s’y baigne, c’est la toute première fois qu’il entend pareille confession, n’émanant ni d’un pêcheur comme lui ni d’un baigneur ou d’un cultivateur pompant ses eaux. Il l’écoute, tentant de deviner la question dans ses propos. Elle arrive, à la manière d’une anguille. « L’histoire de marins célèbres – Sindbad, Raïs Hamidou, Mourad Raïs, Ulysse, Surcouf, celle du Grand Amiral Zheng He – ne commence pas en mer, comme on pourrait le croire. Pourrait-on dire que ton histoire avec la pêche ne commence pas à l’oued? Dans ce cas, où? » Ahmed le pêcheur parait réfléchir. « Si ce n’est trop indiscret, » poursuit Ali. - Nullement. C’est simple: dans mon voisinage, depuis très longtemps j’essaie d’échapper quotidiennement à deux hommes, deux moulins à paroles qui médisent de tout le monde et se gaussent, des voisins en premier, vingt-quatre heures par jour. Je ne peux sortir prendre l’air sur le pas de ma porte sans qu’ils ne m’abreuvent de leurs insanités. Très tôt aussi, j’ai compris leur stratégie: il s’agit pour eux de déchirer à belles dents les autres, sans relâche, de crainte qu’ils ne deviennent eux-mêmes sujets de conversations. Et pour cause! L’un a une sœur qui tient une maison de passe, l’autre une femme qui s’envoie en l’air avec tout étranger de passage généreux. Va t-en donc leur raconter leurs quatre vérités! Ils frissonnent entre leur langue de vipère et la hantise que leurs scandales familiaux soient dévoilés et qu’on ne jase que de cela. C’est en plus une paire de couscoussards, deux inséparables viandards, ripailleurs indécrottables – qui ont l’air de parler avec une voix de ventriloque – dès les premiers jours de l’été, ils fourrent dans leurs poches cuillères et serviettes et s’invitent à toutes les fêtes et n’en ratent aucune. Autant d’occasions pour dénigrer les absents! L’autre jour, j’ai reçu un ami de longue date, il était de passage et tenait à passer... - Ce n’est pas chose aisée à dire à des voisins, admit Ali, d’une une voix où perce une légère irritation, mais plus kafkaïen que Kafka, tu l’es Ahmed. Je suis venu aujourd’hui te montrer ceci. - J’ignore qui est ce Kafka, ni s’il y un quelconque rapport entre la pêche et lui . Mais les deux mauvaises langues auraient mieux fait, quand cela était possible, de venir barboter dans l’eau... Toutes ces années à cracher leur venin. Ali tire de sa poche une photo noir et blanc, où le noir est recouvert d’une pellicule gris blanchâtre et le blanc voilé de petits nuages jaunâtres. Ahmed hésite un instant avant de la prendre, puis tend la main. Il est immédiatement happé par la scène dans la photo. Tel une couturière aux doigts de fée, Ali vient de resserrer le nœud magique entre l’oued et Ahmed le pêcheur. Il ressent une telle émotion qu’il perd la voix. La photo montre une barque malmenée par des eaux démontées. Les creux de vagues hauts sur la fragile embarcation l’encerclent semblables aux CONTEXTE: AFRIQUE MOHAMED MAGANI monstres d’un mauvais rêve. Pourtant, la barque donne l’impression de voler sur les eaux. - Ne me dis pas que c’est l’oued? - Si, c’est bien lui. Cette photo je l’avais prise un hiver vers le début des années cinquante. Je l’ai retrouvée par hasard en fouillant des tiroirs oubliés. Ahmed se replonge à présent dans une vision mouvante. Dans la barque, on voit clairement trois femmes voilées d’un côté, de l’autre quatre hommes enturbannés dont un pèse de tout son poids sur une bicyclette, et un autre rame ferme pour atteindre la rive. Il est doté d’une forte corpulence et ses efforts maintiennent l’embarcation en équilibre au milieu de grosses houles. « Le passeur! fit Ahmed, je me demande ce qu’il est devenu. » Il examine de plus près la personne reconnue. - Nous n’avons eu qu’un seul, de toute façon. Mais il a disparu avec l’oued, dit Ali. - Bien avant, rectifia Ahmed le pêcheur. Le passeur retira barque et rames, les laissa sans doute pourrir sur la berge ou les jeta dans un terrain vague, lorsque s‘approcha la fin inéluctable de l’oued. Ses niveau et volume avaient dramatiquement chuté. Les crues de l’hiver le gonflaient démesurément et des vagues, qui n’avaient rien à envier à celles des océans, chevauchaient ses eaux. Leur déferlement offrit à Ahmed le pêcheur, enfant, les premières images de la mer Lorsque arrivait l’été, il perdait de sa superbe sans perdre sa dignité, il restait le seul et unique grand fleuve du pays. En moins d’une décennie, la sécheresse, conjuguée à la pollution envahissante et au pompage continue d’usines et d’agriculteurs, le défigurèrent en ruisseau où la présence d’un batelier et de sa barque friserait le ridicule. Il s’évanouit dans la nature, le passeur, exerce t-il son métier sous d’autres cieux où les fleuves sont épargnés par la nature et respectés des hommes? Pourquoi a t-on perdu sa trace? Quelle occupation de substitution a t-il pu trouver? Ali n’en sait rien. A l’instar d’Ahmed le pêcheur, et d’autres, on l’a simplement perdu de vue. Quant à lui, il ne s’est plus manifesté, ni du côté de l’oued ni sous aucune autre latitude. - Tu peux garder la photo, je suis certain qu’entre tes mains elle continuera de témoigner, dit Ali, un large sourire sur le visage. Avant de te quitter j’aimerais te dire ceci: regarde tous ces tuyaux, ces trous, ces conduites et canalisations qui déversent leurs saletés sur le squelette de l’oued: en remontant les égouts il est possible d’écrire l’histoire de cet oued. Un immense bonheur submerge Ahmed le pêcheur. En le rendant dépositaire de la photo, Ali n’a pas brisé le lien magique qu’il a crée, en dépit de l’énigmatique invitation à se pencher sur le passé au travers d’égouts. Photo en poche, plein d’enthousiasme, Ahmed le pêcheur se lance à la recherche du passeur. Soudain, dans sa relation spéciale avec l’oued apparaît un troisième compère - peut-être un autre orphelin - et avec lui l’assurance d’une profonde connaissance de l’oued, prélude à d’interminables évocations et discussions. Premiers sur la liste: les anciens concurrents, les envieux hostiles. Ils sont tous de ce monde et manifestent une joie réelle de revivre leurs souvenirs sur les berges du Cheliff. Ahmed le pêcheur leur rend tour à tour visite, et à chaque occasion se trouve très embarrassé de prendre congé de son interlocuteur, tant les souvenirs CONTEXTE: AFRIQUE MOHAMED MAGANI s’égrènent. Bien que pas un ne peut lui fournir un quelconque renseignement sur le passeur. Désappointé, il retourne du côté de l’oued et interroge tous ses riverains, les jeunes l’emmènent aux anciens, et ces derniers sont désolés de ne pouvoir lui être d’aucune aide. « L’oued a disparu, emportant avec lui le passeur », commente un vieux. Mis au courant de ses recherches infructueuses, d’autres hommes, qui ont eu à utiliser les services du passeur, s’approchent d’Ahmed le pêcheur par souci de l’aider. S’ils ont reconnu l’individu de la photo, aucun ne peut dire où le trouver. Puis, un surprenant phénomène se produit. Nombreux parmi les hommes interrogés sont ceux qui reviennent s’exprimer à nouveau sur l’irréparable crime contre la nature. Tout à coup, le passé redevient sujet favori de discussion et l’oued son maître mot. Tout à coup, de plus en plus d’hommes se pressent vers un bivouac, autour d’une flamme vacillante. Plus encore, tout le monde veut repartir avec la photo, comme si l’ex-pêcheur venait de mettre la main sur le Soufre Rouge qui ferait fondre le présent dans le passé, transformerait et sublimerait celui-ci en faveur de chacun d’eux. Ahmed se voit alors contraint de reproduire en dizaines d’exemplaires l’image qui lui est tombée un jour du ciel. Curieusement, l’engouement pour une photo unique des années cinquante entraîne un emballement pour la carte postale coloniale, il en reçoit des dizaines à titre gracieux, dont il pourrait aisément faire son miel de leur reproduction et vente. Mais, peu enclin à commercer sur le dos de l’oued, il n’entend se consacrer qu’à sa biographie, ses pages de gloire, et ne prend guère conscience de l’aubaine. Au fond de lui-même pourtant, Ahmed le pêcheur sait qu’un nœud magique vient de se desserrer d’un cran, la multitude s’est interposée entre lui et le cours d’eau qui coule encore dans sa tête. Il se mit en tête de réagir. Puisque le passeur est introuvable, il ira à la recherche de sa barque et de ses rames, sans souffler mot de sa nouvelle tentative. Quitte à parcourir le pays dans tous les sens, il les retrouvera et les ramènera chez lui en secret. Au rebours de l’enquête classique qui procède du plus près au plus loin, il remontera loin, très loin en amont du lit de l’oued où il espère un double miracle: retrouver le Cheliff dans la plénitude de son volume, de sa configuration libre, et apercevoir le passeur, sinon son moyen de traversée. Cinq semaines d’exploration consciencieuse s’écoulent, à la fin la tâche paraît aussi chimérique que la cohabitation d’animaux marins et d’animaux terriens dans un même élément: le temps du passeur et celui du cycle long du temps sec s’excluent mutuellement. La mort dans l’âme, Ahmed le pêcheur interrompt ses pérégrinations et retourne à ses endroits favoris, tentant de pénétrer le crâne du passeur au moment où la barque et les rames sortent de l’oued pour ne plus jamais y retourner. Va t-il les abandonner sur la berge, les livrer aux flammes, les offrir, les briser dans un excès de rage, les cacher ailleurs ou chez lui, les enfouir peut-être, sinon les couper en morceaux pour les feux de bois des soirées froides de l’hiver? – Ultime supposition, image poignante et douloureuse: sont-elles restées à même l’eau jusqu’à l’assèchement absolu de l’oued, jusqu’à s’ensabler au point de pourrir et se putréfier comme chair en décomposition? La réponse tarde bien deux semaines supplémentaires avant que les recherches CONTEXTE: AFRIQUE MOHAMED MAGANI n’aient leurs fruits, sortie de la bouche même du passeur qui prend soin à l’instant même d’éclaircir un point capital. - C’est toi qui as dit que j’étais mort? L’attaque frontale de l’homme chargé d’ans, surgi du néant, désarçonne un bref instant Ahmed le pêcheur. Il se ressaisit vivement et oppose des non frénétiques de la tête, les yeux grands ouverts sur un fragment d’histoire doué de vie et qui se rebiffe. Exalté, il bafouille tout ensemble excuses, dénégations, exclamations de surprise et questions à répétition en guise de réponse. - Bon, fait l’ex-passeur, en apparence satisfait. Assis côte à côte, le vieux batelier en vient directement au sujet de ses moyens de subsistance d’antan, prenant une voix qu’on aurait dit accompagnée du murmure musical d’un clair ruisseau, et Ahmed le pêcheur l’écoute les mains croisées, serrant une canne imaginaire. La barque renaît par la grâce des mots. Sous un soleil éclatant elle descendait au fil de l’eau, tantôt effleurait les berges, tantôt s‘en éloignait afin de ne pas gêner les pêcheurs à la ligne, et louvoyait une infinité de fois au gré des fantaisies de son maître. Il faut dire qu’à cette époque la largeur du fleuve autorisait tous les détours et les figures de danse. Des temps les plus reculés, le destin familial de ses ascendants est intimement lié à l’oued Cheliff, reprit le vieil homme après un silence proche de la stricte observance méditative, du grand-grand-père au petit-petit- fils la vocation de passeur n’a sauté aucune génération. Quant aux barques à rames, beaucoup ont traversé les âges tels des arbres centenaires. leur longévité atteste du savoir-faire de ses aïeuls; là-dessus, Ahmed le pêcheur ose une interruption à propos de la valeur historique de leur dernier legs, objet de ses investigations infructueuses. Quel n’est son étonnement de voir le batelier incommodé, même subitement cabré lorsque celui-ci braque sur lui un regard chargé de colère et explose: « il ne reste plus rien. Rien! J’ai tout cassé! » - Pendant des semaines j’ai recherché votre embarcation. Des semaines! - Je suis au courant! De toute façon, si vous avez perdu le bout du fil, la pelote, elle, n’est pas perdue... Son geste ne se rattache ni à une brutale et imprévisible lassitude des tangages de son frêle esquif ni à une quelconque traversée ratée ou retour d’une partie de pêche sans succès. Ahmed ne peut que s’incliner devant les faits. Le vieux batelier avait mis en pièces sa barque de crainte qu’elle ne serve, les hivers où l’oued aurait miraculeusement, démesurément grossi, de moyen de fuite ou de locomotion aux légions d’acteurs, coalisés dans la guerre contre les civils, qui couvraient les feux de cendres, Le vieillard étouffe un geignement au creux d’un soupir sans fin et s’ensevelit dans le mutisme. Si l’oued coulait sous leurs pieds en ces moments, ses eaux rempliraient le plus grand barrage-réservoir du pays. Un silence mortel jette les ex-passeur et chevalier de la gaule chacun dans une tombe de froideur. Le premier signe d’apaisement vient du vieillard qui sort de sa manche une photo, la glisse avec dextérité entre les mains croisées d’Ahmed et dit: « je n’ai pas oublié de tirer un gros plan de ma dernière barque. J’ai un tas d’autres photos que j’aurais grand plaisir à vous montrer, autour d’une table bien garnie, au jour qui vous conviendrait. Elles peuvent nous consoler de la disparition de l’oued. » Il s’éloigne de quelques mètres et se retourne: « Ah! J’ai vraiment essayé de recoller les CONTEXTE: AFRIQUE MOHAMED MAGANI morceaux. » Il continue son chemin, et ajoute comme s’il se parlait à lui-même: « De mon temps, on m’appelait « le champion des pêcheurs », j’utilisais les tripes de poulet pour attraper les anguilles et les gros barbeaux. » « Parlez moins fort! » fit Ahmed le pêcheur. CONTEXT: AFRICA MONICA ARAC DE NYEKO Monica Arac de Nyeko Jambula Tree WINNER OF THE 2007 CAINE PRIZE FOR AFRICAN WRITING I heard of your return home from Mama Atim, our next-door neighbour. You remember her, don’t you? We used to talk about her on our way to school, hand in hand, jumping, skipping or playing run-and-catch-me. That woman’s mouth worked at words like ants on a cob of maize. Ai! Everyone knows her quack-quack-quack-mouth. But people are still left wordless by just how much she can shoot at and wreck things with her machinegun mouth. We nicknamed her “lecturer”. The woman speaks with the certainty of a lecturer at her podium claiming an uncontested mastery of her subject. I bet you are wondering how she got to know of your return. I could attempt a few guesses. Either way, it would not matter. I would be breaking a promise. I hate that. We made that promise never to mind her or be moved by her. We said that after that night. The one night no one could make us forget. You left without saying goodbye after that. You had to, I reasoned. Perhaps it was good for both of us. Maybe things could die down that way. Things never did die down. Our names became forever associated with the forbidden. Shame. Anyango – Sanyu. My mother has gotten over that night. It took a while, but she did. Maybe it is time for your mother to do the same. She should start to hold her head high and scatter dust at the women who laugh after her when she passes by their houses. Nakawa Housing Estates has never changed. Mr Wangolo, our SST teacher, once said those houses were just planned slums with people with broken dreams and unplanned families for neighbours. Nakawa is still over one thousand families on an acre of land they call an estate. Most of the women don’t work. Like Mama Atim they sit and talk, talk, talk and wait for their husbands to bring home a kilo of offal. Those are the kind of women we did not want to become. They bleached their skins with Mekako skin-lightening soap till they became tender and pale like a sun-scotched baby. They took over their children’s dool and kwepena catfights till the local councillor had to be called for arbitration. Then they did not talk to each for a year. Nakawa’s women laugh at each other for wearing the cheapest sandals on sale by the hawkers. Sanyu, those women know every love charm by heart and every juju man’s shrine because they need them to conjure up their husbands’ love and penises from drinking places with smoking pipes filled with dried hen’s throat artery. These women know that an even number is a bad sign as they watch the cowry shells and coffee beans fall onto cowhide when consulting the spirits about their husbands’ fidelity. That’s what we fought against when we walked to school each day. Me and you hand in hand, towards school, running away from Nakawa Housing Estate’s drifting tide which threatened to engulf us and turn us into noisy, CONTEXT: AFRICA MONICA ARAC DE NYEKO gossiping and frightening housewives. You said it yourself, we could be anything. Anything coming from your mouth was seasoned and alive. You said it to me, as we sat on a mango tree branch. We were not allowed to climb trees, but we did, and there, inside the green branches, you said – we can be anything. You asked us to pause for a moment to make a wish. I was a nurse in a white dress. I did not frighten children with big injections. You wished for nothing. You just made a wish that you would not become what your father wanted you to be – an engineer, making building plans, for his mansion, for his office, for his railway village. The one he dreamt about when he went to bed at night. Sanyu, after all these years, I still imagine shame trailing after me tagged onto the hem of my skirt. Other times, I see it, floating into your dreams across the desert and water to remind you, of what lines we crossed. The things we should not have done when the brightness of Mama Atim’s torch shone upon us – naked. How did she know exactly when to flash the light? Perhaps asking that question is a futile quest for answers. I won’t get any! Perhaps it is as simple as accepting that the woman knows everything. I swear, if you slept with a crocodile under the ocean, she would know. She is the only one who knows first-hand whose husband is sleeping with whose daughter at the estates inside those one-bedroomed houses. She knows whose son was caught inside the fences at Lugogo Show Grounds, the fancy trade fair centre just across Jinja Road, the main road which meanders its way underneath the estates. Mama Atim knows who is soon dying from gonorrhoea, who got it from someone, who got it from so-and-so who in turn got it from the soldiers who used to guard Lugogo Show Grounds, two years ago. You remember those soldiers, don’t you? The way they sat in the sun with their green uniforms and guns hanging carelessly at their shoulders. With them the AK47 looked almost harmless – an object that was meant to be held close to the body – black ornament. They whistled after young girls in tight miniskirts that held onto their bums. At night, they drank Nile Lager, tonto, Mobuku, and sang harambe, soukous or chaka-chaka songs. Eh moto nawaka mama Eh moto nawaka I newaka tororo Nawaka moto Nawaka moto Nawaka moto Eh fire, burns mama Eh fire, burns It is burning in Tororo It is burning It is burning It is burning Mama Atim never did pass anywhere near where they had camped in their green tents. She twisted her mouth when she talked about them. What were CONTEXT: AFRICA MONICA ARAC DE NYEKO soldiers doing guarding Lugogo? she asked. Was it a frontline? Mama Atim was terrified of soldiers. We never did find out why they instilled such fear in her. Either way, it did not matter. Her fear became a secret weapon we used as we imagined ourselves being like goddesses dictating her fate. In our goddess-hands, we turned her into an effigy and had soldiers pelt her with stones. We imagined that pelting stones from a soldier was just enough to scare her into susuing in her XXL Mother’s Union panties. The ones she got a tailor to hem for her, from leftover materials from her children’s nappies. How we wished those materials were green, so that she would see soldiers and stones in between her thighs every time she wore her green solider colour, stone-pelting colour and AK47 colour. We got used to the sight of green soldiers perched in our football fields. This was the new order. Soldiers doing policemen’s work! No questions, Uganda yetu, hakuna matata. How strange it was, freedom in forbidden colours. Deep green – the colour of the morning when the dew dries on leaves to announce the arrival of shame and dirt. And everything suddenly seems so uncovered, so exposed, so naked. Anyanyo – Sanyu. Mama Atim tells me you have chosen to come back home, to Nakawa Housing Estates. She says you refuse to live in those areas on the bigger hills and terraced roads in Kololo. You are coming to us and to Nakawa Housing Estates, and to our many houses lined one after another on a small hill overlooking the market and Jinja Road, the football field and Lugogo Show Grounds. Sanyu, you have chosen to come here to children running on the red earth, in the morning shouting and yelling as they play kwepena and dool – familiar and stocked with memory and history. You return to dirt roads filled with thick brown mud on a rainy day, pools of water in every pothole and the sweet fresh smell of rain on hard soil. Sanyu, you have come back to find Mama Atim. Mama Atim still waits for her husband to bring the food she is to cook each night. We used to say, after having nine sons and one daughter, she should try to take care of them. Why doesn’t she try to find a job in the industrial area like many other women around the housing estates? Throw her hips and two large buttocks around and play at entrepreneurship. Why doesn’t’ she borrow a little entandikwa from the microfinance unions so she can buy at least a bale of second-hand clothes at Owino market, where she can retail them at Nakawa market? Second-hand clothes are in vogue, for sure. The Tommy Hilfiger and Versace labels are the “inthing” for the young boys and girls who like to hang around the estates at night. Second-hand clothes never stay on the clothes hangers too long, like water during a drought, they sell quickly. Mummy used to say those second-hand clothes were stripped off corpses in London. That is why they had slogans written on them such as “You went to London and all you brought me was this lousy T-shirt!” When Mummy talked of London, we listened with our mouths open. She had travelled there not once, not twice, but three times to visit her sister. Each time she came back with her suitcase filled up with stories. When her sister died, Mummy’s trips stopped like that bright sparkle in her eye and the Queen Elizabeth stories, which she lost the urge to retell again and again. By that time we were grown. You were long gone to a different place, a different time and to a new memory. By then, we had grown into two big girls with four large breasts and buttocks like pumpkins, and we knew that the CONTEXT: AFRICA MONICA ARAC DE NYEKO stories were not true. Mummy had been to Tanzania, just a boat trip away on Lake Victoria, not London. No Queen Elizabeth. Mama Atim says you are tired of London. You cannot bear it anymore. London is cold. London is a monster which gives no jobs. London is no cosy exile for the banished. London is no refuge for the immoral. Mama Atim says this word “immoral” to me – slowly and emphatically in Jhapadhola, so it can sink into my head. She wants me to hear the word in every breath, sniff it in every scent so it can haunt me like that day I first touched you. Like the day you first touched me. Mine was a cold unsure hand placed over your right breast. Yours was a cold scared hand, which held my waist and pressed it closer to you, under the jambula tree in front of her house. Mama Atim says you are returning on the wings of a metallic bird – Kenya Airways. You will land in the hot Kampala heat which bites at the skin like it has a quarrel with everyone. Your mother does not talk to me or my mother. Mama Atim cooks her kilo of offal which she talks about for one week until the next time she cooks the next kilo, bending over her charcoal stove, her large and long breasts watching over her saucepan like cow udders in space. When someone passes by, she stops cooking. You can hear her whisper. Perhaps that’s the source of her gonorrhoea and Lugogo Show Ground stories. Mama Atim commands the world to her kitchen like her nine sons and one daughter. None of them have amounted to anything. The way their mother talks about me and you, Sanyu, after all these years, you would think her sons are priests. You would think at least one of them got a diploma and a low-paying job at a government ministry. You would think one of them could at least bring home a respectable wife. But wapi! Their wives are like used bicycles, ridden and exhausted by the entire estate manhood. They say the monkey which is behind should not laugh at the other monkey’s tail. Mama Atim laughs with her teeth out and on display like cowries. She laughs loudest and forgets that she, of all people, has no right to urinate at or lecture the entire estate on the gospel according to St Morality. Sometimes I wonder how much you have changed. How have you have grown? You were much taller than I. Your eyes looked stern, created an air about you – one that made kids stop for a while, unsure if they should trample all over you or take time to see for sure if your eyes would validate their preconceived fears. After they had finally studied, analysed, added, multiplied and subtracted you, they knew you were for real. When the bigger kids tried to bully me, you stood tall and dared them to lay a finger on me. Just a finger, you said grinding your teeth like they were aluminium. They knew you did not mince words and that your anger was worse than a teacher’s bamboo whipping. Your anger and rage coiled itself like a python around anyone who dared, anyone who challenged. And that’s how you fought, with your teeth and hands but mostly with your feet. You coiled them around Juma when he knocked my tooth out for refusing to let him have his way on the water tap, when he tried to cheat me out of my turn at the tap. I wore my deep dark green uniform. At lunchtimes the lines could be long and boys always jumped the queue. Juma got me just as I put my water container to get some drinking water after lunch. He pushed me away. He was strong, Sanyu. One push like that and I fell down. When I got up, I left my tooth on the ground and rose up with only blood on the green; deep green, the colour of the morning when CONTEXT: AFRICA MONICA ARAC DE NYEKO the dew dries off leaves. You were standing a distance. You were not watching. But it did not take you too long to know what was going on. You pushed your way through the crowd and before the teachers could hear the commotion going on, you had your legs coiled around Juma. I don’t know how you do it, Sanyu. He could not move. Juma, passed out? Hahahahahahaha! I know a lot of pupils who would be pleased with that. Finally, his big-boy muscles had been crushed, to sand, to earth and to paste. The thought of that tasted sweet and salty like grasshoppers seasoned with onion and kamulari – red, red-hot pepper. Mr Wangolo came with his hand-on-the-knee-limp and a big bamboo cane. It was yellow and must have been freshly broken off from the mother bamboos just outside the school that morning. He pulled and threatened you with indefinite expulsion before you let big sand-earth-paste Juma go. Both you and Juma got off with a two-week suspension. It was explicitly stated in the school rules that no one should fight. You had broken the rules. But that was the lesser of the rules that you broke. That I broke. That we broke. Much later, at home, your mother was so angry. On our way home, you had said we should not say how the fight started. We should just say he hit you and you hit him back. Your house was two blocks from ours and the school was the nearest primary school to the estate. Most of the kids in the neighbourhood studied at Nakawa Katale Primary School alright, but everyone knew we were great friends. When your mother came and knocked upon our door, my mother had just put the onions on the charcoal stove to fry the goat’s meat. Mummy bought goat’s meat when she had just got her salary. The end of month was always goat’s meat and maybe some rice if she was in a good mood. Mummy’s food smelt good. When she cooked, she joked about it. Mummy said if Papa had any sense in his head, he would not have left her with three kids to raise on her own to settle for that slut he called a wife. Mummy said Papa’s new wife could not cook and that she was young enough to be his daughter. They had to do a caesarean on her when she gave birth to her first son. What did he expect? That those wasp hips could let a baby’s head pass through them? When she talked of Papa, she had that voice. Not a “hate voice” and not a “like voice”, but the kind of voice she would use to open the door for him and tell him welcome back even after all these years when he never sent us a single cent to buy food, books, soap or Christmas clothes. My papa is not like your papa, Sanyu. Your papa works at the Ministry of Transport. He manages the Uganda railways, which is why he wants you to engineer a railway village for him. You say he has gotten so intoxicated with the railway that every time he talks of it, he rubs his palms together like he is thinking of the best-ever memory in his life. Your father has a lot of money. Most of the teachers knew him at school. The kids had heard about him. Perhaps that is why your stern and blank expression was interpreted with slight overtones. They viewed you with a mixture of fear and awe; a rich man’s child. Sometimes Mummy spoke about your family with slight ridicule. She said no one with money lived in Nakawa Housing Estates of all places. If your family had so much money, why did you not go to live in Muyenga, Kololo and Kansanga with your Mercedes-Benz lot? But you had new shoes every term. You had two CONTEXT: AFRICA MONICA ARAC DE NYEKO new green uniforms every term. Sanyu, your name was never called out aloud by teachers, like the rest of us whose parents had not paid school tuition on time and we had to be sent back home with circulars. Dear Parent, This is to remind you that unless this term’s school fees are paid out in full, you daughter/son will not be allowed to sit for end of term exams ... Blah blah blah ... Mummy always got those letters and bit her lip as if she just heard that her house had burnt down. That’s when she started staring at the ceiling with her eyes transfixed on one particular spot on the brown tiles. On such days, she went searching through her old maroon suitcase. It was from another time. It was the kind that was not sold in shops anymore. It had lost its glitter and I wished she never brought it out to dry in the sun. It would be less embarrassing if she brought out the other ones she used for her Tanzania trips. At least those ones looked like the ones your mother brought out to dry in the sun when she did her weekly house cleaning. That suitcase had all Mummy’s letters – the ones Papa had written her when, as she said, her breasts were firm like green mangoes. Against a kerosene lamp, she read aloud the letters, reliving every moment, every word and every promise. I will never leave you. You are mine forever. Stars are for the sky, you are for me. Hello my sweet supernatural colours of the rainbow. You are the only bee on my flower. If loving you is a crime I am the biggest criminal in the world. Mummy read them out aloud and laughed as she read the words in each piece of stained paper. She had stored them in their original Air Mail envelopes with the green and blue decorations. Sometimes Papa had written to her in aerogramme. Those were opened with the keenest skill to keep them neat and almost new. He was a prolific letter-writer, my papa, with a neat handwriting. I know this because oftentimes I opened her case of memories. I never did get as far as opening any letter to read; it would have been trespassing. It did not feel right, even if Mummy had never scolded me from reading her “To Josephine Athieno Best” letters. I hated to see her like that. She was now a copy typist at Ramja Securities. Her salary was not much, but she managed to survive on it, somehow, somehow. There were people who spoke of her beauty as if she did not deserve being husbandless. They said, with some pity, “Oh, and she has a long-ringed neck, her eyes are large and sad. The woman has a voice, soft, kind and patient. How could the man leave her?” Mummy might have been sad sometimes, but she did not deserve any pity. She lived her life like her own fingernails and temperament: so calm, so sober and level-headed, except, of course, when it came to reading those Papa letters by the lantern lamp. I told you about all this, Sanyu. How I wished she could be always happy, like CONTEXT: AFRICA MONICA ARAC DE NYEKO your mother who went to the market and came back with two large boys carrying her load because she had shopped too much for your papa, for you, for your happy family. I did not tell you, but sometimes I stalked her as she made her way to buy things from the noisy market. She never saw me. There were simply too many people. From a distance, she pointed at things, fruit ripe like they had been waiting to be bought by her all along. Your mother went from market stall to market stall, flashing her white Colgate smile and her dimpled cheeks. Sometimes I wished I were like you; with a mother who bought happiness from the market. She looked like someone who summoned joy at her feet and it fell in salutation, humbly, like the Kabaka’s subjects who lay prostrate before him. When I went to your house to do homework, I watched her cook. Her hand stirred groundnut soup. I must admit, Mummy told me never to eat at other people’s homes. It would make us appear poor and me rather greedy. I often left your home when the food was just about ready. Your mother said, in her summon-joy-voice: “Supper is ready. Please eat.” But I, feigning time-consciousness, always said, “I have to run home, Mummy will be worried.” At such times, your father sat in the bedroom. He never came out from that room. Every day, like a ritual, he came home straight from work. “A perfect husband,” Mummy said, more times than I can count. “I hate him,” you said more times than I could count. It was not what he didn’t do, you said. It was what he did. Those touches, his touches, you said. And you could not tell your mother. She would not believe you. She never did. Like that time she came home after the day you taught Juma a good lesson for messing around with me. She spoke to my mother in her voice which sounded like breaking china. “She is not telling me everything. How can the boy beat her over nothing? At the school tap? These two must know. That is why I am here. To get to the bottom of this! Right now!” She said this again and again, and Mummy called me from the kitchen where I had escaped just when I saw her knock on our back door, holding your hands in hers and pulling you behind her like a goat! “Anyango, Anyangooooo,” Mummy called out. I came out, avoiding your eyes. Standing with her hands held in front of me with the same kind of embarrassment and fear that overwhelmed me each time I heard my name called by a teacher for school fees default. They talked for hours. I was terrified, which was why I almost told the truth. You started very quickly and repeated the story we had on our way home. Your mother asked, “What was Anyango going to say again?” I repeated what you had just said, and your mother said, “I know they are both lying. I will get to the bottom of this at school in two weeks’ time when I report back with her.” And she did. You got a flogging that left you unable to sit down on your bum for a week. When you left our house that day, they talked in low voices. They had sent us outside to be bitten by mosquitoes for a bit. When they called us back in, they said nothing. Your mother held your hand again, goat-style. If Juma had seen you being pulled like that, he would have had a laugh one hundred times the size of your trodden-upon confidence. You never looked back. You avoided looking at me for a while after that. Mummy had a list of “don’ts” after that for me, too. They were many. CONTEXT: AFRICA MONICA ARAC DE NYEKO Don’t walk back home with Sanyu after school. Don’t pass by their home each morning to pick her up. Don’t sit next to her in class. Don’t borrow her textbooks. I will buy you your own. Don’t even talk to her. Don’t, don’t, don’t do anymore Sanyu. It was like that, but not for long. After we started to talk again and look each other in the eyes, our parents seemed not to notice, which is why our secondary school applications went largely unnoticed. If they complained that we had applied to the same schools and in the same order, we did not hear about them. 1. St Mary’s College Namagunga 2. Nabisunsa Girls’ School 3. City High School. 4. Modern High School. You got admitted to your first choice. I got my third choice. It was during the holidays that we got a chance to see each other again. I told you about my school. That I hated the orange skirts, white shirts, white socks and black boy’s Bata shoes. They made us look like flowers on display. The boys wore white trousers, white shorts, white socks, and black shoes. At break time, we trooped like a bunch of moving orange and white flowers – to the school canteens, to the drama room and to the football field. You said you loved your school. Sister Cephas, your Irish headmistress, wanted to turn you all into Black English girls. The girls there were the prettiest ever and were allowed to keep their hair long and held back in puffs, not one inch only like at my school. We were seated under the jambula tree. It had grown so tall. The tree had been there for ages, with its unreachable fruit. They said it was there even before the estate houses were constructed. In April the tree carried small purple jambula fruit, which tasted both sweet and tangy and turned our tongues purple. Every April morning when the fruit started to fall, the ground became a blanket of purple. When you came back during that holiday, your cheeks were bulging like you had hidden oranges inside them. Your eyes had grown small and sat like two short slits on your face. And your breasts, the two things you had watched and persuaded to grow during all your years at Nakawa Katale Primary School, were like two large jambulas on your chest. And that feeling that I had, the one that you had, that we had – never said, never spoken – swelled up inside us like fresh mandazies. I listened to your voice rise and fall. I envied you. I hated you. I could not wait for the next holidays when I could see you again. When I could dare place my itchy hand onto your two jambulas. That time would be a night, two holidays later. You were not shocked. Not repelled. It did not occur to either of us, to you or me, that these were boundaries we should not cross nor should think of crossing. Your jambulas and mine. Two plus two jambulas equals four jambulas – even numbers should stand for luck. Was this luck pulling us together? You pulled me to yourself and we rolled on the brown CONTEXT: AFRICA MONICA ARAC DE NYEKO earth that stuck to our hair in all its redness and dustiness. There in front of Mama Atim’s house. She shone a torch at us. She had been watching. Steadily, like a dog waiting for a bone it knew it would get; it was just a matter of time. Sanyu, I went for confession the next day, right after Mass. I made the sign of the cross and smelt the fresh burning incense in St Jude’s church. I had this sense of floating on air, confused, weak, and exhausted. I told the priest, “Forgive me father for I have sinned. It has been two months since my last confession.” And there in my head, two plus two jambulas equals four jambulas ... I was not sorry. But I was sorry when your father, with all his money from the railways, got you a passport and sent you on the wing of a bird, hello London, here comes Sanyu. Mama Atim says your plane will land tomorrow. Sanyu, I don’t know what you expect to find here, but you will find my Mummy; you’ll find that every word she types on her typewriter draws and digs deeper the wrinkles on her face. You will find the Housing Estates. Nothing has changed. The women sit in front of their houses and wait for their husbands to bring them offal. Mama Atim’s sons eat her food and bring girls to sleep in her bed. Your mother walks with a stooped back. She has lost the zeal she had for her happiness-buying shopping trips. Your papa returns home every day as soon as he is done with work. My Mummy says, “That is a good husband.” I come home every weekend to see Mummy. She has stopped looking inside her maroon case. But I do; I added the letter you wrote me from London. The only one I ever did get from you, five years after you left. You wrote: A. I miss you. S. Sanyu, I am a nurse at Mengo Hospital. I have a small room by the hospital, decorated with two chairs, a table from Katwe, a black-and-white television and two paintings of two big jambula trees which I got a downtown artist to do for me. These trees have purple leaves. I tell you, they smile. I do mostly night shifts. I like them, I often see clearer at night. In the night you lift yourself up in my eyes each time, again and again. Sanyu, you rise like the sun and stand tall like the jambula tree in front of Mama Atim’s house. CONTEXT: AFRICA TOYIN ADEWALE Toyin Adewale Listen to Yourself (In memory of Durban) Where is a word to hold the edge of blue waters when the waves wrestle like rival wives? Where is a word to hold a woman when she runs, runs, runs ...? Where is a word to stamp out a fire when a sky has no home? Listen to yourself. Listen to the gossip of seas, Washing up Nombolisa’s cooking stones. Listen to derelict hope swinging cloth hangers at green lights. Listen to the man you cannot touch, the manacled children, the rubbished innocence. CONTEXT: AFRICA SEFI ATTA Sefi Atta Excerpt from the novel Everything Good Will Come From the beginning I believed whatever I was told, downright lies even, about how best to behave, although I had my own inclinations. At an age when other Nigerian girls were masters at ten-ten, the game in which we stamped our feet in rhythm and tried to outwit partners with sudden knee jerks, my favorite moments were spent sitting on a jetty pretending to fish. My worst was to hear my mother’s shout from her kitchen window: “Enitan, come and help in here.” I’d run back to the house. We lived by Lagos Lagoon. Our yard stretched over an acre and was surrounded by a high wooden fence that could drive splinters into careless fingers. I played, carelessly, on the West side because the East side bordered the mangroves of Ikoyi Park and I’d once seen a water snake slither past. Hot, hot were the days as I remember them, with runny-egg sunshine and brief breezes. The early afternoons were for eat and sleep breaks: eat a heavy lunch, sleep like a drunk. The late afternoons, after homework, I spent on our jetty, a short wooden promenade I could walk in three steps, if I took long enough strides to strain the muscles between my thighs. I would sit on its cockle-plastered edge and wait for the water to lap at my feet, fling my fishing rod, which was made from tree branch, string, and a cork from one of my father’s discarded wine bottles. Sometimes fishermen came close, rowing in a rhythm that pleased me more than chewing on fried tripe; their skins charred, almost gray from sun-dried sea salt. They spoke in the warble of island people, yodeling across their canoes. I was never tempted to jump into the lagoon as they did. It gave off the smell of raw fish and was the kind of dirty brown I knew would taste like vinegar. Plus, everyone knew about the currents that could drag a person away. Bodies usually showed up days later, bloated, stiff and rotten. True. It wasn’t that I had big dreams of catching fish. They wriggled too much and I couldn’t imagine watching another living being suffocate. But my parents had occupied everywhere else with their fallings out; their trespasses unforgivable. Walls could not save me from the shouting. A pillow, if I stuffed my head under it, could not save me. My hands could not, if I clamped them over my ears and stuffed my head under a pillow. So there it was, the jetty, my protectorate, until the day my mother decided it was to be demolished. The priest in her church had a vision of fishermen breaking into our house: They would come at night, labalaba. They would come unarmed, yimiyimi. They would steal valuables, tolotolo. The very next day, three workmen replaced our jetty with a barbed wire fence and my mother kept watch over them; the same way she watched our neighbors; the same way she checked our windows for evil spirits outside at night; the same CONTEXT: AFRICA SEFI ATTA way she glared at our front door long after my father had walked out. I knew he would be furious. He was away on a law conference and when he returned and saw her new fence, he ran outside shouting like a crazed man. Nothing, nothing, would stop my mother, he said, until she’d destroyed everything in our house, because of that church of hers. What kind of woman was she? What kind of selfish, uncaring, woman was she? He enjoyed that view. Warm, breezy evenings on the veranda overlooking it is how I remember him, easy as the cane chair in which he sat. He was usually there in the dry season, which lasted most of the year; scarcely in the chilly harmattan, which straddled Christmas and New Year, and never in the swampy rainy season that made our veranda floor slippery over the summer vacation. I would sit on the steps and watch him and his two friends: Uncle Alex, a sculptor, who smoked a pipe that smelled like melted coconut, and Uncle Fatai, who made me laugh because his name fitted his roly-poly face. He too was a lawyer like my father, and they had all been at Cambridge together. Three musketeers in the heart of darkness, they called themselves there; they stuck together and hardly anyone spoke to them. Sometimes they frightened me with their stories of western Nigeria (which my father called the “Wild West”), where people threw car tires over other people and set them on fire because they belonged to different political factions. Uncle Alex blamed the British for the fighting: “Them and their bloody empire. Come here and divide our country like one of their bloody tea cakes. Driving on the left side of the bloody road ...” The day the Civil War broke out, he delivered the news. Uncle Fatai arrived soon afterward and they bent heads as if in prayer to listen to the radio. Through the years, from their arguments about federalists, secessionists, and bloody British, I’d amassed as much knowledge about the events in my country as any seven-yearold could. I knew that our first Prime Minister was killed by a Major General, that the Major General was soon killed, and that we had another Major General heading our country. For a while the palaver had stopped, and now it seemed the Biafrans were trying to split our country in two. Uncle Fatai broke the silence. “Hope our boys finish them off.” “What the hell are you talking about?” Uncle Alex asked. “They want a fight,” Uncle Fatai said. “We’ll give them a fight.” Uncle Alex prodded his chest, almost toppling him over. “Can you fight? Can you?” My father tried to intervene but he warned, “Keep out of this, Sunny.” My father eventually asked Uncle Alex to leave. He patted my head as he left and we never saw him in our house again. Over the next months, I would listen to radio bulletins on how our troops were faring against the Biafrans. I would hear the slogan: “To keep Nigeria one is a task that must be done.” My father would ask me to hide under my bed whenever we had bomb raid alerts. Sometimes I heard him talking about Uncle Alex; how he’d known beforehand there was going to be a civil war; how he’d joined the Biafrans and died fighting for them even though he hated guns. I loved my uncle Alex; thought that if I had to marry a man, it would be a man like him, an artist, who cared too much or not at all. He gave my father the nickname Sunny, though my father’s real name was Bandele Sunday Taiwo. Now, everyone called my father Sunny, like they called my CONTEXT: AFRICA SEFI ATTA mother Mama Enitan, after me, though her real name was Arin. I was their first child, their only child now, since my brother died. He lived his life between sickle cell crises. My mother joined a church to cure him, renounced Anglicanism and herself, it seemed, because one day, my brother had another crisis and she took him there for healing. He died, three years old. I was five. In my mother’s church they wore white gowns. They walked around on bare feet, and danced to drums. They were baptised in a stream of holy water and drank from it to cleanse their spirits. They believed in spirits; evil ones sent by other people to wreak havoc, and reborn spirits, which would not stay long on earth. Their incantations, tireless worship and praise. I could bear even the sight of my mother throwing her hands up and acting as I’d never seen her act in an Anglican church. But I was sure that if the priest came before me and rolled his eyeballs back as he did when he was about to have a vision, that would be the end of me. He had a bump on his forehead, an expression as if he were sniffing something bad. He pronounced his visions between chants that sounded like the Yoruba words for butterfly, dung beetle, and turkey: labalaba, yimiyimi, tolotolo. He smelled of incense. The day he stood before me, I kept my eyes on the hem of his cassock. I was a reborn spirit, he said, like my brother, and my mother would have to bring me for cleansing. I was too young, she said. My time would soon come, he said. Turkey, turkey, turkey. The rest of the day I walked around with the dignity of the aged and troubled, held my stomach in until I developed cramps. Death would hurt, I knew, and I did not want to see my brother like that, as a ghost. My father only had to ask how I was feeling, when I collapsed before him. “I’m going to die,” I said. He asked for an explanation. “You’re not going back there again,” he said. Sundays after that, I spent at home. My mother would go off to church, and my father would leave the house, too. Then Bisi, our house girl, would sneak next door to see Akanni, the driver who blared his juju music, or he’d come to see her and they would both go off to the servants’ quarters, leaving me with Baba, our gardener, who worked on Sundays. At least, during the Civil War, Bisi would sometimes invite me over to hear Akanni’s stories about the war front far away. How Biafran soldiers stepped on land mines that blew up their legs like crushed tomatoes; how Biafran children ate lizard flesh to stay alive. The Black Scorpion was one of Nigeria’s hero soldiers. He wore a string of charms around his neck and bullets ricocheted off his chest. I was old enough to listen to such tales without being frightened, but was still too young to be anything but thrilled by them. When the war ended three years later, I missed them. Television in those days didn’t come on until six o’clock in the evening. The first hour was news and I never watched the news, except that special day when the Apollo landed on the moon. After that, children in school said you could get Apollo, a form of conjunctivitis, by staring at an eclipse too long. Tarzan, Zorro, Little John, and the entire Cartwright family on Bonanza were there, with their sweet and righteous retaliations, to tell me any other fact I needed to know about the world. And oblivious to any biased messages I was receiving, I sympathised with Tarzan (those awful natives!), thought Indians were terrible people and memorised the CONTEXT: AFRICA SEFI ATTA happy jingles of foreign multinational companies: “Mobil keeps your engine – Beep, beep, king of the road.” If Alfred Hitchcock came on, I knew it was time to go to bed. Or if it was Doris Day. I couldn’t bear her song, “Que Sera”. I approached adolescence with an extraordinary number of body aches, finished my final year of primary school, and began the long wait for secondary school. Secondary school didn’t start until early October, so the summer vacation stretched longer than normal. The rains poured, dried up, and each day passed like the one before unless something special happened, like the afternoon Baba found iguana eggs, or the morning a rabid dog bit our night watchman or the evening Bisi and Akanni fought. I heard them shouting and rushed to the servants’ quarters to watch. Akanni must have thought he was Muhammad Ali. He was shadow boxing around Bisi. “What’s my name? What’s my name?” Bisi lunged forward and slapped his face. He reached for her collar and ripped her blouse. “My bress? My bress?” She spat in his face and grabbed the gold chain around his neck. They both crashed into the dust and didn’t stop kicking till Baba lay flat out on the ground. “No more,” he said. “No more, I beg of you.” Most days were not that exciting. And I was beginning to get bored of the wait when, two weeks to the end of the vacation, everything changed. It was the third Sunday of September 1971, late in the afternoon. I was playing with my catapult when I mistakenly struck Baba as he was trimming the lawn. He chased after me with his machete and I ran into the barbed wire fence, snagging my sleeve. Yoruba tradition has us believe that Nature heralds the beginning of a person’s transition: to life, adulthood, and death. A rooster’s crow, sudden rainfall, a full moon, seasonal changes. I had no such salutations as I remember it. (Double Storey, 2007) CONTEXT: AFRICA JACK MAPANJE Jack Mapanje From: Beasts of Nalunga Now That September 11 Should Define Mr Western Civilisation ... (for Sarah Maguire & Saadi Yousef) I remember being summoned to the British Council Office Once, back home; I’d got the Commonwealth Scholarship Bound for the University of London. The British Council Lady who interviewed us declared, to get the full benefit Of our studies in metropolitan Britain, we were to listen Carefully to what she had to say about “civilisation” – she Uttered the word as if it were some Country Squire we Should’ve been told about at our village school long ago Or perhaps some gentleman once in a striped suit, bow Tie, bowler hat, about to sit at table glittering with silver Cutlery, ready to eat the precious bits and bobs we’d Never hope to taste. For the lady first fell into a deadly Trance and, as if in defence of the law she feared we’d Soon break, stressed, “If you do not listen, you’ll be Embarrassed when you are invited to civilised homes!” Meaning where people ate with knives, forks, spoons; Drank from mugs, cups, glasses; not with hands, sticks And shards like us drinking from calabashes or gourds! The lady then showed us how the civilised table was CONTEXT: AFRICA JACK MAPANJE To be set, with the number of plates minutely spaced Before us, the knives on the right, the forks on the left, Knives and spoons on top; which knives went with Which forks with which food; how we were to begin With the knives and forks outside the plate and moved Inside, as it were. “Quaffing one’s drink like American Cowboys won’t do!” She insisted, “You know what I Mean!” Of course, we did not know what she meant Until after entering the British Council Head Office at 65 Davis Street, London, SW1, where the lady’s rules Of engagement drastically changed. Now, weren’t we Urged to “Join those Bond Street corner shop queues for Lunch!” And there, didn’t we have to pick our fish ‘n’ chips With our flipping fingers, from the cones of London’s Evening Standard Newspaper? Walking down Portobello Market that evening, didn’t we laugh, laugh, laugh until We broke wind, tears running down cheeks, imagining The British Council lady’s rules so carelessly breached by Her own mates! That was years ago, though now that 9/11 Defines Lord Western Civilisation of the New Millennium I thought you might like to hear when first I met the guy! CONTEXTE: AFRIQUE SAMI TCHAK Sami Tchak Extrait du roman Le Paradis des chiots Reinaldo Gómez, son histoire, c’était simple et compliqué à la fois. Fils vrai d’El Paraíso, mais, bon, il a eu des diplômes, de gros diplômes, rien qu’à partir des écoles d’El Paraíso, mais bon, il a eu des grades pour aller à l’université de la vraie ville, à la grande université publique avec une bourse, et c’est comme ça que quand il a fini d’obtenir des diplômes, il a eu l’idée de quitter le pays, comme beaucoup d’autres, pour aller tenter sa chance chez les Amerloques, il avait au pays sa maman et son grand frère José. Reinaldo, lui, il a eu l’idée de se construire une grande villa à El Paraíso, pas dans le nord de la capitale, mais dans le quartier où il est né, alors que ceux qui ont la chance de tomber sur la fortune ils quittent le quartier pour aller vivre la vie des riches dans le nord. Et il envoyait l’argent, il était revenu au pays lui-même pour acheter le terrain, et il envoyait l’argent à José son grand frère pour les travaux de la villa. Et comme il s’agissait d’une villa vraiment château, les travaux ont duré trois ans. Et José, à chaque étape, prenait la villa en photo et envoyait à Reinaldo qui, là-bas, disait à tout le monde, J’ai un vrai château chez moi. Tu sais, quand il est revenu un jour à El Paraíso, avec tous ses bagages, parce qu’il a pris la décision de ne plus repartir là-bas, de mener sa vie dans son château, il a vu la vraie vérité, son terrain transformé en latrines à ciel ouvert et en dépotoir public, et la villa qu’il voyait sur les photos, c’était une belle villa dans le nord de la capitale que son frère José photographiait pour lui. En fait, le José avait bouffé l’argent, des mille et des mille, même des milliers de mille dollars, il avait fait la bringue avec des filles un peu fofolles du derrière et il avait acheté une grosse bagnole rouge et tout le monde l’appelait Le dieu à la bagnole rouge et il avait embauché six gardes du corps et partout où il allait faire la fête, des musiciens chantaient pour lui et il collait des billets verts sur leur front ruisselant de sueur. Voilà comment il avait rendu son petit frère fou de rage et comment il l’avait obligé à le flinguer en pleine rue, devant leur mère qui ignorait tout, et voilà comment leur mère avait crevé deux mois après l’abattage par Reinaldo de son grand frère José, et voilà comment Reinaldo, il s’était retrouvé dans la cabane de sa mère, au lieu d’une vie dans un château. Il écrivait et il disait qu’il écrivait l’histoire de la villa, l’histoire de sa prison, puisque les flics l’ont menotté et gardé en prison pendant dix jours, c’est beaucoup, mais ils ont dit qu’ils auraient tué dix fois le frère qui leur aurait fait ça. Et les gens l’ont félicité [...] Une nuit, après avoir croisé Laura et Juanito dans la rue, j’ai dit, Il s’aiment, ces deux-là, et puis quand je me suis éloigné d’eux, j’ai vu Riki qui courait, qui criait, Il s’est flingué, j’ai dit, Riki, tu dis il s’est flingué, qui? Il s’est arrêté et il m’a pris il main, il a dit, C’est du sale qu’il a fait, vraiment du sale, il s’est fait sauter la cervelle, il a dit CONTEXTE: AFRIQUE SAMI TCHAK ça plusieurs fois avant de me préciser que Reinaldo Gómez venait de se suicider, qu’il était avec lui, qu’ils ont mangé, les deux, mangé et tout et après il a dit Je vais faire une prière et lui Riki il n’a pas vu les choses venir, et il a entendu boum! et il a vu le corps chavirer, C’est du vilain ce qu’il s’est fait. Moi j’ai dit, C’est fou le pays, c’est chouette et fou le pays, c’est vraiment chouette, et je me suis mis à courir vers la cabane du suicidé et Riki s’est mis à me suivre, et crois-moi, Oscar, que quand nous sommes arrivés là-bas, une famille était en train d’emménager dans la cabane du suicidé dont le corps traînait devant la porte, en attendant d’être évacué par les policiers déjà avertis. Je te jure que la famille, c’étaient un père, sa femme et leurs cinq enfants, arrivés de leur cambrousse un mois plus tôt et on la leur a vendue, cette cabane, et j’ai appris plus tard que c’est Reinaldo lui-même qui leur a vendu sa cabane et il leur aurait dit, Demain, je libère la cabane pour vous, c’est pour ça qu’ils ne pouvaient pas trop attendre et que quand la police est venue, elle a trouvé cela normal parce que le suicidé a fait parvenir un mot au commissariat d’El Paraíso pour lui expliquer qu’il a décidé de se moquer de la vie et a vendu sa cabane à une famille qui... C’est alors que j’ai eu l’honneur de le trouver dégoûtant, Reinaldo, même si je me suis dit, C’est une question de tête, la tête n’a pas tenu à cause du château avorté par son frère José, même s’il a flingué lui-même José son frère, la tête n’a pas supporté. Au bout de dix jours, sa mort, je l’ai intégrée dans ma caboche, quand je passais devant sa cabane et voyais les nouveaux propriétaires, ça ne faisait plus mal au cœur, je riais même un petit coup et je disais, Est-ce que Reinaldo a vécu ici? (Mercure de France, 2006) CONTEXT: AFRICA MWILA AGATHA ZAZA Mwila Agatha Zaza A Strange Kind of Gravy Lunch and dinner always brought the smell of curries wafting over the wire fence and drying hedge that separated our two houses. Mother had always hated curries and all things Indian. She liked her food bland, only rarely livened up with herbs. Her herb pots on the kitchen windowsill grew mostly parsley and sometimes rosemary. Half-empty bottles of dried herbs, grimy with dirt accumulated from too many unwashed hands searching for the saltcellar, all stood in the corner next to the cooker gathering dust. Mrs Vikay marched over one morning, with a tin of homemade biscuits, and in halting Chinyanja asked the gardener lazing in the front for his Madam. He called my mother to the door, and my mother emerged yawning. “I just brought over some biscuits. I live next door; I noticed you were at home during the day and thought we should finally meet,” Mrs Vikay explained as I looked up from the tap at which I was making mud pies. My mother invited her in, and for a while I lost interest in them. Later, wandering indoors, I found the two women sitting in the living room drinking tea and eating the biscuits. They made a sharp contrast. Mrs Vikay looked as if she was dressed for a special occasion, while my mother was in a T-shirt, jeans and patapata. I liked the little dot pasted on Mrs Vikay’s forehead, and she was wearing jewellery during the day; my mother never wore jewellery this elaborate, even when she went out. Mrs Vikay was adorned in glamorous sparkly stones that looked like diamonds, and her nails were painted bright red. Best of all I liked her long, black hair, which cascaded down her back in a single plait. “You are very pretty.” I told her from where I lay on the floor in my mud-stained shorts and T-shirt. “And you are too,” she smiled back. “You know, you should come and play with my sons – they’re the same age as you.” “I hate boys,” I replied. “They just make noise and get dirty all the time.” “Sounds just like you,” my mother laughed. I stuck my tongue out at her. I didn’t appreciate her saying that – for some reason I wanted Mrs Vikay to think I was a nice, clean little girl. I regretted having stuck my tongue at my mother, though, because Mrs Vikay looked as if she had never stuck her tongue out at anyone. “Come and visit me sometime, and we’ll cook some sweets.” She made this invitation with a smile of red painted lips, and I looked at my mother for approval. “Katie has as much interest in cooking as I have,” my mother snorted. “We aren’t really the cooking kind.” CONTEXT: AFRICA MWILA AGATHA ZAZA I glared at my mother. This was another thing I didn’t want Mrs Vikay to know: how my mother was adept at shouting at the maid to cook properly when she was completely incapable of doing it herself. I didn’t want Mrs Vikay to know about the oily stew and overcooked cabbage that were the staples of our diet. That evening, alone in my room, I picked up my discarded dolls and sat them in a row. I brushed their long hair and remembered what my mother had said when I had declared that I wanted to grow long hair like my dolls: “Well our hair doesn’t grow like that. Some people, who are not the same colour as us, have hair that grows straight, and we don’t.” “But I can grow it one day, can’t I? Mundia, in my class, has hair that is almost as long as this. It goes halfway down her back.” “Yes, but ...” “Oh for God’s sake, Mary,” my father interjected, “why don’t you just tell her it’ll grow on its own? Why does it have to be so complicated?” “Why should I lie?” my mother demanded. My father shook his head and continued to read his book. My mother looked at me, exasperated. I knew she didn’t know what to say; I always knew when to stop asking because she didn’t know the answer. The day after Mrs Vikay’s visit, I found my mother pacing the living room. I knew she was bored from being on leave from work. When she looked up at me, she said she was going to visit Mrs Vikay next door, and that I should come along to say hello. For some reason it occurred to me that my clothes were torn and dirty as usual – our maid could not keep up with my laundry, especially now in the rainy season, when I spent all day outdoors in the heat or in the puddles that remained after the rain. I shook my head. “OK,” said my mother, “I thought you liked her.” She walked off towards the hole in the bushes that separated our two houses. “Wait for me!” “I’m waiting.” “No!” I replied. “I want to put on a dress.” Surprised, my mother followed me into my bedroom and helped me select a Sunday dress; then I brushed the hair around my cornrows, trying to neaten myself. I noticed my mother had also made an effort. She wore fitted trousers and a blouse that she normally wore to work. Mrs Vikay served us lunch. I savoured the richness and intensity of the flavours. I was sure my mother wouldn’t like the food. I raised an eyebrow when my mother praised the curry, along with the chapatis and small bowls of condiments, declaring that she could never create such a complex dish. “Anyone can make a curry. It’s just a different type of gravy,” said Auntie Vikay (as I had been instructed to call her). “Come one day, and I’ll show you.” She showed me pictures of her husband at work and of her home India, explaining the difference between Indian and African elephants, telling me the names of all her clothes. Then she showed me pictures of palaces and told me about the kings and queens from which she said she was descended. I found it easy to believe that she was queen or princess, and as my mother and I walked home, images of Auntie Vikay elegantly atop an elephant went with me. The next morning my mother’s sister arrived in the early hours, saying there CONTEXT: AFRICA MWILA AGATHA ZAZA was a death in my mother’s family. They had to drive at least 600 kilometres to their hometown for the funeral. It meant they wouldn’t be back for at least four days. I tried not to look pleased. Left to my own devices, my father at work, I rummaged through my mother’s rarely used makeup, finally settling upon a purplish lipstick that I smeared on my lips, after which, using bright red nail polish, I placed a large dot on my forehead. The final effect pleased me, and I went to my room and pretended to be an Indian princess, wearing a dress over my trousers in imitation of the salwar kameez that Auntie Vikay wore. My father came home for lunch bearing crispy fried chicken and chips, which he often did when my mother was away, when the maid’s cooking would descend to new levels of oil and mush. As we squeezed tomato ketchup over our food there was a knock at the kitchen door, and I ran to open it. Auntie Vikay gave me a hug and asked for my mother. I explained about the funeral, but grabbed her hand and said she had to meet my father. I dragged her in before she could refuse. My father shook her hand, Mrs Vikay asked after the funeral, and they talked while I ate the chips and watched Auntie Vikay shyly running her hand through her hair and occasionally looking to the floor. She looked at what we were eating. “Katie must feel free to come to our house. There is always food there; you know these takeaways are not good for her.” “No, she is OK, the maid cooks very well.” “It is no bother,” she said, touching my father’s bare arm lightly, “and I am always home.” She turned to me. “I will be making samosas this afternoon. Come when you have finished eating and I’ll show you how.” She smiled again at my father, said goodbye and left, the embroidery on her kurti shimmering in the sun. My dad looked at her as she left. “Maybe your mother should try dressing up like that sometimes. She also has a nice figure.” “Mummy doesn’t like fancy clothes.” “They’re not really fancy clothes, they’re just a different type of clothes.” He wolfed down his chips and chicken and was about to leave when I asked if I could go next door. I never went anywhere without permission. “Sure you can! You can go anytime you want,” he replied, closing the door behind him. Abandoning my chips, I rushed to my room and brushed my cornrows, noticing that they were coming loose and that my hair was sticking out in places. I made a note to tell the maid to redo them later that day. I paced the kitchen until the clock indicated two o’clock – my mother always said it was rude to visit at lunch unless you were invited. At two exactly I told the gardener where I was going and walked next door, in as ladylike a fashion as I could, through the hole in the fence. I spent the afternoon enveloped in the aroma of frying spiced mince, learning to fold dough into little pockets for samosas. Auntie Vikay told me more about her home, and about her husband’s job, which frequently took him out of town. As we fried the samosas two boys about the same age as me ran into the kitchen. She spoke to them in her language, and I was fascinated by its sounds. The boys said hello to me, grabbed several samosas each and ran out, screaming and firing CONTEXT: AFRICA MWILA AGATHA ZAZA imaginary guns. Auntie Vikay told me she wished she had a little girl. “Your mother must be so proud to have a good girl like you. It must be hard for her, having to go to work and leaving you alone every day.” “My mother loves her job,” I said. “She says it makes her feel ...” – I searched for the word my mother used about her work – “fulfilled.” I didn’t know what the word meant exactly. “Ah.” Auntie was shocked. “How can she say that? Nothing can be more fulfilling than your husband and children.” I shrugged, my mouth full of samosas. When I grew tired, I decided it was time to go, Auntie handed me a large plate of samosas and a plastic bag filled with enormous, lurid-blue sugar balls. I tried to balance them with the large book of India that she had lent me, and found I couldn’t carry them. “Here, I’ll walk back with you.” I carried the book and she carried the food, and I skipped alongside her back to the house. The gardener had gone home, and the smell of burning mealie-meal told me the maid was in her quarters, cooking for her family. “So you are going to sit here alone?” Auntie asked me, concerned. “I’ll just watch TV,” I replied. “No, come, let’s look at the book together. My boys will keep themselves occupied; our nanny is with them.” My father came home several hours later. I was in my pyjamas and Auntie had said she would get our maid to come to the house and wait until my father came, not wanting to leave me alone. “Not going to say goodnight to me?” I heard my father call as I went to my room. “Night, Dad!” I called from my room, turned over and fell asleep instantly, dreaming of silky salwar kameez. A band blaring loud kalindula woke me up, the sound wafting through the neighbourhood. Used to the sound, I got up to go to the toilet. In the corridor, I heard voices. It was late; I knew the band didn’t start until about 10:30. “No one will see you, the garden light is too dim.” My father’s voice. “OK,” Auntie Vikay replied. “Bye.” A door closed somewhere in the house. “You must have had a lot to talk about with Auntie Vikay last night?” I asked Dad as he ate his buttered bread the next morning. “Yes!” he replied. “She was telling me about India. You know what? One day we’ll go there.” He gave me a mischievous wink, and left. Again I waited until afternoon, then went to Auntie Vikay’s. She was in a very good mood. “You know,” she said as we sifted icing sugar over a selection of sweets, “I can see where you get your looks: your father is very handsome, and your mother very pretty.” The phone rang. Auntie Vikay chatted in Hindi and said goodbye in English. “That was my husband. He’ll be back on Wednesday.” She said this in a flat voice, unexcited. A car came, and after much whooping and yelling in delight the boys disappeared to a friend’s house. Auntie Vikay and I, left to ourselves, finished CONTEXT: AFRICA MWILA AGATHA ZAZA cooking and sat in front of the TV. “Don’t you get bored cooking and watching TV?” I asked during a documentary on mountain goats. “It can get very boring sometimes,” she replied. “Mummy says she’d go mad if she had to stay home all the time.” I swung my feet, fighting the urge to put them on the sofa. “Maybe she would, but your mother should learn that her husband and children come first. What does a job in an office give you? Can you talk to your job? Can your job love you?” Auntie spoke fiercely. I let the topic drop, and we returned to the mountain goats. Much later, as the sun outdoors – where I would normally have been playing – began to fade, I told Auntie Vikay I had to go home. “I have to stay with the boys tonight,” she said, “but if I don’t see your father’s car early enough I’ll come to make sure you’re alright.” My father came home much earlier that night, but Auntie came anyway. I left them chatting on the sofa and went to bed, calling goodnight behind me. I saw Auntie the next day, and the day after that. I spent my afternoons up to my elbows in different types of flour. I mastered the names of different spices and herbs other than parsley. On Tuesday evening my mother called and told me she would be home the next day. I could hear in her voice that she missed me; she didn’t say it, but I knew. She never said – but I always knew. The next day I didn’t go to Auntie Vikay’s. Instead I paced around the living room, flicked the TV on and off, took my dolls out and put them back in their box again. I was beginning to lose heart when I heard my mother and her sister drive up to the house, and ran outside to meet them. I leapt around them while they pulled mangoes and mushrooms and sweet potatoes from the car. The gardener carried the loot to the kitchen and I followed, already covered in mango juice, with my mother and her sister Auntie Jay behind me. “That smells lovely. What is it?” asked Auntie Jay. She lifted the lid on a pot that sat on the cooker. “Auntie Vikay made it for you.” Her maid had delivered it several hours earlier. “Is this the super-housewife who cooks and cleans everyday?” laughed Auntie Jay, the sarcasm in her voice apparent. “She’s very nice,” my mother replied. “I don’t know how people do it, sitting at home every day just cooking – I’d run mad!” Auntie Jay used the same words I’d often heard her sister say. “Auntie says that your husband and children are the most important thing in your life,” I replied, irked by the mockery. “So you’ve been going to see her while I’ve been away. And who did you ask for permission?” My mother hovered over me, her arms crossed. “Daddy,” I replied, defiant, my chin in the air. “He said I could go whenever I wanted.” The sisters laughed. Auntie Jay pinched me fondly. “You, your Daddy would send you to a mass murderer! How does he send you to someone’s house when he doesn’t even know them?” CONTEXT: AFRICA MWILA AGATHA ZAZA “He knows her!” I crossed my arms and glared at the two of them, and addressed my mother: “He said she is very nice and that you should dress like her.” I couldn’t decipher their expressions. I opened the fridge, took out a handful of samosas and by the time I returned to the sisters, the subject had changed to something I didn’t understand about people I didn’t know. That evening my father came home to find us in the kitchen eating the curry. He hugged my mother and asked about her family, then sat down and served himself. “When are you back at work?” he asked. “Next week.” “Next week,” I moaned. “But you’ve spent half your leave at funerals!” “Well, do you want me to not work then?” “Auntie says that your job can’t love you back.” I repeated Auntie Vikay’s words. “Not all of us can sit at home cooking,” my mother reminded me. “It’s boring.” Dad stayed out of the conversation. “Anyway,” continued my mother, “we’ll spend some time together before I go back to work.” The next day my mother and I drove into town. We explored the shops and stopped for ice cream and chips. “Do you make curry here?” I asked the attendant. He said yes. “Don’t be silly, Litiya, we can’t eat curry every day.” We had chips and sausages, and my mother bought extra helpings for dinner. When we were back home, I asked her if she was going to see Auntie Vikay. “I suppose we should say hello to her.” My mother didn’t look at all enthusiastic. She sent the gardener to check if Auntie Vikay was home, and when he returned to say she was, my mother combed her hair, put on her nice trousers and, armed with a packet of biscuits, we went to the neighbours’ house. The visit was very different today. My mother was uptight and kept telling me not to interrupt when I tried to join in. Auntie sat stiffly, wearing a sari. I didn’t like it as much as the salwar kameez. My mother thanked Auntie Vikay for the food, and for looking out for me while she was away. “No problem, anytime, you have a lovely family.” She smiled as she showed us out. I looked back as we crossed into our garden. She was still standing on the veranda, watching us leave, her hair and makeup perfect in the breeze. Though she’d bought takeaway dinner, my mother decided she would cook. “But Mummy, you hate cooking.” Not looking forward to soggy vegetables. I asked her if I could make samosas, and she said no. She began chopping up vegetables and was wrestling with the shrink wrap on a chicken when there was a knock at the kitchen door. The familiar face of nextdoor’s nanny smiled in the doorway, and she carried two pots stacked on top of each other. The aroma of curry chicken and assorted side dishes filled our kitchen. My mother took the pots with a grim, mumbled thanks. She slammed the pots onto the sideboards and asked, “Does this woman think I can’t look after my own family?” I whooped with excitement, ignoring my mother’s glare. I danced around the kitchen, imitating the songs from the Indian musicals I’d watched next door. “Stop that!” my mother bellowed above my song. Shocked, I stopped mid-dance. CONTEXT: AFRICA MWILA AGATHA ZAZA Every request I made that afternoon was turned down. Every sound I made was criticised; every game I tried to play was too noisy; indoors or out I was being silly and childish. I couldn’t understand why my mother was acting like this, and by the time my father came home I was in a foul mood. When her cooking was served, I demanded that I be allowed to go to Auntie Vikay’s for an hour. “Now, Katie, you shouldn’t go over there so often. It’s rude to be at someone’s house all the time,” my mother said. Daddy took my mother’s side unconvincingly. “Well, I’ll just wait until she comes here again, then!” I was afraid the moment I said it; my father’s face hardened with anger, his eyes narrowing into a squint. “What do you mean when she comes here?” My mother demanded. I held my tongue. I didn’t like her expression. I pulled a sulky face and pressed back into my chair. “Litiya, if you don’t tell me right now, I swear you will never see Auntie Vikay again.” My mother towered over me, casting a shadow. I pressed as far into the chair as I could, and still I didn’t feel safe. “Can’t you see you are scaring the child?” My father gently tried to pull her away. “Shut up!” My mother turned around and screamed at him. She turned back to me, and I told her, not because I was afraid I’d never see Auntie Vikay again but because the look on her face terrified me. I whispered that Auntie Vikay came to the house in the evenings when she’d been away. “To do what?” Mother ordered, as my whisper became inaudible. “She showed me how to make samosas,” I told her because this was very important, “and she said that if she had a little girl like me she wouldn’t go to work like you do, she’d play with me all the time.” “She was with Daddy more than with me!” In an instant my mother’s anger turned to tears, and she ran to their room. I sat in the chair trying to make sense of her response. What was wrong with Auntie Vikay coming to visit? I heard my father banging on their bedroom door demanding to let in, then pleading with her to forgive him, then threatening to call her mother. I would ask Auntie Vikay what was wrong with her visiting us. She’d come to our house later in the evening than this, so there could be nothing wrong with going to her house right now. I crept out the back door into the mosquito-filled night, and tiptoed through the hole in the fence. Staying in the shadows, I climbed onto the veranda and looked through the window, balancing on a plant pot. Auntie Vikay was playing elephant with her sons, dressed in tracksuit bottoms and T-shirt, not her usual salwar kameez. She wore no makeup, no jewellery; I could barely make out her red dot. She looked ordinary, not like a princess at all. There was a figure in the corner. Her husband? A lardy man, in washed-out brown trousers – definitely not a king or prince. I walked back to our house, not bothering to swat the mosquitoes. I could still hear the shouting, and my mother was crying loudly. The dinner had grown cold on the plates. I picked at it; it seemed orange, oily, nothing more than a strange kind of gravy. Not exotic or glamorous, the food of kings and queens – just the work of the bored, television-watching woman next door. CONTEXT: AFRICA SYLVESTER OMOSUN Sylvester Omosun My Dirt Over the flat straw grass following the trees now on the track ... directly ahead of me, over twigs and burnt grass swirling ... now at the intersection where several points converge towards the part where the wild ewe cannot go our legs took us stepping over cow dung humming with jewel-green flies I accept the triumph the usefulness of a sacrifice by people so poor from all the farms and small holdings I accept the triumph stick sticky with cattle dips I stand dreamily for a moment hearing the drummers strike the sky for all the beauty that is here for me. CONTEXT: AFRICA SYLVESTER OMOSUN Sylvester Omosun Untitled Hopping over grounded cherries under the trees whose branches shaded me, I thought of the days when I saw and imagined her within the fruitage of the savannah green Imagining footprints in the sand, I thought of her prints trailing me, jumping over dunes and mud castles, tongue charting my black skin. The mango fruit I picked up formed the outline of her breasts the node still at its point of budding I traced the absence of a thumb-sized, brown nipple. Blackberries squashed make blackcurrant; a black woman kneaded makes a willing slave, cheeriness sucked encircles the lips, a nipple on a tongue makes the forces real. A tug at the skin, the flesh of a fruit, a lover bites an open world tongue-licking, just teasing, spillage on the lonely path trails of sweat, grapes and berries. CONTEXTE: AFRIQUE NADIA GALY Nadia Galy Extrait du roman Alger, Lavoir Galant C’est jeudi matin, tôt encore. Pour l’atteindre, la Vieille avance à pas menus en tanguant sur une débâcle de matelas mousse. À son âge, c’est un exercice hasardeux, mais elle y tient. Elle veut réveiller son grand fils, son préféré, Jeha. L’aîné, la prunelle de ses yeux, l’unique garçon de la nichée. Vilain à un point tel que cela force la fascination. Certains le trouvent chevalin, mais ce n’est pas exactement ça. Simplement chevalin, la Vieille ne l’aurait pas autant chéri. Car un cheval, même de trait, reste harmonieux. Pas Jeha. Lui, il est difforme, comme le serait le fruit des amours illicites d’un gnou et d’un alambic. Aussi Jeha compense-t-il son allure pas comme tout le monde par une bonhomie et une gentillesse à faire fondre. Les malveillants insinuent qu’avec un physique pareil, il ne manquerait plus qu’il morde, mais c’est pure jalousie de leur part. Non, Jeha est réellement désarmant, touchant de laideur. Comme ces bouledogues aux yeux d’agate, qu’on prénomme Paulette pour bien montrer que le ridicule ne tue pas plus que le cumul des handicaps. Et d’ailleurs il arbore en permanence le même sourire échancré avec la langue qui déborde et le petit filet d’écume au bout. Malgré son apparence disgracieuse, Jeha est toujours content. Il goûte le bonheur des menus plaisirs et les joies du meilleur des mondes. Il a vingt-sept ans et il est épicier. Ce n’est pas une vocation, mais une affaire de discernement. À l’Université, il a persévéré deux ans durant, deux années noires de safaris en bus asthmatiques jusqu’à Tataouine, soit sept cents jours à déchiffrer des polycopiés cabalistiques, deux beaux étés sacrifiés à réviser des matières abstruses en vue de lauriers hypothétiques, avant de se rendre à l’évidence: tout ça n’était que balivernes. C’était comme ajouter de l’eau à la mer. Ce qui comptait vraiment, ce qui était tangible, c’était les affaires, l’argent. Ni une ni deux, il a fait volte-face et repris la boutique de son père, ouverte chaque jour depuis toujours et à la demande en cas d’urgence. Désormais, c’est comme au temps du Vieux, la blouse en moins. Car Jeha ne veut pas en entendre parler. Lui, il expose ses sapes sous une enseigne à la gloire d’Ali son père. Sur un parallélépipède de Plexiglas blanc éclairé de l’intérieur, en lettres rouge vif et un brin gothiques, il a fait inscrire, en français, sinon c’est incompréhensible: « Ali-Mentation Générale ». Cette trouvaille le ravit d’autant plus qu’elle tient à un rien. Si le Vieux s’était prénommé Kamel, ça n’aurait jamais marché ! Un jour, promet-il, il fera des travaux. Et, de l’avis de tous, ce ne serait pas un luxe. Cependant, il repousse régulièrement l’échéance au siècle à venir. C’est qu’à chaque vente, le cauchemar recommence: le stock menace ruine, l’effondrement guette. Alors, organisant la CONTEXTE: AFRIQUE NADIA GALY résistance, il cale des paquets, bourre les étagères, coince des conserves et remplace ce qu’il vient de vendre par cinq boîtes de sardines, enfonce une brique de lait à la place d’une poche de semoule, et ainsi de suite. Bref, il jongle, ne craignant qu’une chose, ou plutôt deux en réalité: les impôts et l’inventaire. Rien que l’idée le hérisse! Ce dont tout le monde se passerait bien, compte tenu de sa plastique de spécimen. À part ça, on ne peut pas imaginer garçon plus facile à vivre. Il est d’un tempérament si agréable qu’il a même trouvé à se marier. La chaussure à son pied se prénomme Selma; il l’épousera dans près de deux ans. À proprement parler, elle n’est pas ce que l’on appellerait un prix de beauté, mais Jeha répète inlassablement aux langues d’aspic qui le charrient: « Orne la louche et elle sera belle. » Heureusement, grâce à Dieu, les principales misères esthétiques ont été épargnées à la jeune fille. À l’exception d’une seule. De la croix qu’elle porte, on ne perçoit que la partie émergée: un sourcil en couronne d’épines, traversant son visage d’est en ouest, pratiquement d’une oreille à l’autre. Le reste de l’iceberg, sa pilosité un chouia débridée, reste religieusement dissimulé sous un hidjab toujours pimpant. Franchement, ses arcades mériteraient d’être épilées, pour obtenir deux sourcils honnêtes et mesurés. Mais elle ne peut s’y résoudre, elle chipote sans cesse. Le jeu en vaut-il la chandelle? Quand on commence, quelquefois, c’est un tel engrenage! Selma est assez gentille, mais ce qu’elle a surtout d’épatant, c’est qu’elle est d’accord pour épouser Jeha. Tout le monde en est content, à commencer par la Vieille qui ne connaît qu’une vérité: « Même laide, l’abeille butine et produit son miel. » En effet, bonne mère, elle préfère que son fiston chéri assure la lignée tout de suite, plutôt que le voir s’amouracher d’une beauté qui lui rirait au nez au motif que convoler avec un girafon, c’est un peu risqué pour les enfants. Toujours est-il qu’en attendant ses noces, Jeha cultive un certain flegme que rien ne parvient à démentir. Treize personnes partagent l’appartement familial, onze d’entre elles sont claquemurées entre le salon et une alcôve. Autant dire entre la peau et l’ongle. Les parents quant à eux dorment seuls dans la chambre d’où, fatalement, le nombre canonique d’enfants qu’ils ont faits! S’ils avaient couché dans le salon avec les autres, il y a fort à parier que leur descendance n’aurait pas nécessité une pareille collection de matelas à dix balles. Ce qui est peu pour un matelas, c’est vrai. Plus cher? Ils auraient tout de même pu. Seulement voilà, la marchandise aurait été de meilleure qualité, certes, mais aussi plus lourde. Et la Vieille en aurait bavé pour tout ramasser et empiler, ce qui est cependant indispensable puisque, le jour, le salon fait salon. Ce n’est que la nuit qu’il est transformé en caravansérail. Le matin, la Vieille amoncelle les cinq stères de matelas avant de les recouvrir d’une couverture de velours représentant La Mecque, un tigre à l’affût dans les palmiers, ou bien le mont Fuji. C’est haut comme un bahut Louis XIII, en plus folklorique et moins utile: on ne peut même pas s’asseoir dessus sans que la pile s’écroule! Les matelas à pas cher, ça ne vaut qu’en une épaisseur. Au-delà, ça fait toboggan. « Comme ce serait formidable d’avoir plus grand! » Depuis plus de vingt ans, c’est le leitmotiv du clan, le château en Espagne! Dans la rue, Jeha n’a que quelques pas à faire. Et la voilà, miel de sa vie, sa ’Bicerie ! Elle apparaît entre deux ficus dont il a lui-même blanchi les troncs à la CONTEXTE: AFRIQUE NADIA GALY chaux. Son chez-lui, sa danseuse! Il ne comprend toujours pas pourquoi sa vocation s’est faite si tardive, alors qu’il est si heureux depuis qu’il a pris la suite de son père. Cette échoppe, il la bichonne comme une reine, il la choie. Il la pare comme une mariée, sème des autocollants scintillants sur la vitrine. Pour elle, il dégotte des posters, des calendriers; selon les saisons, il la fleurit de jasmin, de mimosa, de papier crépon. C’était un réduit, un cagibi qui produisait l’effet d’une dent gâtée entre deux immeubles, et il en a fait une épicerie de music-hall qui se dandine en bikini. Hollywood, Times Square, les paillettes... Les commerçants du quartier le jalousent. Ils lui reprochent de se prendre pour la fourmi qui en remontre au chameau. Pourtant c’est bien vrai qu’eux continuent de gérer à la papa, miteux et rabougris, comme boulonnés au seuil de leurs kolkhozes. (Albin Michel, 2007) CONTEXT: AFRICA NADIA GALY Nadia Galy Excerpt from the novel Algiers, Wash-house Tryst It’s Thursday morning, still early. To reach him, the Old Woman inches her way forward, tripping over the foam mattresses cluttering the room. A dangerous exercise at her age, but she’s determined. She wants to wake her grown-up son, Jeha, her favourite. The eldest, the apple of her eye, the only boy of the litter. So ugly that people are fascinated. Some describe him as equine, but that’s not quite it. If he’d simply been equine, the Old Woman wouldn’t have doted on him so. There’s a certain harmony to a horse, even a carthorse. But not to Jeha. He’s misshapen, as would be the fruit of an illicit love affair between a gnu and an alembic. Jeha compensates for his unusual appearance with an affability and kindness that would melt anyone. Spiteful tongues insinuate that with looks like that, it wouldn’t be surprising if he were to bite, but that’s pure jealousy on their part. No, Jeha is truly disarming, touching, in his ugliness. Like those bulldogs with agate eyes whose owners call them Paulette to show that ridicule doesn’t kill, any more than an accumulation of handicaps. And what’s more, he permanently wears the same jagged smile with his tongue sticking out, a little thread of saliva on the tip. Despite his ungainly appearance, Jeha is always happy. He knows the joy of small pleasures and the delights of the best of all worlds. He’s twenty-seven years old and a grocer. It’s not a vocation, but a question of acumen. He persevered for two whole years at university, two grim years travelling to and fro to the back of beyond on asthmatic buses, seven hundred days trying to make sense of indecipherable photocopied sheets, two fine summers sacrificed to revising abstruse subjects for the sake of some hypothetical reward, before he faced the facts: it was all nonsense. Like pouring water into the sea. What really mattered, what was tangible, was business, money. Like a shot, he dropped his studies and took over his father’s shop, which has opened every day for as long as he can remember, and in emergencies upon request. Since then, it has been like in the Old Man’s day, only without the white grocer’s jacket. For Jeha won’t hear of it. He parades about in his street clothes under a shop sign he’s had made to the glory of Ali, his father. On a white Perspex parallelepiped lit from the inside, in bright red slightly Gothic lettering, the sign says (in French, otherwise the wordplay would be lost): “Ali-Mentation Générale”. He’s all the more delighted with this pun because it hinges on such a tiny detail. If the Old Man had been called Kamel, it would never have worked. One day, he promises, he’ll have some building work done. And about time too, was the general feeling. But he keeps putting it off until next century. Every time he sells something, the nightmare begins again: the stock threatens ruin, the shop’s on the CONTEXT: AFRICA NADIA GALY brink of collapse. So he sets about organising the resistance, propping up packets, cramming the shelves, wedging in cans and replacing the items he’s just sold with five tins of sardines, sticking a carton of milk in the place of a packet of semolina, and so on. In short, he juggles, fearing only one thing, or rather two: taxes and stocktaking. The mere idea makes him bristle! Which everyone would rather be spared, given his bizarre appearance. Other than that, it’s hard to imagine a more easy-going boy. He has such a lovely nature he’s even managed to find a wife. The name of his other half is Selma; he’ll marry her in just under two years’ time. Strictly speaking, she’s not what could be called a great beauty, but Jeha tirelessly repeats to the vipers who tease him: “Adorn the ladle and it will be beautiful.” Luckily, thank the Lord, the girl has been spared the major visual defects. Except one. Of the cross she bears, only the tip is visible: an eyebrow that’s her crown of thorns, traversing her face from east to west, almost from one ear to the other. The rest of the iceberg, her slightly excessive hairiness, remains religiously concealed beneath an always-immaculate hijab. To be honest, her eyebrow could do with plucking to create two decent, reasonable eyebrows. But she can’t bring herself to do it, she constantly quibbles. Is it worth it? Once you start, you can’t stop. Selma is quite sweet, but the amazing thing about her is that she’s agreed to marry Jeha. Everyone’s pleased, starting with the Old Woman, who’s only sure of one thing: “Even the ugly bee gathers pollen and produces honey.” And, like all good mothers, she’d rather her beloved son produce heirs straight away than see him fall for a beauty who’d laugh in his face saying that marrying a baby giraffe would be a risk to their children. All the same, while awaiting his wedding, Jeha has cultivated a certain composure that nothing can ruffle. Thirteen people share the family apartment, eleven of them cooped up between the sitting room and an alcove. In other words, between the skin and the nail. The parents sleep separately in the bedroom – hence, inevitably, the admirable number of children they’ve produced. If they’d slept in the living room with the others, it’s highly unlikely their issue would have required so many cheap mattresses. More expensive ones? They could have afforded it. Only the thing is, the mattresses would have been of better quality, sure, but heavier too. And the Old Woman would have had a job lifting them and stacking them up each day, which is absolutely vital since, during the day, the living room is a living room. It’s only at night it becomes a caravanserai. In the morning, the Old Woman piles up the five cubic metres of mattress and covers them with a velvet blanket with a picture of Mecca on it, a stalking tiger in the palm trees, or Mount Fuji. The pile’s as high as a Louis XIII sideboard, but it’s an eyesore and less useful: if you try to sit on it, the pile collapses! Cheap mattresses are only any good one layer thick. Any more and they turn into a slide. “It would be so good to have more space!” For more than twenty-five years, that’s been the clan’s perpetual cry, their castle in the air! In the street, Jeha only has a few steps to take and there she is, the love of his life, his ’Bicerie! It emerges between two ficus whose trunks he whitewashed himself. His home, his venture! He still finds it hard to understand why it took CONTEXT: AFRICA NADIA GALY him so long to discover his vocation, when he’s been so happy since he took over from his father. He pampers his shop like a queen, he cherishes it. He decks it out like a bride, scattering shiny stickers over the windows, seeking out posters and calendars for it; depending on the season, he decorates it with jasmine, mimosa or crêpe paper. It’s a cubbyhole, a storage room, that used to look like a bad tooth between two apartment blocks, and now he’s turned it into a vaudeville grocer’s, prancing about in a bikini. Hollywood, Times Square, spangles... The local shopkeepers are envious. They criticise him for thinking he’s the ant that can teach the camel a lesson. And yet it’s true they just bumble along, shabby and stunted, as if riveted to the thresholds of their kolkhozes. (Albin Michel, 2007) CONTEXT: AFRICA TOYIN ADEWALE Toyin Adewale Explorer of Aromas As the fire devours the grass, as flames consume the matchsticks, The street swallows my steps, my voice dissolves in soil. I know the green bile of hunger. I know the triumph of dust, the sneering arrogance of the sun on the carcasses of sodden rats. I have dined on dried dogs, flavoured with acrid urine. And at the feet of elaborate remnants, I find the most high remains of chicken thighs unloved by excess. I, the explorer of aromas, wading through the maze of rice, delighting in trash, I say your refuse can is finger-licking good. They say the rich also cry, dancing to soothe their shame, their throbbing sores. CONTEXTO: ÁFRICA MANUEL ULACIA Manuel Ulacia Express a Marraquech Express to Marrakesh Por la forma By the way en que se oprimió el vientre con la mano, she clutched her belly, la muchacha que entró the girl who entered en el compartimiento, the compartment – vestida con un amplio chador blanco dressed in a full white chador y la cara tapada con un velo with her face covered by a veil que dejaba ver tan sólo sus ojos that showed only her nervous eyes nerviosos, delineados en negro, outlined in black – presentimos que algo sucedería. we sensed that something was going to happen. Los altavoces anunciaban The loudspeakers announced la partida the departure y el ámbar del crepúsculo and the amber of dusk doraba la estación llena de gente. gilded the crowded station. El tren partió dejando atrás los muros The train departed leaving behind ocres de la ciudad, CONTEXTO: ÁFRICA MANUEL ULACIA the ochre walls of the city, los altos minaretes, the tall minarets, el Palacio Real, the Royal Palace, las huertas de verdura the gardens of greenery a la orilla del río. on the bank of the river. Muy pronto el cielo se pobló de estrellas. Very soon the sky filled up with stars. Viajar al sur es viajar a otro tiempo. To travel to the south is to travel to another time. Ayer, al pasear por la medina Yesterday, strolling through the medina nos encontramos con unas mujeres we met some women que tocando un pandero y cantando playing a tambourine and singing escoltaban a un niño. who were escorting a boy. Montado en un caballo Mounted on a horse – ricamente adornado – richly adorned con arneses de plata with silver trappings y alcafar de seda bordada en oro –, and silk cloth embroidered in gold – iba camino a la mezquita he was on his way to the mosque en donde sería circuncidado. where he was going to be circumcised. Tan lejos de todo estamos – dijiste – “We are so far from everything,” you said, mientras la mujer se llevaba while the woman again put de nuevo la mano al vientre, gimiendo. her hand to her belly, groaning. Parecía tan sola en su trabajo, CONTEXTO: ÁFRICA MANUEL ULACIA She seemed so alone in her labour, tan sola en el tren, sin ningún cuidado. so alone on the train, so unworried. Y al preguntarle si deseaba algo And when we asked her if she wanted anything se quedó ensimismada. she seemed miles away. El tren se detuvo en una estación The train stopped in a station olvidada en la mitad de una frase forgotten in mid-sentence y la mujer permaneció sentada, and the woman kept sitting there con la mano en el vientre, with her hand on her belly mirándonos fijamente, looking at us fixedly, como si buscara complicidad as though looking for accomplices o pidiera silencio, o ambas cosas. or asking for silence, or both things. Hoy recuerdo sus ojos. Today I remember her eyes. Eran un grito mudo entre los velos. They were a silent scream between the veils. El tren volvió a partir The train pulled out again dejando atrás los andenes vacíos. leaving behind the empty platforms. Cada uno de nosotros Each one of us se dejaba llevar gave himself over por sus propios recuerdos to his own memories – el jardín de Meknés al caer la tarde, – the garden of Meknes in the late afternoon el cruce de miradas CONTEXTO: ÁFRICA MANUEL ULACIA the meeting of glances en los paseos, los altos cipreses, while out strolling, the tall cypresses, signos de admiración exclamation points ante las vistas que el lugar ofrece – on the views from the place – pero la realidad but reality brings us back nos hacía regresar al presente. to the present. Varias veces la mujer se oprimió Several times the woman clutched el vientre con la mano. her belly with her hand. Varias veces le ofrecimos ayuda Several times we offered her help sin que nos respondiera without getting a reply y cuando quisimos buscar a alguien and when we wanted to look for someone para que la atendiese to attend to her dijo que no con la cabeza. she shook her head no. La luna iluminó The moon illuminated el desierto: imagen irreal the desert: an unreal image de la soledad plena. of complete solitude. El express continuó sobre la vía The express continued on the track, inventando el poema inventing the poem que ahora escribo minetras las imágines that I am writing now while the images que rescata la memoria regresan. CONTEXTO: ÁFRICA MANUEL ULACIA that recapture the memory come back. La mujer dio un grito. The woman cried out. Se rompieron las aguas. Her waters broke. Hubo un cruce de miradas seguido There was an exchange of glances por un largo silencio. followed by a long silence. No recuerdo cuánto tiempo duró I don’t remember how long el trance. This desperate interval lasted. No sé si fueron dos horas, I don’t know if it was two hours, tres or cinco. Tendida boca arriba, three or five. Lying on her back en el suelo, con las piernas abiertas on the floor, with her legs apart bañadas en sudor helado y sangre, bathed in cold sweat and blood, y sin quitarse el velo, and without taking off her veil, jadeaba she was panting ritmicamente mientras el anillo rhythmically while the ring de carne rojo oscuro, of dark red flesh se abría, poco a poco, was opening little by little, dejando ver el túnel de coral, showing the coral tunnel, el caracol del tiempo, the conch shell of time, y finalmente un círculo negro. and finally a black circle. Pujando con una fuerza animal Straining with an animal strength CONTEXTO: ÁFRICA MANUEL ULACIA la mujer coronó the woman forced out la cabeza del niño, the crown of the child’s head, y la expulsó enseguida, boca abajo then quickly expelled the head, face down – caliente y húmeda –, sobre mis manos. – warm and wet – on my hands. La criature comenzó a respirar The baby began to breathe y en esprial giró and twisted in a spiral hacia arriba sacando upward getting out primero los hombros first the shoulders y después las otras partes del cuerpo. and then the rest of his body. Amanecía. En el horizonte Dawn broke. On the horizon otro sol tiñó de rojo, naranja, another sun dyed the backcloth of the sky amarillo, rosa, el paño del cielo. red, orange, yellow, pink. Cabeza abajo comenzó a llorar Head down the child began to cry. el niño. No recuerdo I don’t remember quién le cortó el cordón umbilical. who cut his umbilical cord. Por la ventana vimos Through the window we saw un diminuto oasis: a tiny oasis: cuatro casas, four houses, un grupo de palmeras datileras. a stand of date palms. Y más allá: un camello que giraba CONTEXTO: ÁFRICA MANUEL ULACIA And beyond: a camel pacing lentamente alrededor de una noria. slowly around a water wheel. Al llegar a Marraquech, la mujer When we reached Marrakesh, bajó del tren aprisa the woman hurriedly got off the train y se perdió entre la muchedumbre. and was lost in the crowd. Quise alcanzarla, pero I wanted to catch up with her, but todas las mujeres vestían la misma ropa, all the women were wearing the same clothing, todas tenían el rostro tapado they all had their faces covered y muchas de ellas llevaban un niño and many were carrying en la espalda. a child on their backs. El calor del desierto The heat of the desert A veces desconcierta. can be bewildering. Han pasado más de dieciséis años. More than sixteen years have passed. Tal vez la madre haya acompañado Perhaps the mother has accompanied al niño a la mesquita, the boy to the mosque, cantando por las calles singing through the streets de la vieja medina, of the old medina, y el niño, ya hombre, frecuente el jardín and the child, now a man, frequents the garden al terminar la tarde. late in the afternoon. Translated by Sarah Lawson CONTEXT: AFRICA CHENJERAI HOVE Interview: Chenjerai Hove Chenjerai Hove is one of Zimbabwe’s most prolific writers, and a leading figure of postcolonial Zimbabwean literature. His work includes fiction, poetry and nonfiction, including a celebrated novel, Bones, which won the 1989 Noma Award for Publishing in Africa. His other three novels are Masimba Avanhu? (Is This the People’s Power?), written in 1986 in his native Shona; Shadows (1994); and Ancestors (1996). Hove’s most recent collection of poetry is Blind Moon (2003); a second collection of his journalism, Palaver Finish, was published in 2002. Hove’s poetic imagination is engaged most frequently by such subjects as colonialism, the ideologies of African patriarchy and the impact of dictatorship on the lives of ordinary people. He was a founder and board member of the Zimbabwe Human Rights Association, as well as a founder of the Zimbabwe Writers Union (ZIWU) and that organisation’s chairman from 1984–92. As a columnist, Hove’s critical, outspoken political and social commentary in a Zimbabwean weekly, The Standard, resulted in serious harassment, including a burglary of his home in which computers and discs containing unpublished works were stolen; threats against his family; and constant police surveillance. He left Zimbabwe for France in 2001 and has lived in exile ever since. He is currently based in Norway. Rhoda Mashavave speaks with Hove about his anxieties and hopes for a new Zimbabwe. Rhoda Mashavave: What were the circumstances that led you to make the painful decision to live in exile? Chenjerai Hove: I feared for my personal security after many anonymous telephone threats to me and my family. At some point, my personal electronic goods were stolen by burglars. The police officers who came to investigate informed me they could not help much since it looked like a “political act”. That was after they asked me to identify myself, and discovered that I was “the writer”. Many telephone threats continued to pour in, directed at me and my family. Some even went so far as to tell me that I could disappear at any time. It was at that time that I also got reliable secret information suggesting that the 2002 election period was too dangerous for me. So I decided to leave, hoping that I would return when things calmed down. But things did not calm down. It is probably worse than when I left. RM: Has living in exile been good for your writing? CH: Living in exile is never good for anything. I miss the real voices of people, CONTEXT: AFRICA CHENJERAI HOVE the sounds and rhythms of home, the background to my poetic language, the scents, the birds, the colours of my landscape. Although I carry my piece of country with me, it is not the same. I write out of the longing and desire for the motherland. It is always a part of me. But I have to write and reflect more, since exile is also a time to look at one’s country from a distance. Sometimes distance, another space, [produces] the desired tensions which make the creator of literature more sensitive to words and imagery, which sometimes is murky when one is inside the issues. RM: What do you find difficult about living in exile? CH: Exile forces me to create new imagery and even search for new words. It is like being a child, asking people the simple things like names of local birds, learning new languages and learning to make friends as a matter of necessity. Europe is an individualistic continent. Sometimes I cannot avoid feeling really lonely, isolated. People do not talk much to strangers, or even to each other. In Africa there is always someone near you, talking to you or even harassing you with all sorts of conversation. It is good to have that human link, the rhythm of life. I found it difficult to deal with the fact that European writers do not seem to want to be involved with social and political issues that affect them every day. They are resigned to being on the periphery. Writers in the developing world are active in all sorts of projects, literary and social. That is the way it should be. So, when I tell writers’ gatherings that I am a political writer, they get surprised. For me, everything is political. That means everything has to do with distribution of power, use and abuse of power. Humans are either victims or victimisers in a dynamic shift of power relations, which we live through every day of our lives. Everything is political, including food, money, education, media, love. All these have to do with power relations between people and institutions. Most European writers do not dare take the cultural dialogue this far. RM: Do you regret being a writer, especially with the persecution that you face in your own country? CH: I can’t imagine being something else. If I had been some kind of businessman or bureaucrat, I would be so miserable. Literature gives me hope and vision. Literature is life. Through writing I dream my dreams for myself and for society. I hope readers share some of my visions in order for them to gain strength to continue with life. The persecution that I have suffered is part of the risk of being a creator of new dreams. As a writer I put the mirror of our society in front of our faces so that we can see how beautiful or ugly we are. Some people want to refuse to see the mirror. They try to break it because it shows them their ugliness. Literature has the task of shocking society into re-examining itself. Social contradictions come to the surface through art and artistic works. If some people are afraid of ideas, they persecute the bearer of messages. It has always happened in societies going through drastic changes. Our country is now a big wound. As a writer I have to say it, to create suitable imagery to cope with it all. Through words, I have to paint the ugliness that has descended on the land. It is painful for some people, especially those in power. CONTEXT: AFRICA CHENJERAI HOVE So, they choose to make me a victim. I will continue to write and dream a better life for our country, to give hope to the smallest and weakest person in our country, so that one day we will not be blamed by future generations for sitting by while the country was decaying. RM: Have artists been vocal enough about the social, political and economic decay in Zimbabwe? CH: There are different categories of writers. There are those who stand up and refuse to allow the country to continue to decay. There are also those who think it is fine to join the bandwagon and get a few crumbs from the decaying system. The third group pretends not to be involved. Generally, artists in Zimbabwe have been too silent about the social, political and economic decay. As individuals, most depict the problems. But as a collective, they do not stand up in their numbers and refuse to accept social and political abuses. Artists are the conscience-keepers of society. Imagine how effective it would be if artists from all corners of the country signed and presented a petition to the political leaders on the state of our national decay. That would make a huge difference. Look at what artists have done in Latin America: they stand up and organise demonstrations against social and political abuse in their countries. They demand change. This is what Zimbabwean artists should do, as a collective. A Nigerian writer calls writers “the sensitive point of the community”, which means they have a certain responsibility by virtue of being public figures who occupy public and private spaces, the space of the imagination as well as being read. Issues are too urgent for writers and other artists to sit at home and pretend it is not their job to criticise the political leaders for the suffering they have burdened the country with. RM: What can Zimbabweans in exile do to help opposition politics in Zimbabwe? CH: Zimbabweans in exile should be well organised. They can become powerful if their organisations can shape local politics back home. After all, they are a massive economic bloc in terms of their financial contribution to the Zimbabwean economy. They can become an effective pressure group, demanding political common sense and dialogue in the country. RM: A lot should have happened since you left Zimbabwe. What have you achieved in the literary world so far? CH: I am writing most of the time. [Since leaving] I have written and published three books. And there is more to come. Writing is not like baking bread, where you have to produce a loaf every morning. Sometimes I reflect on issues before sitting down to write. It is different from journalistic work. A book is a whole world, and it takes time to create. It is a vast task, which needs profound reflection. At the same time, I have to work. Not many writers in the world are able to live from their literary work. As a teacher, I travel all over the world, teaching creative writing, literature, and [getting involved in] social issues that I concern myself with. CONTEXT: AFRICA CHENJERAI HOVE RM: What do you hope to achieve in the next ten years? CH: I hope to publish more and more books. In the near future, when Zimbabwe becomes free again, I hope to go back home and work with youngsters to help them create literature instead of death and suffering, as is happening now, [as they are] trained to be bloodthirsty young militias. I want to participate in restoring our memory, our vision, healing a society torn apart by violence and hatred. RM: When do you expect to return to Zimbabwe? CH: My heart is already back home. I am returning slowly. When the atmosphere is better, when there is no political violence, I will [go] back. Maybe one of these days I will pay a visit to see the wounds inflicted on our land by the current political madness. RM: Have you made new friends, and are you in touch with those you left in Zimbabwe? CH: I am always in touch with friends back home. They keep me informed. And through them, I receive descriptions of the wounds on their bodies and on the land. I have many new friends, but not as many as in Zimbabwe. I miss those street walks, which I never could do without someone greeting me or challenging me about my last article. It is not the same here. RM: What are your parting words to Zimbabweans living in exile? CH: Exiles should keep their vision burning. They should participate in life wherever they are. They should not degenerate, [fall] into the abyss of despair and hopelessness. Always dream of a better country tomorrow. Always keep the smile even when you cry and miss home. After all, you carry a big piece of home within you. Prepare yourself with skills to go and rebuild the country one day. Every sunrise must give you hope, and a new confidence that a step ahead has [been taken]. CONTEXT: AFRICA SHIMMER CHINODYA Shimmer Chinodya Excerpt from the novel Chairman of Fools He opens his eyes slowly. He is lying in a bed, and his three sis¬ters Tindo, Bertha and Kata are sitting on a bench beside him. He winks and waves at them and chuckles, “Muri bho? I hope you guys bought me a really nice coffin, none of the stuff that rots after a few years.” Kata, the eldest, starts crying and Bertha says to her, “Now, Sisi Kata!” “When did you come?” he asks. “Yesterday” says Bertha, cleaning her manicured nails. “We couldn’t find you at home, so we went to sleep at Tindo’s place.” “How did you two find out about me? I died last night.” “Tindo called us.” “How are my children, Tindo?” “Fine.” “How long have I been in this bed?” “Not very long. You hardly closed your eyes.” “Where’s Wilbert?” “He’s filling in some forms at the reception.” A young nurse comes by and he says to her, “When can I go, nurse? It’s my birthday today.” The nurse looks at the three women and asks, “Did you bake him a cake?” Tindo says, “A very big one, but he can’t have it, unless he gets better and comes out of here soon.” “Happy birthday,” says the nurse. He sits up and tries his legs. They feel fine. There’s nothing wrong with him. Two bouncers in white shirts and trousers approach the bed and one of them says, “Do you want to come and talk to the doctor, now?” “He came to pretty quick,” says the other. “Do you think we should give him another jab?” “No, he’s fine.” The doctor sits at the end of the corridor, interviewing patients. She is an ample woman in her early thirties, with high-faced cheekbones, rings on four fingers and long braids that she keeps tossing back from her face. The queue is long. She is slow and thorough with her patients. Wilbert comes in with two black bags, smiles at the bouncers and joins them. When the doctor eventual¬ly calls Farai in, they all want to go with him but she says, “No, I want him by himself.” CONTEXT: AFRICA SHIMMER CHINODYA “Hes Pesvu,” he says to the doctor. He went to university with her and knows her well. She was a wisp of a woman then and people used to make fun of her name. One day he had played tennis with her. On another occasion when he had tonsillitis he had gone to the surgery, where she worked as an intern, for a prescription and promised to phone her. She smiles weakly at him and looks at his forms and says, “So what brings you here, Mr Chari? “You ask him,” he says, pointing vaguely towards Wilbert, who is sitting outside in the waiting room. “He dragged me here while they were out there ransacking my house.” “Who was ransacking your house?” “My enemies. They’re all jealous of me.” “What do you do?” “I’m a writer.” “But I mean, what do you do for a living?” “That’s what I do. Writing.” “Do you make enough to live on, this way?” “Does it matter?” “Now, let’s go right back to the beginning. Tell me how your prob¬lem started.” He goes into reverse gear and tells her everything. He tells her about the accident and the postponed shooting of his film, about the news on the radio and the car crashes, about the church ser¬vice and the convoys, about eternity on the night road and the pending whip-lashing. There is a terrible logic to his narrative, but she does not see it. She nods her head and lets him roll, while she writes notes on a card. Then she goes to the waiting room and calls Wilbert over and whispers to him. Wilbert comes in with the two black bags and goes out with two small green ones! Farai feels a tweak deep in his crotch and he says to him, “Look, Wilbert. You fool! Can’t you see what they’ve done? They’ve stolen our dicks!” Dr Pesvu discharges them and they go out in a bunch to Wilbert’s pickup truck. At the exit the film crew is waiting – finally. The cameras are trained on him and the overhead lights blaze down. The cameramen are invisible, behind the lights. He stands stunned in the yellow heat but Wilbert grabs his elbow and marches him on. “Too late now,” he turns back to yell at the cameras. “You left it too late and now I have to go. You’ll have to look in my archives!” Out in the park, a little boy cries as he is bundled away, round the building, by a group of nurse aides. He sits with Wilbert in the driver’s compartment and his sisters climb into the back of the pickup. Wilbert reverses out of the park into the road. His sisters’ dresses billow in the breeze. At the gates a security man with a shirt like a policeman’s stops them. Wilbert shows him some papers and the security man lets them through. They turn right and drive through the open gates into the hospital annex. “Not here, Wilbert,” he says. “We’re lost.” Wilbert stops the car and comes round to open his door for him. He is not moving. They’re in the wrong place. What are his sis¬ters doing? He can see them CONTEXT: AFRICA SHIMMER CHINODYA moving slowly towards the steps of the building. It is a prison. It is a trap. He shouts loudly. “Stop. Stop, we’re in danger!” They do not turn round. Wilbert’s hand is pressing on his shoulder. He twists away and bangs his head on the door frame of the car. This is a conspiracy. He is being kid¬napped. He shouts for help but no one hears him. Wilbert is becoming an enemy. Part of the racket. Wilbert has his hand on his shoulder, Wilbert is urging him out of the car. Wilbert is press¬ing him to walk. He can hear voices, his legs move but his spirit is shouting and his mouth is silent. The walls of the annex are not made of iron and there are windows and doors, people moving inside, voices talking. There are no women with shaven heads, wrapped in white sheets, tumbling from the sky. Tindo knocks on the door. Wilbert holds him tightly by his elbow. I could slap you in the face, Farai. Hard. At first I thought you had one too many and now this – you shaming us both with the non¬sense about people ransacking your house and the orderlies steal¬ing our dicks and you refusing to cooperate. So, is this what mad¬ness is about? Stripping off our thin disguises and exposing our deepest insecurities. Fancy you – that immaculate little govern¬ment schoolboy with whom I used to study. Remember, we went picking mazhanje together and later, courted Letwina and Clara. Who could ever imagine you would end up like this? Yet you were always quiet, sometimes, keeping to yourself and studying your¬self half blind, writing precocious, melancholic poems about God and the universe as if the impending weight of the ending world was upon your shoulders. You the belated virgin imagining your¬self Stephen Dedalus’s twin in James Joyce’s A Portrait of an Artist as a Young Man! (Remember we did the book in the sixth form?) Maybe you should have pursued something more practi¬cal, like accounts or business administration rather than stick with literature. Look where it has landed you. Yet I fear your instability is real, very real. Something I can’t fathom. Hey, do you remember our classmate Peter Twetwete and how he ran amok when somebody inadvertently revealed to him that the woman he had all his life assumed to be his mother was really his stepmother! Remember how Peter had to be withdrawn from school? I wonder what became of him! I wonder what triggered your downward spiral. I’ve warned you frequently about being reckless with your life. We never talked seriously about the prob¬lems in our families as friends. I should, I realise now, have encouraged you to open up. I fear Veronica might have been too hard on you, getting carried away with her church stuff and refus¬ing to give you room to be yourself But perhaps you drove her back too hard. No woman I know, Farai, wants to stand back with folded arms watching her house fall apart. Pull yourself together, man. Do you think I don’t have problems as well? Are you the only married man in this world? What would you do if Clara and I weren’t here to help you? Get a life, man! (Double Storey, 2006) CONTEXT: AFRICA ALKASIM ABDULKADIR Alkasim Abdulkadir Flight of Sleep On this flight of insomnia, this night of still breeze, I pen thoughts of years past from friends who have traversed the cauldron of life, crossing my paths in quest... To clothes long outgrown bearing shades of faded colours As these tears sting my eyes, I wonder what made the sky so blue, the flowers so yellow, smiles so joyous, why the night holds a party of stars. On this flight of insomnia what became of dreams? What deflated the pride That swelled our chests? CONTEXT: AFRICA JACKIE MANSOURIAN Jackie Mansourian In the Light of the Moon The night I was taken from my village was the night of the full moon. I remember our whole village was celebrating the end of the maize harvest. The heavy work was over. Mamá and my aunties danced together in a big circle. The three drummers had them in a spell. My baby brother lay cocooned on Mamá’s back, his head hidden inside the capulana. Only his bare legs dangled and danced. I didn’t need to care for him that night. I played, dancing, singing, chasing my brothers and sisters, weaving around the fat trunks of the old mango trees, hiding in their shadows, in and out of moonlight, waiting to be caught in the game. I joined Mamá and aunties for my last dance. My toes dug into the black dirt, pounded soft by the feet of the women. It floated up into my nostrils. Esmerelda, my big sister, and I were led inside the dance circle. The women clapped and cheered. I tried to move my hips just like Esmerelda, but I knew I wasn’t like her, even when I was trying my hardest. The clapping got louder as they urged us to continue. My movements grew even more stiff and ugly. I panted. But not Esmerelda, she danced like the women, as if she would be there all night. The drums stopped, almost too suddenly. The men wanted another drink. And Esmerelda and I fell on the ground and laughed and wrapped our arms around each other. Mamá came to us, tugged on one of my strands of braided hair, “Are you trying to be a big girl already Filomena? Your turn will come to learn to dance.” I remember the moon was very high when I entered Mamá’s hut. Esmerelda came to stay with me. Our mothers would stay out all night. We could hear their laughter, as we lay on our backs on the mats, side by side. We weren’t ready to sleep. “Filomena, what do you think Father will bring you from the town?” Esmerelda asked in a hushed, excited voice. Papá had gone into town to take some of our grain to the store. He’d been away since the new moon but we knew he would soon return. We were each waiting for something new he would bring us. “I asked Papá for a pair of shoes. I want to wear shoes to school.” I remembered my disappointment as I went to my first day of my second year at school, barefoot again. It mattered more than ever. But Papá winked at me as he sat on top of the ten sacks of maize on the back of the open van. He promised. “What do you want from Papá?” “It’s a surprise,” Esmerelda whispered. I knew she wanted me to ask. But I wanted to trick her. Instead I would ask her when she least expected it, like when we had to go to the river and carry water for CONTEXT: AFRICA JACKIE MANSOURIAN our mothers, or pound the maize, and then she wouldn’t be able to help herself. So I turned onto my side and nuzzled her neck, “Let’s sleep.” Loud wailing and shouting noises outside the hut yanked us out of our sleep. I was off the mat as if I was a stem of lightning trying to hit one of the mango trees and I threw myself into the darkest corner of the hut, behind Mamá’s big wooden box. “I’m here, Esmerelda. What is it?” My throat was dry. I grabbed at her hand. It was shaking. My heart felt like the heavy thuds of feet scrambling, running outside our hut. Children were crying. Pleading. Was that my baby brother? Where was mamá? Someone pushed our bamboo door onto the ground inside, where we had been lying. In the light of the moon, his massive shadow engulfed our hut. He wasn’t from our village. “Get out and keep your mouths shut,” he roared at us. He spoke our language, but with a different sound to the words. We held on tight to each other, shivering. I remember an awful sound, as if the lighting had hit the tree’s trunk and cracked it open. It was on the other side of the mud wall where we were hiding. Esmerelda and I began crying. I couldn’t help myself. “Mamá, where are you? Help us,” I pleaded. The man found us, hit us hard on our faces and dragged us out. The main hut in our compound, the hut of Papá’s first wife, was burning. One of the drummers was lying on the ground, his face down in the dirt. I don’t remember what else I saw. It was like one of those scary dreams I sometimes had, when really bad things happened, and I would wake up, and feel Mamá’s body on the mat lying next to me. I never remembered the scary bits the next day. All I remember is standing outside the hut, with my capulana, half over me, holding hands with Esmerelda. We were crying and calling out. I felt very cold. Then the same man with the monster shadow grabbed our bodies, one in each hand and broke us apart. He took Esmerelda away with him. She had snot all over her face. I stood alone. “Esmerelda! Esmerelda! Come back! Don’t let him take you. Don’t leave me.” Esmerelda did not return that night. I had not known to run. I was pulled down and dragged by a boy I did not know. He was not from our area. He was yelling at me, waving a machete too big for his boney, skinny hands. I ran with him to Papá’s pigsty. Other children were already there. “Stay here,” he ordered and left. I remember that none of us looked at one another. We crouched down, curling our bodies over our knees, tight and small. I looked at the ground following the hoof marks of Papá’s pigs and where they became smudged by our footprints. One of the boys wet himself right there, the stream of pee ran down onto my feet. It didn’t matter. I looked up. José. His name ululated inside me, in my ears and heart. We had tried, together, to outsmart those naughty monkeys from stealing the corn from our mamás’ fields. I knew he would help me. We would laugh together just as CONTEXT: AFRICA JACKIE MANSOURIAN we had laughed when the clever, hungry macacos had tricked us. The same skinny boy was behind José, pushing him, yelling things I didn’t understand, shaking his machete. Then I saw that José was bleeding from a big cut on his head and the blood was running down his face. I held his hand. The boy with the machete saw me. He threw himself at us and with bloodshot, bulging eyes, first glaring at my face, then at our clasped hands, he brought down the machete on José’s forearm. José fell onto his knees, gasping in pain. I felt hot pee suddenly run down my legs. A scary feeling came over me, as if the things I was watching were closing in on me, inside my own body. I woke up. The boy with the machete was kicking my side. He pulled me off the ground. My capulana, wrapped around my body was soaked in pee and blood. I looked around frantically searching. “Where is José?” I yelled at that awful boy. He spat where José had stood by my side. He herded us forward, four children. I was the only girl. I remember the moon. It glared at us from half-way down the sky as we marched in a line. A memory came of something I heard between Papá and his wives. He had called his four wives together. Mamá left me to pound the maize on my own. In the shade of the granary he had spoken softly, “In my absence, someone may come to collect these two sacks. He will be sent by Brother Carvalho. Give him the two sacks. Go about your work as if nothing special has happened. Direct him to where the sacks are stored and he will know what to do from there.” The women bent their heads in obedience. But later, after Papá had left, they whispered amongst themselves about their husband’s unwise friendship with the men of the forest. Some neighbours called them armed bandits, others called them freedom fighters. I did not understand then. But I knew that Papá would never have friends like the giant who had taken Esmerelda away or that skinny, bug-eyed boy who had made José disappear. No, Papá would come and find me. He would return from town in the back of the van with my new pair of shoes and ask Mamá where I was. He would come on the trail and carry me back to Mamá’s hut, where Esmerelda would be waiting and where José would tease me about going away with that ugly boy with the red eyeballs. Papá did not come. The Comandante’s wife was the fattest person at the base. When I first saw her, I thought she must have been a very happy person. I remembered a story talked amongst Mamá and aunties around the fire – a story about fat people. Fat people never had anything to worry about, they always had more than enough food to eat and always ate meat in their stew. I had never seen a fat person before. That awful boy had taken us straight to her when we arrived. There were rolls of skin hanging over her capulana at the waist and around her neck. I couldn’t stop myself from looking at her bulging flesh. I wanted to touch it. Was it soft like the flesh of a ripe mango or hard like its stone? “Didn’t your mother teach you manners, girl? Maybe that’s why your father has sent you here. To teach you respect. How dare you look up at me? Keep your eyes CONTEXT: AFRICA JACKIE MANSOURIAN where they belong, looking down at the space between your filthy feet.” I didn’t want to believe her. She was lying. Papá would never have sent me away. He had gone into town to buy me shoes. They had bewitched him. A military base. That’s what everyone called it. Whenever the Comandante walked by, we had to quickly stand, put our feet together, our arms by our sides and our eyes on the ground. At the beginning I did not speak. I understood all the things the Comandante’s wife told me to do. I did them with the other girls and they whispered amongst themselves, but I did not. “Clean the porridge pots.” “Sweep the yard around all of the huts.” “Heat water for my bath.” “Pound the dry cassava for tonight’s porridge.” The Comandante’s wife even wanted to be my friend. “Come and sit here girl, on this mat. Tell me your name. Tell me the name of your father,” stroking my hand she would continue, “Your family has sent you here. Yes, they want you to be happy in my care.” When I couldn’t say anything, she would hold my face under my chin and bring it close to her face. She would pinch my cheeks, twist my skin on my arms, bang her head on my forehead and push me off the mat, “You stupid girl. Your people are monkeys, that live in the trees, wild, stupid people. I know you speak.” But I had no words. They stayed locked inside me, here where my neck joins my body. I counted the passing of the full moon on the fingers of one hand, waiting for Papá. But the light of the moon at the Comandante’s base was bewitched. It gave way for the monsters of my dreams to escape. I tried to keep them hidden, locked in that place of sleep. But each full moon made their cruelty and my memory of them, grow. At Papá’s pigsty the skinny, ugly boy dangled a severed arm in front of me. He grinned and his teeth and gums showed stains of dark, hardened blood. He was a bloodsucker. “It’s yours. You wanted to hold his hand so much. Now you can.” José’s arm lay stiff on the dirt at my feet. Three fingers had been chopped off. I rushed out of the hut, falling over the body of one of the sleeping girls, gagging, full of the urge to vomit. Nothing came out, only groans and the bitter taste of my spit. I squatted on the ground wrapping my arms around my knees and a vast shadow crept up behind me, until my body and the ground was covered by its shape. I turned. The face of the monster shadow was in darkness, the brightness of the moon shining from behind. But I knew it was him. Up to then I had only seen him in my dreams, but the boy with the machete was now at my side. I couldn’t stop myself. I clutched at the dirt and flung it in his face, kicking him and tugging, tearing with my teeth on the skin of his forearm. “Stop! You crazy puta! Stop!” CONTEXT: AFRICA JACKIE MANSOURIAN I felt my teeth break his skin and a warm, sticky taste on my tongue. It was his blood. I spat it out. He held me away and spat at my face, large gobs of spit splattering over my eyes and cheeks. She stood there watching us, her capulana, across her hanging breasts. Where had she been? How had she appeared there? “Stop spitting on my girl,” the Comandante’s wife ordered. He stopped, quickly putting both hands to cover his face, as if protecting himself from a blow and fled. I ran inside the hut. I knew the other girls had been listening, but as I stumbled to my mat, they did not dare stir. The Comandante’s wife shuffled away. She did not call me with her orders for days. All I could think of was how to get back at that ugly boy. I wanted to beat him, make him suffer, just as I was suffering. He’d hurt José and stopped him from coming here. José would have helped me. I wanted to destroy the monster of my dreams. I needed a machete. I wanted to cut him up, hack him on the forearm where he had hacked José. How could I get a machete? Then she came to me. She held out a machete. “Go and use this on that boy. It belongs to him. I have sharpened it for your use.” How did she know? My heart thudded as if they were footsteps of my people scurrying away. She was a witch. “Go now. He is asleep in my hut.” Hot, burning tears gushed down my face. “If you do not go now and cut him up with this machete, you will have to speak to me. You will tell me all the things that the girls talk in the hut.” She left me standing with the machete in my hand. I could again feel José’s hand letting go of mine. I could again see the bug-eyed boy covering his face from her. I dropped the machete onto the ground. “Beatriz,” I called out after her, as the machete hit the earth. I would become Beatriz and never tell her my name. And never again count the full moon rising, waiting for Papá. The Comandante’s wife sent me to join in the raids into people’s villages. We trekked for days before attacking. Nothing to eat. The soldiers gave us stuff to smoke. It was good. It helped me forget my hunger and helped me move quickly. Then on the night of the full moon the attack would happen. The moon lit up the pathways into the village, marking our ways in and out. I wouldn’t watch what the boys and men were doing. I would keep myself hidden from our soldiers and from the villagers, at a distance, where I could hear. I knew the moment that my work could begin. It was the moment as if everything had gone back to that sleeping quiet of the night, before the attack. As if the villagers and the soldiers had yelled themselves empty. Their voices had dried up and there was nothing left to yell or cry about. That is when I rushed in, into the huts of people who had fled, to find whatever I could and carry them to the place the soldiers had marked out. Once I found a radio, like the one Papá had. But most of the time, I could only get the capulanas or blankets that people were wrapped in before they had run. It was the smell that was the worst. The smell of frightened people, sweating, weeing, throwing up their CONTEXT: AFRICA JACKIE MANSOURIAN evening meal. The smell of fresh blood and human flesh. Its own smell, not like goat or chicken, or pig blood. But I taught myself not to smell these things. Then Clara arrived. I think I had been at the base for three rainy seasons. Clara had been living at a school run by nuns and was captured by our soldiers on her way to collect cassava from the school farm. At first she did not speak to any of us. She had light clear skin. I admired her light brown breasts and dark nipples. She was sent on her first raid soon after she arrived. We stood in a straight line before the Comandante’s wife, being given the instructions for our next raid. “Make sure she learns our work well. You, Beatriz, are responsible for the load she must find and carry. Clara, you will follow Beatriz. She is small but she is fast and clever.” Clara stood on something sharp on the third night of the march and dropped down to the ground in pain. No one stopped. I did not either, but slowed my pace to stay close. One of the soldiers ordered her up. She began to yell at him. He took his knife out. I ran back, put my whole body under her left arm and heaved her up on to her feet. I looked straight into the eyes of the soldier. She was heavy. I wasn’t sure whether my shoulders would keep her up. It was a risk. I tried really hard not to blink, to keep my gaze firm. He returned his knife to his belt. I turned around and marched forward, moving as fast and as far away from him as I could. I knew he would be watching us for the rest of the raid. I had been careful not to embarrass him, but he would now notice us in all that we would do. “Clara, imagine yourself a gazelle. Imagine your feet as the hooves, small but hard. That is how you must move during these treks, quietly, lightly on thickskinned hooves.” Clara continued to lean across my shoulders, but her movement became lighter and quicker as the spirit of the gazelle entered her. A whole rainy season went and returned and Clara and I were together at the base. Not that there was rain. The huge bubbles of clouds would build up in the sky but then they would be pushed away quickly by the hot wind. That’s when we made our blood pact of secrecy. If either of us broke the pact, we would be haunted by the spirit of our dead grandmothers. Clara told me the complete name of her parents and her surviving and dead grandparents and the name of the small town she was born in. Gorongosa. That was where Papá had gone to take the maize and to buy me shoes. I remembered it as soon as she spoke it. She scratched something into the red earth and told me it said my name, Beatriz. I asked her to scratch the name Filomena. I had memorised my name and the name of my father by repeating it as a chant every night inside my head as I went to sleep. Clara wrapped her hand over mine and led my finger over each letter. I rubbed it away. No one else must see it. The Commandant’s wife must never know. Clara knew her own age, she was fourteen years old. “Filomena, your body is still like the body of a boy. Maybe you are ten years old,” she explained as she held her two closed fists together. CONTEXT: AFRICA JACKIE MANSOURIAN All the girls in the hut bled – except for me. During that time in the cycle of the moon, they stayed indoors during the day. As new girls entered our hut, their cycles would gradually come together. Those days were the hardest for me. All their work still had to be done. I tried to do it, cleaning the huts of the soldiers, working with the Comandante’s wife and the wives of other soldiers to prepare the food. The girls’ hut smelled of blood-stained, stale earth during this time. They would only come out at night – to bathe, if there was any water left, careful not to be noticed. On certain nights when they weren’t bleeding, some or all of the other girls would be called out from their sleep to go to the soldiers. It was the Comandante’s wife who waited outside our hut, directing each of the girls to the different places. Some soldiers had built their own separate covers; others lived together. I didn’t like to be left alone. I stayed awake listening. Clara never talked about what happened to her during those nights. She would return to our shared mat and cover, stinking of the sweat and saliva of others, and another thick odour, which I only smelled on those nights when the girls returned. Clara would curl into a tight ball facing away from me. In the mornings she would not look at me, the skin around her eyes all puffy and red. Everything changed in the middle of the dry season. There was no water anywhere. The Comandante was sitting on his bamboo chair surrounded by some of the other soldiers he most often sat with. Others circled the outside of the gazebo, the smaller boys with rifles wandering in and out amongst this crowd. They were all listening to the radio. At times only the radio’s voice could be heard and then a surge of loud talk would burst out amongst the men. This had never happened. Even the Comandante’s wife ignored us. No explanation was given in the girl’s hut. We each heard and gathered snatches. Our soldiers would be giving in their weapons. Some talked about hiding their rifles in the forest, others talked about demanding more payment for their guns. Others talked about returning to find their families. The Comandante wanted the smaller boys gone long before anyone else entered the base. But he said nothing to us, nor did she. We had so many questions. If the boys were going to leave, what would the Comandante’s wife do with us? Where would she send us? What would the soldiers of the other side do to us? Where would we go? How would we get there? I don’t remember how we reached the orphanage. All I knew was that Clara wasn’t coming. She was going to her family without me. That’s all that mattered. Clara was going to leave me. I didn’t show anyone how sad I felt, not even Clara. But she knew. She made me a grass amulet with strands of her hair inside. We would again find each other she whispered. “Tell them what you remember. They will help find your people.” How could she be so sure? What if the Comandante’s wife found out I had been lying to her all this time? Clara told me to be brave. To go with the people to the orphanage. They would keep the Comandante’s wife away. She got into the back of an open van. I knew CONTEXT: AFRICA JACKIE MANSOURIAN she was looking at me but I couldn’t look back. “Clara! Clara! Come back! Don’t let them take you. Don’t leave me.” The words wailed inside me. And when I did look up, Clara was a puff of dust, a long way on the dirt track. Even then it looked like someone was waving. I knew it was Clara. My arms felt like boughs of trees, a burden at my sides. At the orphanage, a long pole held a flag at its very tip. A hoe, a rifle and an open book fluttered in the hot wind. I’d seen them before, somewhere. Not at the Comandante’s base. Before. But where? Why were those three things put together, crisscrossing over each other, as if they belonged together? But that couldn’t be so. The rifle was the strongest and turned people holding it into their own hidden monster selves. Their most evil of spirits came out to hurt others. Is that what books did too? No one seemed to have a rifle at the orphanage. Maybe they hid them, like they hid everything else. There was never enough of anything – not enough food, not enough water, not enough mats to sleep on, not enough blankets for the cold nights, not enough soap to wash. Just like the base. Some of the girls began to pee in their sleep. I shared a blanket with Amélia. She came from the base too. She was bigger but she didn’t act bigger. She used to say stupid things, things that no one else understood. She’d sit by herself, squatting on the dirt, rocking her body, backward and forward. Then at night she’d pee everywhere. I’d get it all on my capulana. Our blanket smelled bad. But the people there didn’t seem to care. They’d tell Amélia to stop peeing on herself, but they’d still make me share the blanket with her. Once a group of white people came. There’s something missing in the way they look, as if their skin hasn’t completely formed. I didn’t like to look at them. They had red blotches on their face and arms, as if they were bleeding on the inside. The other children wanted to touch their hair, their hands. I couldn’t force myself to do it. They looked at us with eyes that were the same colour as the sky on a hot day, when it is better to sit in the shade. The Director of the orphanage, Senhor Ernesto put up a big poster on the wall for all of us to see. The whites sat on three chairs especially brought out from the room where the Director sat. Senhor Ernesto was wearing a jacket, the length of the sleeves covered his hands all the way to the tip of his middle fingers. There were photos of all of us on the poster, he assured us. He called each of our names and pointed to our photo amongst all the others. Amélia’s head was blocking my way. When I told her to move, she acted like she didn’t hear me. I couldn’t see anything. He said that’s how our people would find us. This was the work our visitors were helping. Senhor Ernesto would make sure that the posters would go all over the country. Our red, blotchy visitors nodded with approval. Maybe someone looking at it would recognise us. Know where we belonged. We clapped and sang and thanked our visitors. When no one was looking I went and looked at the photos wondering which one was me? I remember I found Amélia, João, Fernanda ... then there was someone I didn’t know. I looked carefully at all the others again and then I understood. That was me. I ran away. Then I went back – my hair was shaved, my eyes seemed to fill my whole face, as if there was nothing more to me than eyes. I hated it. The Comandante’s wife would find me. I pulled that paper off the wall and tore it into CONTEXT: AFRICA JACKIE MANSOURIAN tiny pieces. They caught me and they wanted me to explain to the Director why I pulled it down. I said nothing. I looked down on the floor between my bare feet and his shoed feet. His shoes were torn and his little toes poked out from both feet. He wouldn’t be able to keep her away. I remember the day they told me they were going to take me to my village. Someone had seen my photo and said they knew me. I didn’t believe them. It was a trick. She had found me. Two men came to take me. I wouldn’t go. The shorter man looked just like the Comandante. I vomited all over his clean, neat shirt. Dry long grass crowded the track on both sides. The two men sat in the front of the car, I sat in the back. One asked me my name. I didn’t answer. My head spun as the grass and the car seemed to fly past each other, in opposite directions. I closed my eyes. When I opened them again and lifted my head from the seat, the car had stopped. The two men were not inside. A group of children crowded the windows of the car, looking at me. I looked beyond their faces, searching for the sound of the water I could hear splashing and gurgling over rocks. There was nowhere to cross the river. I stayed inside the car, sinking deep into the seat, making my body small. I heard the voice of the man who had asked me my name. He was repeating it, side-by-side with the name of my father. “Filomena Carlos. Carlos Capitão.” My heart was pounding quickly, strongly, my breath, my breath, I couldn’t keep up with my heart. There was a lot of talk outside the car. I couldn’t hear the words. My ears were full of the sounds of frightened screams. “Mamá, where are you? Help us. Esmerelda, Come back! Don’t leave me!” I rushed my hands to my ears. I was crying, yelling, my body shook uncontrollably. The car door on my side was opened. My yelling grew louder, my body was throwing itself up and down on the car seat. Then a face, a face I remember from deep inside me. But I couldn’t keep myself there. I could no longer keep up my breath with the hard, painful thuds of my heart. I gave into the nothingness closing quickly in on me. A little girl, her capulana wrapped across the back of her neck, called out, “Mamá, who is this big girl?” Her mother answers in a gentle voice. “She is your auntie. Your Auntie Filomena has returned home.” “We must return to the clearing, others have also returned,” softly Esmerelda explained. We walked slowly. Esmerelda carried a tin of water on her head and her baby on her back. I carried a plastic bucket filled with water. Others, too, each carried something of what the men had left for me – a small sack of maize, which wouldn’t be enough for two days’ servings for the girls’ hut at the base; a small sack of beans; one length of capulana. Esmerelda’s daughter carried the head of a hoe. The track was overgrown. “Only walk where you can see others’ footsteps.” We followed each other in a line. CONTEXT: AFRICA JACKIE MANSOURIAN Then, before me loomed the ring of mango trees – huge old trees heavy with blossom. The perfume from the flowers were sweet and sticky. The smell took me to another time. I couldn’t help myself. A memory rushed forward of children helping each other unload the heavy weight of water from their heads, laughing and shouting as they throw rocks high up into the tree. I was amongst them. Mangoes would come thumping down on the ground. Juice and pulp smeared all over our chins and cheeks as we sucked the mangoes that had fallen. My mouth watered with the taste. I had not eaten a mango since then. Around the outer ring of the mango trees, four small grass huts have been built. Esmerelda took me to the first hut. She put down her water bucket first, spilling it as she pulled it away from her head and down on the ground. She took the bucket off my head. “The spirits of our ancestors will not yet drink the water from your load. We must first tell them that you have arrived.” The others placed my belongings by the side of the hut. Esmerelda entered the hut and came out stretching a mat made from green reeds. She invited me to sit on it. She lay down her baby on the mat beside me. “You must rest now, Filomena. Your journey has been long. When you awaken, we will all be here.” As I placed my head on the mat, the warm, green smell of fresh grass carried me away. In my sleep, I thought I could hear the sound of a baby crying and whispers around me, the smell of a fire burning, the warmth of the sun disappearing. But it is the face of the Comandante’s wife, so close I could smell her stale breath and see each bead of sweat around her lips, which forced me to wake myself up. As my eyes opened, I quickly looked around me and her fat, wet face was nowhere to be seen. I closed my eyes again. My heartbeat softened. As I slowly re-opened my eyes, I saw the full moon flickering in and out of view between the branches and leaves of the mango trees. It returned with me to my village. I looked across into the clearing, where flames and smoke appeared in snatches between the dark shapes of people’s bodies sitting in a ring on the earth. There was a hushed conversation. I sat up. Esmerelda lookeds across and came over by my side. “My little sister, that was your sleep of return. Our ancestors have given you this gift of sleep as a welcome.” The other people around the campfire joined us. One by one, they placed their hands on the top of my head and then swept their fingertips down the length of my body, touching the earth around the mat. They were familiar but unknown faces. I was lifted to my feet and taken across to the clearing. Esmerelda carried a small earthen bowl and laid it by my feet. Water sparkled inside. She stood in front of me, her voice quivering with the words, “Your mother and our father have not yet returned. I will guide you until their return. In their name and in the name of our ancestral family, I take this water and wash your feet to cleanse the earth of other lands they have trampled.” Esmerelda lifted my feet one by one and poured water over each. “I take this water and wash your hands to cleanse the deeds they have done.” Esmerelda held each hand in turn and poured water over my open palms. “I take this water and wash your eyes to cleanse the blood they have seen.” CONTEXT: AFRICA JACKIE MANSOURIAN She scooped water over my closed eyes. I joined my people around the fire. Esmerelda sat at my side, her baby on her back, asleep inside his nest of capulana. The light of the full moon shone from high above our clearing, into the circle of the mango trees. CONTEXTE: AFRIQUE NICOLE BARRIÈRE Nicole Barrière Grand brasier blanc Au sud, ancestral la pluie vive sur la terre sèche le ciel lumineux nous ronge sous la pierre noircie le feu couve-plaie sur le brasier du temps les enfants meurent le regard mangé de tristesse puis les femmes puis les hommes puis ... il fait chaud chaud et le temps espace sa course comme le soleil à nadir grand brasier blanc nous n’avons plus d’herbes ni de lait ni de miel le soleil se tue à l’Est jour braise nous voici égaux sous l’étoile et l’idée de la beauté nous a blanchis mais la nuit creuse nos yeux remplit le regard d’un chant que l’on voudrait grandir grandir jusqu’à remplir l’humide des paupières grand brasier blanc l’espace se replie sur la terre et nous sommes l’autre versant du dire l’envers des choses simples et les saisons d’hibernage tandis que monte de nos bouches le chant lointain des aïeux CONTEXTE: AFRIQUE NICOLE BARRIÈRE grand brasier blanc ton dire n’a plus de sève la mort a mis son baiser froid sur chaque souvenir. grand brasier sur notre chair comme sur l’instant qui passe sur notre vie comme sur les pierres sales la roue du temps achève sa route de sel nous avions soif de vos écorces pâles de vos âges adolescents de vos fronts soucieux où l’espoir s’est tu grand brasier blanc vos chants de cygne sur le fond du lac nous en avions pétri la mousse et jeté l’algue pourtant vos armes parlent le sang il est rouge il est noir grand brasier blanc de vos détresses quotidiennes de vos traversées d’orgueil de vos lames infestées de mépris il fait chaud, grand brasier il fait chaud jusqu’à perdre le sens des larmes c’est la vanité sèche morte est la fièvre morte est la feuille, morte est la sève morts, les morts butinent jusqu’à nos transes grand brasier blanc debout sur nos traces. CONTEXT: AFRICA BENJAMIN UBIRI Benjamin Ubiri Home Sunlight peeps at our bare bodies as we lie on the bare bamboo, indoors; tears from the moon cascade through our unfinished roof to kill the flames for supper. Ashes, tears mix; new streams ease out from under the dwarf curtain and from our parted legs of murdered comfort, into the ocean that now lives with us. CONTEXTE: AFRIQUE LÉONORA MIANO Léonora Miano Extrait du roman Contours du jour qui vient La nuit était chaude et les rues bondées. Après la guerre qui venait de tailler le pays en pièces, les habitants de Sombé recommençaient à vivre, mais pas comme avant. Ce n’était pas pour aller au restaurant qu’ils sortaient. Ils n’allaient pas voir un film, ni se trémousser au rythme des chansons branchées. Ils allaient dans les temples. Il n’y avait plus que cela, partout. Des églises d’éveil, comme on les appelait. Toutes millénaristes, toutes arc-boutées sur les passages les plus effrayants ou les plus rigides du Livre. Ils n’avaient pas l’intention d’aimer leur prochain comme eux-mêmes. Il n’entrait pas dans leurs projets de trouver ce qui en eux avait été créé à l’image du divin, ce qui était grand et beau, ce qui était lumineux. Tout ce qu’ils voulaient, c’était ériger la noirceur en principe inébranlable. La haine du vivant avait élu domicile dans la cité, et on avait déboulonné tous les lieux de plaisir et de joie. La salle de concerts Boogie Down était désormais une salle de lecture tenue par des évangélistes américains, aussi blancs que des cachets d’aspirine, et aux cheveux d’un roux qui ne ressemblait à rien que nous connaissions par ici. On les voyait souvent rougir douloureusement au soleil, vêtus de chemises blanches à manches courtes et de pantalons noirs, et on disait qu’ils avaient de bonnes raisons pour venir si loin de chez eux, souffrir sous l’ardent soleil de notre Afrique équatoriale. On supputait abondamment concernant ces raisons que nul ne connaissait. Ceux qui venaient à eux avaient toujours une idée derrière la tête : une idée de voyage au loin, de mariage avec un Etasunien. Les missionnaires étasuniens avaient repeint en blanc les murs jadis rouge brique et avaient rebaptisé le lieu EGLISE DE LA PAROLE LIBÉRATRICE, mais pour tous ceux qui passaient par là comme pour ceux qui venaient suivre leur enseignement, c’était toujours le Boogie Down. La boîte de nuit le Soul Food avait gardé son nom, pour abriter un centre de rééducation spirituelle, d’inspiration afrochrétienne. On y enseignait une approche africaine des Ecritures, parce qu’il devait y en avoir une. La Cité des Merveilles qui n’était pas un lieu ouvert à tous mais qui constituait une attraction majeure parce que c’était la plus grande habitation de la ville, était devenue le temple de La Porte Ouverte du Paradis. Il s’agissait d’une maison tenue par un couple de personnes âgées, Papa et Mama Bosangui, spécialisés dans les prières de combat, les ordalies – se rapportant souvent aux démons dissimulés dans les familles –, et des pratiques mystérieuses dont on disait qu’elles vous rendaient riches du jour au lendemain. D’ailleurs ils roulaient en jaguar sur l’asphalte défoncé des rues de la ville. Les habitants de Sombé se pressaient vers ces lieux, vêtus de soutanes blanches, rouges ou bleues selon leur obédience. Ils tenaient à la main des cierges noirs qui brûleraient aussi longtemps qu’il le faudrait pour assurer leur salut. Ils n’avaient d’yeux ni pour moi, ni pour CONTEXTE: AFRIQUE LÉONORA MIANO rien d’autre que les ténèbres qui s’épaississaient à mesure qu’ils les contemplaient. Ils n’allaient pas se repentir, mais se plaindre. Ils n’allaient pas chercher comment recréer l’harmonie au sein de leur famille, mais comment bouter hors de leur domicile le sorcier qui, ayant pris l’apparence d’un proche, avait précipité leur ruine. Ils n’allaient pas élever leur âme, puisqu’ils n’aspiraient qu’à descendre, toujours plus bas, là où c’était le plus obscur, là où les pulsions de mort se faisaient passer pour des règles de vie honorables. Ceux d’entre eux qui cherchaient sincèrement Dieu espéraient trouver en lui une sorte de vaisseau spatial vers une planète plus tranquille. Ils en avaient par-dessus la tête de devoir prendre leur vie au collet chaque jour que Nyambey faisait, pour n’arriver à rien. Ils priaient non pas pour demander la force d’affronter la vie, mais pour en être délivrés, pour que tombent enfin les barreaux qu’elle érigeait autour d’eux. Ils voulaient s’évader du monde réel, n’y avoir aucune responsabilité, n’avoir jamais à s’y engager. Ils priaient comme certains se font un fix : pour planer. Telle était la ville, désormais. Les rebelles et l’armée régulière n’avaient laissé que cela, ce désespoir qui usurpait le nom de foi. Nous ne sommes pas un peuple cartésien. Nous n’avons pas à l’être. Il est légitime de croire à ce qu’on ne voit pas, et dont on sent pourtant les manifestations, comme le vent qui sent la poussière et fait se pencher les roseaux sur les rives de la Tubé. Il n’est pas stupide de considérer que si ce monde existe, il peut y en avoir de nombreux autres. Ce qui est incompréhensible, c’est la raison pour laquelle notre croyance se laisse si volontiers couler vers les abysses les plus ténébreux. Nous n’aimons rien autant qu’éteindre toutes les lumières, afin de ne laisser brûler que les brasiers qui nous consument de notre vivant, faisant du lendemain une impossibilité. Après la guerre, il ne restait plus que le présent, et il n’était plus que perte de sens. (Plon, 2006) CONTEXTE: AFRIQUE PIERRE ASTIER Pierre Astier Demain l’Afrique Ma découverte des auteurs d’origine africaine remonte à une vingtaine d’années. Elle s’est faite au travers de mon expérience d’éditeur de nouvelles d’abord, avec la revue trimestrielle « Le Serpent à Plumes » que j’ai créée et dirigée de 1988 à 1996, avant de créer et diriger la maison d’édition du même nom, « Le Serpent à Plumes Editions », de 1993 à 2004. La nouvelle est un genre littéraire pratiqué de manière plus libre et plus souple que le roman dans presque tous les pays du monde, qu’un secteur éditorial et une industrie du livre y soient développés ou non, parce que la nouvelle a deux supports d’édition possibles, et donc une circulation rendue plus facile: la presse écrite ou l’édition, le journal et le magazine ou le livre. En France, où les pratiques éditoriales sont anciennes, où la littérature tient une grande place dans la vie culturelle, la nouvelle a toujours été (curieusement, malgré la prééminence d’auteurs comme Guy de Maupassant ou Marcel Aymé, ou malgré le succès récent d’Anna Gavalda) un genre mineur, peu encouragé par les éditeurs, étudié mollement à l’université. Dans ma quête de nouvelles francophones de 1988 à 1996, à ma déception de trouver très peu de nouvelles françaises contemporaines succéda la satisfaction de découvrir et d’explorer un continent littéraire, la francophonie, regroupant des locuteurs en français, fourmillant de nouvelles et de romans, des Caraïbes au Proche-Orient, d’Amérique du Nord à l’océan Indien, avec, au centre de cet arc littéraire, l’Afrique, la terre ancestrale d’Afrique, d’Alger au Cap, d’Abidjan à Djibouti. Depuis lors, je n’ai cessé de m’intéresser, de me passionner devrais-je dire, pour la littérature et pour les auteurs africains, en tant qu’éditeur d’abord, puis en tant qu’agent littéraire. Cet intérêt pour une littérature d’une exceptionnelle richesse (Sony Labou Tansi, Yambo Ouologuem, Ahmadou Kourouma, Emmanuel Dongala, Assia Djebar, Abdourahman A. Waberi, Alain Mabanckou, Rachid Boudjedra, Aminata Sow Fall, pour n’en citer que quelques-uns de langue française), qui s’est écrite dans la langue des colonisateurs français, portugais ou anglais, en même temps que les pays de ces auteurs accédaient à l’indépendance politique, a été renforcé par plusieurs impressions fortes devenues convictions. La première de ces impressions a été que l’influence des formes artistiques en provenance d’Afrique sur les formes artistiques occidentales (que ce soit dans la musique, la danse, les arts plastiques, la littérature ou la mode) était injustement méconnue et reconnue par les élites. L’apport considérable et pourtant très sous-estimé d’une personnalité comme Joséphine Baker par exemple, Américaine « africanisée » par la scène artistique française dans les années trentes en est extrêmement révélateur. La seconde impression, plus directement liée à la réalité française, vieux pays colonisateur n’ayant toujours pas assumé et analysé en profondeur CONTEXTE: AFRIQUE PIERRE ASTIER ce que fut la colonisation, a été une sorte d’indignation durable devant la ségrégation vivace dans le monde des lettres français entre auteurs français (« de souche », comme l’on dit en France) et auteurs étrangers de langue française, ces derniers ne bénéficiant pas du même traitement que les autres dans les maisons d’édition, dans les médias, en librairie, dans les prix littéraires, dans les fameuses « rentrées littéraires » etc, tout cela ressortant d’une crainte (frôlant l’arrogance et le protectionnisme) que l’histoire multi-séculaire de la grande littérature hexagonale risquait, au contact de ces littératures d’outremer, de perdre son âme. Fort de ces convictions, j’ai développé, de 1988 à 2004, un catalogue d’éditeur, et, depuis 2006, une liste d’auteurs représentés par l’agence littéraire Pierre Astier & Associés, où les auteurs d’origine africaine ont une place éminente, aux côtés d’auteurs européens, américains ou asiatiques . Parmi les faits marquants dans l’histoire de la littérature du monde, au cours de ces quarante dernières années, il faut noter l’adoption sur tous les continents de formes littéraires d’origine européenne que sont le roman et la nouvelle, auquel on pourrait ajouter l’essai. Mais ce qui précède ce phénomène ou lui est concomitant, c’est le mouvement vers les indépendances. En même temps que des nations aux frontières incertaines émergeaient, tant en Afrique du Nord qu’en Afrique sub-saharienne, des littératures émergeaient, témoignant d’une quête identitaire prononcée. Avec l’ouverture des frontières et la mobilité des créateurs, ce mouvement n’en est qu’à ses prémisses. Meurtris pendant des siècles, les Africains n’ont pas une relation aussi aliénante avec l’Histoire que les Arabes ou les Européens. Ils entrent de plain-pied dans le monde d’aujourd’hui, en acceptent toutes les composantes. D’où une extraordinaire profusion de puissants auteurs d’origine africaine. En tant qu’agent littéraire oeuvrant à Paris, ville qui demeure un carrefour culturel est-ouest et nord-sud de premier plan, ville où les minorités africaines sont nombreuses, il serait impensable d’exercer ce métier sans être attentif à ce que des écrivains d’origine africaine proposent, qu’ils soient Français d’origine africaine ou Africains d’Afrique. Dans tous les domaines – roman et nouvelle contemporains, roman policier, thriller, roman historique, science fiction, sciences humaines – de nouveaux talents apparaissent. Le rôle de l’agent étant de dépasser les frontières, c’est pour moi là, après avoir proposé aux lecteurs français des titres d’auteurs d’origine africaine, un projet captivant que de faire en sorte que des auteurs d’origine africaine puissent être lus en Scandinavie, dans les pays d’Europe orientale, dans les Balkans, dans le monde arabe ou en Asie. L’heure de l’Afrique a sonné, il faut rendre à l’Afrique l’hommage qui lui est dû, lui reconnaître une influence civilisationnelle remontant à la nuit des temps et un potentiel créatif inouï pour l’avenir. CONTEXTO: ÁFRICA MANUEL ULACIA Manuel Ulacia Fiesta en un jardín de Tánger Fiesta in a Garden in Tangier A media noche At midnight, cuando la bóveda when the dome overhead estaba cuajada de estrellas was filled with stars y los cometas, and the comets, uno tras otro, one after another, caían sobre el mar, were falling on the sea, entraste en el jardín secreto you entered the secret garden para hallar en él otro cielo: to find in it another sky: cien tortugas llevaban a hundred tortoises bore sobre el caparazón on their shells una veladora encendida; a lighted candle; al caminar formaban when they moved they formed constelaciones imprevistas, unexpected constellations, titilantes y luminosas rimas, flickering and luminous rhymes, otra escritura, another system of writing, por el azar creada. created by chance. Translated by Sarah Lawson CONTEXT: AFRICA ETHEL NGOZI OKEKE Ethel Ngozi Okeke Once Upon a Night The couple lay on the bare bed inside the mud hut. Then, a knock: kpom kpom kpom. “Who is that?” asked a male voice from within. “Okoro, open the door fast,” a woman’s voice said. “Who is the one?” came the question again. “Well, since you must be told, it’s Oyima.” “Oyima ...! But ... but ... Rachel is here,” the man’s voice quavered. “Okoro, it’s better for you to open the door, Rachel or not!” The man inside the hut was thrown into confusion. Before he knew what to do, the woman outside had forced the dilapidated door open with everything in her. As she stormed in, the man, Okoro was already standing, bewildered, in the outer room. In the inner room, the other woman, Rachel, lay still. The skimpy, eight-spring bed with a bamboo mat as a mattress was the only tangible piece of furniture in the room. The couple had put out the paraffin lamp and bolted the door before the rude intrusion; it was dark inside. “Mhmmn, I told you, Rachel is here,” Okoro appealed. Oyima exploded: “And who is she? And where is she? And what is she? Let her come out, wherever she is. Let her come out. This night can’t go for her!” Meanwhile, Rachel gathered herself calmly, out of bed, and stepped into the outer room. All three of them now stood in the dark, each uncertain of what should follow. Soon Rachel broke the silence. “Oyima, why this trouble? I can’t understand what you are looking for. But get it clear now; you can’t intimidate me at all. I have to take my turn, and today is my turn.” “Your turn?” queried Oyima. “Yes, I own this night. Tonight is for me. My turn is today.” Her voice rose sharply into a shout: “My turn, my turn! Yes, I’ll take my turn!” Baffled by this boldness, Oyima checked herself, and then said, “I see you are prepared for me in my own house? This is good. But here is too small for us. So let’s get outside.” That had the force of an injunction, as they all stepped outside the hut. Between the two women it was a battle – which of them could shout louder than the other. It was a little before midnight, when the first bout of sleep after bedtime had just crept in. The harmattan wind dispersed the voices to the entire neighbourhood. Everybody knew where the noise was coming from. It was unmistakable: Okoro and these women again! “Oyima, I say it again. It’s my turn today, and you cannot do anything. If you CONTEXT: AFRICA ETHEL NGOZI OKEKE like, bark from now till tomorrow, you can’t do anything. This night is for me. Understand that!” Oyima stood and listened as if in a trance as Rachel continued. “I don’t see why you should break your head now. Only today I said to come, and there you go raving like a mad dog. Well, go on and bite if you can.” That was Rachel for you – short and full of rocky determination. She ended, feeling cool and satisfied that she had made a sharp cut. Oyima felt her stomach rumble. She was not sure she understood what this woman had said. She grated her teeth together, bit her lips, and her mind ran. How could a woman, her own kind, do this to her? How could her own fellow take from her what belonged to her? And with such impunity! And in her own compound! No, she wouldn’t take it. She had better die in the fight than swallow the insult. But hadn’t many well-meaning persons spoken to her about this? They had counselled her to lie low: “Leave this man and his woman alone. Why fight? Why kill yourself because a man wants to make himself happy? Leave them and face your children.” That was time-tested counsel, and indeed the lore. Only a foolish and jealous woman squabbled about her husband’s involvement with another woman. It was good breeding to be happy and friendly with one’s husband’s mistress. That was the wisdom of the ancients, the wisdom of generations upon generations, past and present. So why fight? But Oyima had sworn to herself in the name of her god that she would not see such behaviour thrive in her life. One early morning she had run to her mother to complain of the incursion into her domain, hoping to receive some solution close to her heart. To her disappointment, however, her mother had admonished her: “My child, listen to me. A wise woman never fights over another woman. Men, I tell you, are cockerels. Cockerels, you know, play with other hens in the day, but retire to the roost when night comes. That’s the way of all men. A sensible woman takes charge of her home, keeps busy with her children, and awaits with open arms the return of her cockerel to the roost. What are you looking for? God has blessed you with your own children. If your husband wants to go for ten women, what is that to you? You should be happy it is only this one woman. Calm down, my child. Live as if this woman is not there. You’ll only hurt yourself the way you are going. “I have finished. Say I, your own mother, told you so. That is our way, yes, the way.” Oyima realized her mother was no help, and then managed to say, “That’s for you, Mama; certainly, not for me. Never mind. I know what to do.” She returned to her compound more incensed than ever. Since then, she had known she was on her own, and didn’t need anybody’s opinion on the matter. She would handle it her own way. When she forced the door open this night, she was determined to fight a good fight. And this determination was fired by Rachel’s shocking boldness. She saw the need to establish herself as the ruler and princess of her domain. She would have no concubine point fingers into her face! “Come, Rachen, or whatever you call yourself, start going. Go away from here, or else you will know today how dangerous a mad dog can be. Quickly, leave this place.” CONTEXT: AFRICA ETHEL NGOZI OKEKE In all their previous exchanges, Rachel had never seen Oyima as imperious as this. Her eyes carried rebellion, fire and hatred as she drew close to her opponent. She towered over her. In her youthful days her mates had nicknamed her Logologoji on account of her striking height. She was the tallest in her age group. In spite of the bulk she had gained over the years with the birth of four children, she still stood erect and tall. Her muscles were well exercised with years of farm labour and manual work. Rumours had it that she had, on one or two occasions, beaten up her husband. Rachel had, tonight, unwittingly courted trouble. She had stepped on a landmine. Now, all the fury in Oyima had suddenly woken up. An unusual strength came upon Oyima on this night of provocation. Even if her mother and the whole world believed all men to be free-range cockerels, there abode in her something adamant that refused such logic. Something impressed it hard in her that it was not just right. Men ought to be men, not cockerels. Men are human beings, not animals. There was a belief like that among the church people. Had she not heard something those people said about one man, one wife? Someone out there in the world had been in agreement with her own conviction! It was as though she heard something loud and clear: one man, one woman, one husband and one wife. It struck her like lightning, like a revelation granted to the insane minority but hidden from the sane majority. What else was anybody talking about? One man, one woman! “Rachen,” she said agin. (She had never been able to pronounce the name right, substituting the l with n.) “Not here. Find another place. Not here. Go and look for another place and another man. What, never again in this compound! I refuse that. Enough is enough, because I have been keeping quiet?” Choking with anger, Oyima spoke in staccato. “Yes, you’ve never known me. You never saw the tiger’s skin. You don’t know me! But now you will know. We shall know who owns what. Rachen, I say leave!” Oyima’s veins stood out. She was a lion let loose. Rachel stood, short and stout, not uttering a word. Okoro had perceived an unusual strain in his wife’s tone. He quietly withdrew into the hut. Oyima was all fire, pacing up and down – half human, half demon. She drew close to her rival, pulled at her newly plaited hair, and brought the head under her armpit. “Come, ooo, come, ooo! She kills me!” Rachel cried. Rachel had not taken Oyima’s threat seriously. If she had, she would have speedily disappeared. She believed it would be just like one of those days when they would engage in war of words, for then she was ever sure to win. On the other hand, Oyima never talked much. Her power lay in her hands, not in her mouth. The thudding of hands on Rachel’s back, head, wherever, jolted Okoro back to the scene. “What are you two doing like this? Why disgrace me like this?” he said, feebly. “You are disturbing people from their sleep. The whole neighbourhood can hear you.” Confused and unsure of himself, he might as well have spoken to the winds. Oyima continued pounding on Rachel. “I’m dead, ooo, I’m dead! Come, ooo! Help me! Chimu ooo, I die! Ooo, nnamu ooo! Amushe gbatanu, ooo! Oyima Onu has killed me!” The howling was becoming more and more desperate. Neighbours sensed danger. In another compound several metres from the scene, Pa Adonu had been roused from sleep. A respected elder whose voice meant the world to his people, CONTEXT: AFRICA ETHEL NGOZI OKEKE he knew immediately where the disturbance was coming from. He had pricked up his ears to follow the brawl, and now he could not repress the urge to go. He rose and went to Okoro’s compound. Several other neighbours could also not restrain themselves from going to see what the matter was. Okoro was beside himself with fear and confusion. In a move to avert the danger looming before him, he cut a bough off one of the trees circling his compound, plucked off the leaves and lashed out at the combatants. As he did so, the first two strokes fell on Oyima. Something erupted in her as soon as those lashes touched her. She jetted off, abandoning her victim, who was panting like one forcefully felled from a tree. Nobody saw what was coming. Oyima ran towards her hut, to an enormous hearth over which a drum of palm nuts was cooking. Then she pulled off a long, heavy, blazing log from the hearth, rushed back and hurled it right on the head of her rival. “Hauooo! Chimuooo! ... anwumuooo ... nkem ekpooo!” Okoro exclaimed, covering his eyes with his hands from the horror. Rachel was too shocked to utter a sound or even to fight off the blazing log. Simultaneously, the neighbours flocked in and chorused, “What is it? What is happening?” They saw, and had no need for more questions. Quickly they battled to save Rachel from further burns. Much of her hair was singed, and she had severe burns on her head, face, arms and legs. Her mouth was swollen and numb, and she spat blood. A wide gap yawned where two of her upper incisors had stood. She tried to speak, but the gap made it impossible for anybody to understand her. Oyima, with her lappa knotted tightly around her waist, kept pointing at her defeated enemy, choking, panting and stammering: “Tomorrow, come again! Next time, come! Come again! And I will tear you like cloth. Useless woman.” “Shut up,Oyima,” an elderly woman hushed her. “I say shut up! You are looking at a dead body and you are uttering rubbish. Shut up!” Another added, “Tshue! What is this thing you want to bring us on? We have lived in peace here. Our people don’t fight like this.” All present knew the matter would soon be settled with Pa Adonu on the scene. To the entire community, he was both a father and a sage. There was no squabble that had eluded his mediating prowess. He had worked in the service of the government, which had taken him to many cities around the country. Even when he worked in the city he would always come home to be with his people and attend to the town union matters mostly held during festive occasions. When he retired from service many years ago, his people welcomed him home and happily honoured him with the title of ekwunoha of Amushe.That spoke volumes about their confidence in their worthy son. “Okoro,” Pa Adonu began, “I know that even if you sold all the land you have, it would not save you from this trouble you are inviting with your hands. How can you bring murder into your compound? Terrible!” He flicked his fingers many times to show his alarm. Everywhere went silent with attention. The little crowd did not want to miss the tiniest bit from this night’s spectacle. True, the neighbours had sympathy for Oyima, though they would not reveal it for fear of being accused of causing trouble in another man’s home. They were secretly happy at the night’s turn of events. They had wearied for too long of the loud quarrels between wife and concubine over this faceless man. Over time, they had learned to tune off CONTEXT: AFRICA ETHEL NGOZI OKEKE each time a row began. But this night’s episode was certainly different. It was not for nothing then they had broken the unwritten code restraining people from dabbling into a man’s bedroom affairs. There was no doubt indeed that what had happened this night was serious. Rachel sat disconsolately at one corner. Intermittently she would moan – “Chimuoo, anwumuoo, mhnnm.” As if by some tacit agreement, everybody ignored her. Addressing Pa Adonu, Oyima blurted, “Nnanyi, warn him. Warn this man.” She pointed at Okoro as she spoke. “Warn him, warn him. Every day, the same story. Every day, these two won’t let me be. Look at that stump that calls herself ‘concubine’ ...” “Haba, oshe! Calm down. It’s enough. Don’t say again. Oshe,” one of the women tried to soothe Oyima. “No!” Oyima fired at her. “I say, no. Don’t halt me. Don’t push words back into my mouth. Why won’t I talk? Let me finish. Let me tell you, this is just the beginning. That thing which Rachel wants from me, Oyima Onu, she must get. Do you see this compound? It won’t take us two. Call me jealous; call me bad woman, I don’t care. But you see this compound? It will not contain Rachel and me. Let her leave it for me! It’s my own! Finished!” Silence followed. They waited to hear from the man of the house. Silence grew ... yet nothing. All Okoro did was put his palms on his chin and gaze stupidly. It was Pa Adonu who finally broke the silence that had engulfed the little crowd. By now they were all sitting on two old weatherbeaten benches permanently kept in front of the hut, the bewildered man’s lounge. The concerned neighbours waited to listen to all that had to be said. Okoro stood helplessly beside them. Opposite him, Oyima stood, full of defiance, sure, strong and ready to lash out at whomever would say one unpleasant word to her. Alone and abandoned, Rachel sat on the bare ground, separated from others like an appendix. Even the man for whom she had suffered this agony appeared to have distanced himself from her. He was no help in this time of trouble. When they waited to no avail for Okoro to speak, Pa Adonu spoke instead: “Okoro, we’re waiting for you. Tell us why you snatched sleep from our eyes.” Okoro paused, then like a child learning to talk, answered, “Nnanyi, I don’t know. It’s ... ask them ... ask Oyima ... ask Rachel.” The listeners waited for more, but there was no more. “Okoro, I hope you know what you are putting yourself into,” Pa Adonu said tersely. “Thank your gods this woman’s breath did not cease in your house this night. I won’t waste words on you tonight; let me first go back to my sleep.” Then he made to leave. The dumb man’s tongue suddenly loosened as he attempted a feeble response: “Thank sir, thank sir. I have heard you. Thank sir. I don’t know again, thank sir, thank sir,” he kept repeating, rubbing his palms together. Pa Adonu did not wait to hear the babbling. Case closed, the kindly neighbours retired to their homes, leaving the lover with his household to sort out himself. Nothing else would be added to Pa Adonu’s words. On their way, two of the women from the retiring party tactfully separated from the rest to relish little gossip about the night’s drama. “Joe Urama,” said one mirthfully, “this one is good! Ehen, that’s right. Good for CONTEXT: AFRICA ETHEL NGOZI OKEKE things like this to happen. A woman and her match! Tai, this is good.” “Obo Eze, do you think it’s you and me that will only cry and complain to somebody who hasn’t asked you?” the other woman rejoined. “Haba, Oyima has done well, she deserves a lobe of kola.” “Ehee, this serves him right. Concubine, concubine. This is someone who doesn’t give shishi to his wife for anything. Oyima does everything, and there the man goes a complete loafer. Too bad!” “Do you blame him? We women are our own enemies. Too bad that Rachel after all she suffered in the hands of her late husband would not know her own kind. There she goes, making life hard for another woman. Tushue, women!” “I say, look at Okoro. This is someone that cannot even tell the boundary of his father’s land. If not for Oyima, where would he be? People would have taken his family land. They would have even thrown him out of this place where he lives. Onye ebete! Can he even say what somebody can understand? Yet he can keep a concubine! Gbiiii ...” So the conversation continued between the two women. They were excited at the night’s turn of events, and for several months afterwards, nothing else would feature in their gossip. Before long, the rest of the village would receive the spiced version of this novel incident. When everyone had left, Okoro found to his relief that Rachel had recuperated. He walked her home, to her hut quite a distance away. Oyima returned to the drum of palm nuts, which were by then already cooked. She put out the fire and retired into her own hut, as though nothing had taken place. Whatever happened to the pair of them thereafter never crossed her mind. She was satisfied that she had obeyed her deepest impulse. As it were, she felt as relieved as the sky after a heavy downpour, following days of rainclouds. What peace! CONTEXTE: AFRIQUE NASSIMA TOUISI Nassima Touisi Extrait du roman Une lettre à Kahina « Au fin fond de l’univers, dans des lieux déserts où l’on ne s’imaginerait pouvoir grandir, vivent des hommes libres. Ces oubliés des temps modernes, perdus dans l’immensité du décor n’ont connu que misère. Pourtant, ils ne sont pas malheureux. Ils ne connaissent pas les tentations du luxe enfantées par la grande ville. Ces gens vivent l’insouciance du temps présent et la spontanéité des choses; encore, l’innocence du cœur et l’amour d’une essence, car ils n’ont appris à vivre que pour la passion d’une vie; celle du grand désert où il n’y a que ciel et terre. Cet isolement des grandes bâtisses ne leur a pas apporté fortune matérielle, mais les a gratifiés d’une grande richesse spirituelle. Ils sont partis, dans l’immensité saharienne à la recherche d’une autre grandeur: Dieu. En ce lieu, ils l’ont cherché; en ce lieu, ils l’ont trouvé. Alors dans le langage des âmes, Dieu leur a offert un tout petit «rien» grâce auquel, ils n’ont pu s’éloigner des choses essentielles de la vie, tels la paix intérieure, la sagesse spirituelle, la sérénité de l’âme, l’humilité du cœur, du respect pour soi, du respect pour l’autre; encore, l’amour de soi et d’autrui... » J’ai gravé cette tendresse du sud dans mon album à souvenirs pour ne jamais oublier que sur terre, des hommes construisent un bonheur se contentant juste de ce que Dieu leur accorde. Pour eux: une très belle nature vierge et sauvage, de l’eau, du soleil, une terre fertile, de majestueux palmiers dattiers, du bétail et des dromadaires. Je dois t’avouer, ma chère Kahina, que par rapport à beaucoup de personnes, la vie m’a gâtée parfois en m’offrant d’abord la chance d’avoir eu une vie familiale des plus équilibrée, une adolescence épanouie d’une jeune fille de dix-neuf ans que j’ai été, un petit ami qui m’aimait, des amis fidèles et puis, de la part de Dieu, des événements, des faits vécus, des rencontres qui m’ont permis d’apprendre la morale du cours des temps. Adel, sa mère, sa sœur et moi sommes allés à la ville rouge de l’Algérie, Timimoun. Nous y sommes allés en la matinée du jeudi 26 avril 1990, laissant derrière nous le climat doux et printanier d’Alger, pour nous retrouver sous une écrasante chaleur dépassant les 40°C, à l’ombre. Après nous être rafraîchis et reposés, toujours accompagnés de notre guide Bachir, nous nous sommes rendus à une centaine de kilomètres, au sud de la ville, au ksar Hiha où nous devions rencontrer l’homme aux mille et une sagesses, le Taleb M’Hamed. Ce saint, à l’image d’un ange, nous a appris la divinité de la création. De son CONTEXTE: AFRIQUE NASSIMA TOUISI index, il a schématisé en caricature un corps humain, représentant une moitié de l’homme et une autre de la femme. Il nous a demandé de repérer et lire en arabe un prénom se dessinant de part et d’autre de la symétrie du corps. Kahina, à ce stade de ma missive, j’arrive à la limite du pouvoir éloquent, se dégageant de l’écrit et n’arrivant plus à te décrire ce que nous avons lu de cette caricature, je te reprends alors le même dessin à travers lequel nous avons reconnu le prénom de notre prophète Mohamed: O /I\ O /\ femme et homme; lire sur le corps de la femme: O /I O /\ lire sur le corps de l’homme: O I\ O /\ Le reflet du premier prénom donne le second. C’est encore, comme si Dieu, en les rassemblant, unifiait la moitié de l’homme à celle de la femme pour obtenir, sous une même lecture, à l’endroit et à l’envers, un corps, symbole de la continuité de la vie. Je réalisais alors que de la magie de l’univers se démarquait toute une sagesse par laquelle le monde a été créé. Il y’a plus que du génie dans la création de l’Homme; il y ’a de la divinité, tout comme dans la création de la nature où, se mélangent harmonieusement en ce lieu, comme sur une toile, les couleurs du ciel, du sable et des arbres, avec le doigté fin d’un artiste de renom: Dieu. Hiha était un ksar d’une centaine d’habitants où les maisons étaient construites en terre cuite de couleur rouge. Chaque famille possédait sa propre palmeraie qui, de père en fils, se faisait entretenir par la vigoureuse patience des femmes s’attelant à arracher les mauvaises herbes, irriguer de la façon traditionnelle, semer, biner, buter alors que les hommes s’accoutumant à un travail plus rude, s’occupaient à élargir leur palmeraie après arrachage de jeunes rejets et traçage de nouveaux plateaux de semence. Arrivés à la demeure du Taleb, ce dernier nous a fait visiter d’abord sa palmeraie où il faisait très bon. Protégée par les très larges palmes des dattiers, poussait une autre verdure plus variée par la multitude des fruits et légumes de la saison. Un âne, attaché à un arbre a brai à notre passage. Des brebis, galopant de part CONTEXTE: AFRIQUE NASSIMA TOUISI et d’autre, cueillaient le sainfoin planté en pâturage. Je me suis crue visiter le paradis des cieux, accompagnée d’un ange en barbe blanche, portant chèche et gandoura, en un lieu perdu sur terre. Derrière nous, s’était formée une marmaille de bambins qui, curieux de voir débarquer chez eux des étrangers, sont venus nous observer. Taleb M’Hamed nous a expliqué que ces enfants étaient la descendance de sa progéniture regroupés entre cousins, frères et demi-frères d’un premier, deuxième, troisième et quatrième mariage. Lui, n’ayant vénéré que son épouse, est resté des rares, sinon l’unique monogame de la région. Il nous a invités, par la suite, à nous asseoir autour d’une assiette de dattes écrasées, à l’intérieur d’une chambre meublée d’un simple tapis posé à même le sable et de coussins éparpillés dessus. Nous avons attendu qu’on nous serve du thé. Dans ce simple et modeste décor, le système protocolaire bourgeois, snob et mesquin n’avait pas lieu d’être; il ne pouvait exister. Notre guide, un homme fort agréable, nous a informés qu’à Tasfaout, un autre ksar situé aussi au sud de la ville de Timimoun, les autochtones célébraient le retour des Hedjadj et qu’en cette occasion, ils devaient se produire sur des chants de Ahl Ellil. Il nous a expliqué qu’Ahl Ellil n’était pas un groupe folklorique. Ils étaient ces gens venus d’Arabie répandre l’islam en Afrique et s’étaient arrêtés au Sahara. Pour convertir les nomades et les bédouins à l’islam, ils leur ont révélé le Coran sur des airs musicaux d’un rythme de cinq temps, permettant à ces derniers de mémoriser les versets coraniques. Ils attendaient que la nuit tombe pour se réunir autour d’un feu de camp et psalmodier mélodieusement un nouveau verset; d’où le nom d’Ahl Ellil. Puis, au cours des temps, on a inventé, sur un même tempo, d’autres chansons, en langue berbère du Touât, où l’on pouvait improviser, pris par l’inspiration du moment vécu. Ainsi, par exemple, camouflant son visage sous un chèche et habillé en gandoura, tout comme les autres membres du groupe, un homme pouvait avouer son amour à une femme, dans une totale discrétion ou encore, parler de ses problèmes en gardant l’anonymat. Alors les plus sages du groupe, toujours en chantant et en tapant des mains, le conseillaient. Les femmes se joignaient parfois aux hommes, mais très rarement. A 23 h, Bachir nous a informés de l’ouverture du spectacle auquel, pour cette fois-ci, seuls les hommes participaient. Les femmes n’y assistaient qu’en spectatrices. J’ai trouvé cela dommage et l’ai dit tristement, alors tout en nous fixant du regard, Bachir a demandé à son cousin d’apporter à chacun d’entre nous une gandoura et un chèche blanc. - Je vous promets que vous allez vivre pleinement cette soirée et après votre retour à Alger, vous ferez des envieux. Vous apprendrez aux Algérois ce qu’est une soirée d’Ahl Ellil, à Timimoun, nous a dit Bachir. La mère ainsi que la sœur de Adel, de nature rondouillarde n’ont pas voulu se prêter au jeu. Par contre, moi, plutôt plate, j’étais ravie de changer de peau et CONTEXTE: AFRIQUE NASSIMA TOUISI de me déguiser en homme sahraoui. Ce jeu m’a amusée énormément surtout, quand, avant de me mêler aux membres d’Ahl Ellil, on m’a appris à me tenir droite comme un homme, à marcher en écartant les bras comme un homme et à garder la tête haute comme un homme; tellement haute que j’ai fait baisser celle de toutes les femmes que j’ai croisées sur mon chemin. En cette apparence masculine, j’ai réalisé alors le pouvoir qu’ont les hommes dans notre société. Nous, autres créatures les craignons tellement que nous baissons la tête à leur passage. Ce comportement d’infériorité qui nous caractérise m’a révoltée et m’a exaspérée au point de vouloir gifler toutes celles qui s’écrasaient de la sorte face à cette assurance d’homme puissant, d’homme fort, confiant et sûr de son autorité que j’ai été, le temps d’un déguisement, le temps d’une soirée. Ahl Ellil s’est produit en pleine nature désertique, sous la luminosité de la pleine lune dans un ciel d’un noir profond, garni d’une infinité d’étoiles brillantes. Nous avons dansé, Adel et moi et avons tapé des mains en répétant, le long des chansons, un même rythme musical. J’ai dansé ainsi, moi la femme masculinisée d’un soir, parmi des hommes, dans leur communauté masculine, sans qu’aucun d’eux n’ait soupçonné ou découvert mon entité de femme et ce, durant toute une soirée. Dans leur ignorance, ils se sont laissés emporter par la musique, sans aucune retenue et au fond de moi, j’ai ri de ce qu’ils ignoraient, car j’avais l’impression, en violant ainsi leur cercle fermé et interdit à toutes mes consœurs, de prendre ma revanche de femme algérienne, soumise et écrasée. Plus tard, bien avant l’aube, craignant d’être découverte, je suis retournée avec Adel rejoindre sa mère et sa sœur restées assises sur une dune. Nous nous sommes étalés alors du long de nos corps sur le sable et sommes restés allongés à regarder la splendeur d’un ciel bien étoilé. Le charme, si intense, se dégageant de ce tableau admiré de si loin, nous a donné l’impression d’être si proches du ciel que nous pensions pouvoir, rien qu’en étendant la main, nous saisir d’une étoile afin de l’offrir à la personne aimée. Adel m’a dit vouloir devenir une étoile pour pouvoir regarder de si haut les rondeurs de l’univers et apprécier profondément ce que Dieu a dessiné d’aussi beau. Nous nous sommes pris par la main et dans une totale détente, nous sommes restés amoureux de cette étoffe divine. Rompant alors le silence et en préservant la magie du moment, Adel m’a fait sa demande en mariage. Aussitôt après l’avoir écouté, je me suis redressée en sursautant et dans une joie partagée, je lui ai sauté au cou pour lui répondre «oui!». J’allais faire mes vingt ans, en cette année 1990 et en mes plus belles années, jamais je ne me suis sentie aussi entière, aussi épanouie et heureuse qu’en ces lieux et temps, coupés de l’insolence de l’époque, où Adel a fait de moi la reine d’un présent. Le lendemain, je suis rentrée chez moi, à Alger, en prenant l’avion à partir d’Adrar et j’ai emporté, dans ma boite à mémoires, tous ces beaux souvenirs que Dieu m’a permis de vivre et savourer, en compagnie de ma tendre moitié. (Editions Zyriab, 2005) CONTEXT: AFRICA FRANK MACKAY ANIM-APPIAH Frank Mackay Anim-Appiah Sygiriya You are the Lion-Rock, the capital and abode of Kasyapa I, great Sinhalese king of the fifth century; That massive lion sculpture still guards your entrance. But today I can only see one leg of the lion, and the famous paintings that adorn the Mirror Wall. Where are the powerful soldiers who jealously protected your impenetrable fortress? Those bloodthirsty warriors would have terminated this invasion of tourists by rolling heavy stones on them; Maybe you would have intervened, with a royal explanation: That they have come to pay you homage ... CONTEXT: AFRICA SEYI ADIGUN Seyi Adigun From: Greet for Me My Osheni I reach the confluence Do you not hear as I say That the river calls to me? Even now my soul is on the way And my spirit is in haste Osheni, speak to her And make her calm with words So that we may talk together With threesome reason and plan the days ahead Yes, Osheni, speak to me Let your words make me glad So that as I part I may be filled With your face and the smell of musk My angel, words are exhausted At this hour my ode comes in silence And you will let me be in quiet Because surging passion kills speech Rest your minds my friends I hear the Benue Calling my soul As she gives her soul away At the confluence, So must I give my own CONTEXTO: ÁFRICA MANUEL ULACIA Manuel Ulacia En el Ritz de Meknés At the Ritz in Meknès Bastó sólo una mirada, Just one glance was enough, el silencio entre dos frases, the silence between two sentences, el tenue roce en tu mano the light touch in your hand cuando pediste la llave when you asked for the key en el calor de la siesta, in the heat of the siesta, para que el joven conserje, for the young concierge con mirada de gacela, with the look of a gazelle fuera detrás de ti, al cuatro. to follow you to the room. Cuánta delicia al tocar Such delight to touch sus muslos aceitunados, his olive thighs, con fragancia de azahares, smelling of orange blossoms, y al besar sus labios gruesos and to kiss his full lips con sabor a cardamomo, tasting of cardamom minetras el ventilador while the fan daba vueltas refrescando revolved cooling los cuerpos entrelazados, the entwined bodies CONTEXTO: ÁFRICA MANUEL ULACIA en su delirio deseándose, in their delirium desiring each other como el desierto al agua. as the desert desires water. Cuánto goce en un instante So much enjoyment in an instant cuando los curepos se olvidan when the bodies forget de la realidad dejándose reality letting themselves go, ir ¿hacia dónde? ¿hacia dónde? but where? where? La ciudad despertó en la hora The city woke up after an hour. plena. Los coches, las motocicletas, The cars, the motorbikes, la música de una radio, the music from a radio, la misteriosa algarabía the mysterious babble te hicieron volver al mundo. brought you back to the world. El conserje apresurado The concierge hurried off, dijo adios y dejó el cuarto. said good-bye and left the room. Tú te quedaste dormido. You went back to sleep. Despertaste en otro sueño You woke up in another dream cuando el moecín empezó when the muezzin began a rezar en el micrófono. to pray into the microphone. Desde el balcón, el Palacio From the balcony, the Palace resplandecía en la noche glittered in the resonant night, sonora, llena de estrellas. full of stars. Translated by Sarah Lawson CONTEXT: AFRICA UCHE PETER UMEZURIKE Uche Peter Umezurike I am Set in a Burden to Sing I am accustomed to sing of love among the pristine marigolds of dawn, like some poet would serenade beauty, cushioned by the leafy caress of maids. Between emerald boulevards of obeche, I am set in a burden to sing of the pastoral poetry of my kindred slaving hungry in the savannah of foods; I am set in a burden to sing of the gaping black effigies of houses cuddled by the long, careless arms of fire of the froth-clouded, hot-headed ruler; I am set in a burden to sing of ugly scraps, of bodies scattered, limbs and arms mashed in the mud by the toothed treads of tanks; CONTEXT: AFRICA UCHE PETER UMEZURIKE I am set in a burden to sing of the behemoth belch of fumes cramming the nostrils of Ethiope and Forcados, choking the lungs of Nun and Escravos; I am set in a burden to sing a dirge of dead yam fields and barren barns, the murmur of slick-smeared mangroves, the baleful breath of fishlike bottles; I am set in a burden to sing of sore-eyed boys and girls in sunlit scramble among crooked, rusted pipes spewing yellowed water like gonorrhoea-pained penises; I am set in a burden to sing of how mothers rumple the peace of their brows at the slightest warble of wings above, like Heaven’s bread will plop in their laps; I am set in a burden to sing of the haste of fathers breeding cobra brood; the wait, like Simeon’s, measured and pregnant as their dissolution of time in alcohol; I am set in a burden to sing of darkness – quotidian CONTEXT: AFRICA UCHE PETER UMEZURIKE dictator of our homes, the groaning pipelines beneath our earth promising barrels of crude abundance; I am set in a burden to sing of the limping cock, the mangy dog, The one-eyed goat, the wounded pig; The grim graffiti of sickness and sadness; I am set in a burden to sing of the smashed-to-bits dugout canoe drifting on the salted spine of scorched creeks, and bones of fish fossilised for the future; I am set in a burden to sing of the hunched histories of Oloibiri, Ogoni, Odi, Umechem and Egbema; the looming hurricane in their slow rebirth; I am set in a burden to sing of the nebulous Niger, the foaming flood – but my voice is a cracked flute, a shattered urn; its timbre wafted as ash on time’s wind. CONTEXTE: AFRIQUE DJAMEL MATI Djamel Mati Extrait du roman On dirait le Sud Les signes de la main Dans un vacarme assourdissant, le simoun s’est levé, asséchant, brutalement, l’étang de lumière. D’une main, il balaye tout dans une exaspération instantanée : le désert fou, le soleil doux, la forêt embaumée, les branches de jasmin, les oiseaux, les seins de sable, les chameaux silencieux, les ondes fraîches et les poissons-chats. Tout un monde merveilleux et magique disparaît fugitivement. Le vent chaud dérange les mamelons de sablon, fouette les pétrifications phalloïdes, gratte les rochers parés de gravures, soulève très haut le sable fin, obscurcit le ciel, et fait tomber le soir en plein jour! De brefs instants durant; juste la durée d’une extrême colère, un vol immense de busards monstrueux projette sur une mer de cailloux un angoissant nuage de plumes de deuil. La nuit se surprend au milieu de cet océan ruiné par les siècles dont les souvenirs reposent enfouis au creux de son lit; une personne s’y retrouve gisante au fond. En l’ignorant, elle se couche au bord de l’écume, là où l’énergie du temps se meurt sur les rivages. Là, où la colère, la haine et la folie obtempèrent à la sérénité, la bienveillance et la raison. Une femme dort, la tête posée dans l’arabesque d’un mystère, avec le rêve d’images déjà entrevues. Aussi brusquement qu’il avait commencé, le vent cesse. Les poussières de sablon pleuvent mollement sur le dos des dunes et le soleil retrouve souverainement sa place. Tout redevient calme. Le désert vient d’engloutir son monde aux relents incertains, de chimères incolores et de folie cruelle, une dernière fois dans une ultime inspiration. Dans le ciel, des flamants frais planent au-dessus d’un sable délicat, vibrants filaments de pétales de lauriers rosés qui se déposent sur la rosée parfumée. Insensiblement, Zaïna est entrée, sans s’en apercevoir, dans une véritable mer de sable qui noie la terre entre l’orient et l’occident. La jeune femme contemple les larges vagues nonchalantes qui dessinent de bas reliefs aux galbes cendrés roses et se terminent dans une houle tranquille, dormante. Le désert, subitement, change et subjugue la jeune femme. Il ne lui fait plus peur. Il s’ouvre à elle, lui tend ses longs bras paisibles, une invitation à sa découverte. « Mais où est passée l’autre face du désert? Pourquoi celle-là me semble-t-elle plus accueillante? » Des questions toujours des questions. Zaïna se met debout et regarde tout autour d’elle avec respect les étendues baignées de quiétude. Elle s’engage allègrement vers le levant, sans vraiment avoir choisi cette direction. Tout parait tellement rassurant ici. La femme n’en croit pas ses yeux, son esprit, endurci par toutes les tournures que peut prendre le désert, doute de ce changement subit, « et si ce n’était qu’un piège, qu’un autre leurre? Cette nouvelle face que le désert veut bien me montrer pour mieux me tromper, CONTEXTE: AFRIQUE DJAMEL MATI une fois de plus! » Après une longue journée de marche, elle arrive au pied d’une immense dune, décide de l’escalader, espérant découvrir de nouveaux horizons. Qui sait? En aval de la colline de sable, à quelques dizaines d’enjambées, elle aperçoit une hutte de forme arrondie. De loin, la zeriba paraissait minuscule, mais, lorsque Zaïna s’en approche, l’habitation est grande, circulaire, les murs en pierres et le toit de palmes. Plusieurs palmiers ont dû laisser leurs branches pour sa construction. À cet instant, une légère brise fouette sa nuque, en se retournant, elle voit se profiler à l’horizon trois silhouettes qui s’enfoncent vers le couchant... elles sont déjà ailleurs. -Entre, petite, invite une voix lézardée et calme, venant de l’intérieur. Zaïna sursaute, croyant les lieux abandonnés. En soulevant le rideau limé qui recouvre l’entrée, elle est saisie par une forte odeur de thé, d’épices et de cannabis. Malgré la clarté du jour, il fait étrangement sombre dedans. Il lui faut du temps pour habituer ses yeux à la pénombre enfumée, et découvrir une large pièce misérablement dénudée. Une table basse trône au milieu à côté d’un petit feu de bois sur lequel repose une immense théière fumante, quelques outres sont accrochées aux bâtons fourchus qui servent aussi de charpente, deux grands tapis usés jusqu’à la corde couvrent le sol, un narguilé écumant, prêt à l’emploi, parachève la pauvreté du lieu. Tapie dans l’ombre, une forme bizarre bouge sous une robe trop ample, trop vieille. La voix réitère son invitation: -Entre, petite, n’aie pas peur, entre! La djellaba se redresse. Elle ne dépasse pas les « un mètre vingt ». Le harnachement avance en claudiquant agilement vers la porte et s’arrête devant la jeune femme à hauteur du nombril. Le capuchon du long vêtement se soulève pour laisser apparaître le visage ovoïdal d’une créature noire qui semble dormir malgré sa posture. La peau striée de son faciès assemble dans des protubérances et des lézardes un gros nez aplati qui se termine par des touffes de poils ornant des narines évasées. Deux larges plissures gercées, rehaussées par une dent épaisse au milieu, font office de bouche, une humeur aqueuse scelle des paupières plissées, tombantes, d’un liant blanchâtre. Lorsqu’elle les soulève lentement, c’est pour fixer, durant un interminable moment, la jeune femme avec des yeux blancs, sans pupilles. Satisfaite, elle sourit en laissant apparaître son unique dent puis referme les yeux, comme pour se rendormir. Zaïna la soupçonne de voir, même le regard éteint. La disproportion de ses gros traits contraste avec sa maigreur et lui donne un aspect surréel. Cette vieillerie aveugle semble arriver tout droit d’une autre planète. Malgré ses difformités, Zaïna la trouve sympathique. -D’où viens-tu? Questionne la vieille. -Du point B114 -El Dar el meskouna! C’est donc toi qui habites dans la cabane hantée! Les anciens disent que c’est un endroit maudit et qu’il fut la demeure des démons. On raconte aussi que cette baraque servait de mouroir aux égarés, qu’ils étaient sous la garde d’une grosse femme, une tenancière... murmure la vieille édentée. -Si cela est vrai, alors je suis soit une démone, soit une paumée! -Non, Djinn, tu n’en es pas une, car si tel était le cas, tu aurais été chassée dés ton arrivée chez moi. Je suis protégée contre ces créatures. Égarée? Peut-être. Maintenant, approche-toi de moi pour que je puisse mieux te connaître. Au son CONTEXTE: AFRIQUE DJAMEL MATI de ta voix, je sens que tu es jeune et belle, mais très mélancolique. Je veux le confirmer avec mes mains. Avance, n’aie pas peur. Les paupières toujours closes, avec ses maigres doigts décharnés, la vieille redessine les contours du nez, des pommettes, de la bouche, des yeux, des oreilles de Zaïna. -Ta voix n’a pas menti, tu es comme je t’imaginais La djellaba se retourne et va s’affaisser à côté de la meïda1 en bois. -Assieds-toi en face de moi. Sur la table ronde, il y a trois tasses vides, encore fumantes. « Qui était là? Qui peut bien s’aventurer jusqu’ici? » Curieuse et étonnée, Zaïna demande: -Dis-moi, vieille dame, tu viens d’avoir de la visite? -Tu es bien indiscrète, ma petite, la vieille sourit avec son unique dent, oui, il n’y a pas longtemps de cela, j’ai accueilli, le temps d’une halte, un couple: une Targuie et un homme du nord. Nous avons bavardé et bu du thé. Ils n’ont pas tardé, car... -Seulement deux? coupe Zaïna. -Oui, ils avaient aussi une chamelle. Quand elle a baraqué à côté de la hutte, j’ai senti qu’elle devait être lourdement chargée, ce couple doit certainement voyager loin. L’homme semble être à la recherche de quelque chose ou de quelqu’un, mais lui-même ne sait pas quoi ni qui. Il a raconté qu’il avait visité des contrées magnifiques, que le désert qu’ils ont traversé était lénifiant. Mais cela n’empêche pas que les deux paraissaient soucieux et contrariés. Quant à la femme, c’est une fille du Sud, ce doit être une noble Targuie. Lorsque je l’ai touchée, j’ai constaté qu’elle était richement habillée et couverte de lourds bijoux... Au fait, pourquoi sommes-nous en train de parler d’eux? C’est de toi qu’il s’agit. À moins que... cela t’intéresse? -Je ne sais pas! Réponds, promptement la jeune femme en pensant à la bouteille au message, et aux trois silhouettes qui se détachaient à l’horizon au moment où elle allait franchir le seuil de cette hutte, « que fait donc ce couple en plein désert? Nos routes se sont souvent croisées sans jamais se rencontrer... » La vieille soustrait Zaïna de ses réflexions : -Qui sait? C’est peut-être un signe. Donne-moi ta main gauche. -Pourquoi? Demande la jeune femme en tendant instinctivement sa paume. -Les mains, ce sont elles qui nous différencient des autres espèces vivantes. Quel pouvoir fascinant! Elles nous servent à tout faire, parler, communiquer, nous exprimer, manger, travailler. Elles peuvent aussi caresser ou tuer et devenir les représentantes privilégiées de la pensée. Elles et le cerveau ne font qu’un. Lorsque nous savons les regarder, elles nous dévoilent même notre avenir, explique la vieille en malaxant lentement la paume de Zaïna entre ses deux menottes toutes ridées. « La pauvre non-voyante, à défaut de voir le présent, préfère prédire l’avenir... » La pensée de Zaïna est tout de suite interceptée par la voyante qui rétorque poliment, -Le présent est trop court et nous le subissons, le passé est trop tard et nous l’assumons, le fatum, lui, n’existe pas encore alors, nous pouvons le connaître. -Je m’excuse si je t’ai offensée. Après un silence embarrassé, elle demande: pouvons-nous changer l’avenir? -La vieille dame sourit et continue à ausculter la paume de Zaïna. -Pouvons-nous le changer? insiste la jeune femme. CONTEXTE: AFRIQUE DJAMEL MATI -Non, la réponse est incisive, ensuite la vieille, maternelle, déplore: tu es trop maigre, ma petite! Depuis combien de temps n’as-tu pas mangé? Tes habits sont moisis par l’odeur du chanvre. -À quoi cela me servirait? Je me nourris juste pour rester en vie et me vêts uniquement pour ne pas avoir froid. Dans ce monde où il n’y a aucun cœur qui me regarde, aucun œil qui me réchauffe; à quoi bon s’enticher de ces détails? Quand ce désert ne se recouvre pas d’indifférence, c’est pour s’habiller d’antipathie à mon égard. Je sens qu’il ne m’aime pas et ne veut pas me lâcher. -En parcourant avec ses doigts la paume de la jeune femme, la vieillarde aveugle tressaillit. Elle découvre deux autres lignes parallèles à celle de la vie. Elle murmure: « La belle. L’enthousiaste... Celui dont le travail est fructueux. » Les trois stries finissent par se rejoindre vers le bas. De mémoire de chiromancienne, elle n’a jamais touché une pareille main. Après un long silence, la devineresse pousse un soupir. Les yeux fermés, elle scrute Zaïna avec un sourire plein de compassion. -Alors, que te révèle-t-elle? -Ta ligne de vie se fond avec deux autres lignes. Une des trois est particulière. -Et cela veut dire quoi? -Ton destin est lié aux deux autres. -Comment? -Je ne sais pas, ment la vieille voyante aveugle. -Et cette ligne particulière? -Probablement celle qui va tout phagocyter. -Parle-moi sans ambages, je dois connaître la vérité! -La vérité? Oui, tu as raison. Mais, es-tu prête pour ça? -Je pense que sans elle, ma vie ne sera jamais féconde. -Alors, écoute: lorsque la quête de celui ou de celle qui est déjà en marche rencontrera la fougue et l’audace, le lien se fera. -Quoi? (2007) CONTEXT: AFRICA ALKASIM ABDULKADIR Alkasim Abdulkadir Lamuso Because she didn’t want to grind his kola and listen to the changing gears of his thunderous snores Because he was as old as her dead grandpa and her lover was bright like a new moon Because he couldn’t even father her children For with him she could only be his shiny new medal when he came for her He killed desires in her and killed she the man in him CONTEXTE: AFRIQUE JEAN AUGUSTE DAVID BONNAIRE Jean Auguste David Bonnaire Fragments d’étoiles Une mélodie envoutante qui subjugue, Une merveille d’œuvre d’art qui ravit, Un agréable parfum de fleur qui embaume, La beauté sublime de la nature qui enchante, Que de douces épreuves pour l’âme et l’esprit, De rudes tentations pour le cœur et les sens ! Les sensations, les impressions, les émotions sont autant De dimensions fécondantes mais éphémères de la vie, Dimensions de nature à faire chavirer notre sensibilité, Libérer notre imagination, embellir notre existence. Ressentir, offrir, partager, bâtir relèvent de la vie. Une miséricorde, la vie ! Une création bénie faite pour la création et une haute soumission au créateur, Un univers de vies qui illuminent de vie l’univers Comme autant de fragments d’étoiles sortis du néant Pour chasser le néant et passer. CONTEXTE: AFRIQUE JEAN AUGUSTE DAVID BONNAIRE Jean Auguste David Bonnaire Le Preux tirailleur africain (Hommage à mon grand-père Mamadou Mariko, ancien combattant de la première guerre mondiale, et à ses frères d’arme) Tige de fougère exposée aux obus de mortier et aux bombes de désolation, ou brin de filao embourbé dans les tranchées pendant l’hiver glacial brûlant du souffle fatal de la mitraille, certaines fois jeté en pâture sur les mines d’abomination semées dans les champs. Tu combats sans le moindre souvenir de la déportation due au vil commerce à figure rigide, ton seul souci étant de préserver la liberté de l’autre. Mais la trêve arrachée au prix de ton sang ne te délie pas du joug de ce dernier et le partage du monde s’opère à l’ombre de ta conscience. Tu demeures un pion sur l’échiquier, un combattant méconnu, une fraction de pension. Une fois libre, ton fils est de trop chez l’autre pour lequel tu versas ton sang. Sous les habits d’or de la mondialisation, quelle infâme cruauté s’apprête-t-on à t’infliger, fierté du monde ? Plus de sept siècles de harcèlement ne t’ont pas brisé, âme du monde. Toute tentative nouvelle s’avère désormais vaine car : CONTEXTE: AFRIQUE JEAN AUGUSTE DAVID BONNAIRE l’oubli exhale son souffle ultime, la mémoire lève son voile et la postérité se profile. C’est dire, Ô Preux Tirailleur Africain, combien faut-il mériter de l’humanité pour réussir à cerner le temps par un tel prodige. Assurément quand l’oubli disparaît, la mémoire ressuscite pour accompagner la postérité. CONTEXT: AFRICA SARAH LAWSON Sarah Lawson Evening in Dakar The flame trees are banked up for the coming night; they smoulder in the dark until they fade from sight. The palm fronds comb the greying sky until the comb fades into the hair; other swaying branches seem soluble in air. Breezes interrogate the nameless trees; the sky darkens by degrees. Birds are shooting stars, black on black, marshalling the wind until the sun comes back. CONTEXT: AFRICA SEYI ADIGUN Seyi Adigun From: Letter to Sister and A Reply for My Brother Pompholyx If I were not your sister I would curse you. If I were not your brethren’s friend I would cast upon you a spell. The day I was ill you stayed away. When pompholyx bid for my laboured breaths you left me to lie in strangers’ arms. But you are my brother, my blood brother and you have a weak heart. From the day you were an infant I have known you. Come now, come see the marks of pain on my skin; come feel the rough striae and the rouge rugae on my face. CONTEXT: AFRICA SEYI ADIGUN Vitriol Little brother, I thirst for drink, and in this hour I blink. The sands of the bank glitter like amethyst, warning of soured hope, and I remember our brethren – Niger troubadours. They sang many songs – odes, sonnets and ballads. When they journeyed by this bank they sang many songs. But in their haste, they ran into the gang that mixes potions of death in the winding creeks. Then they changed their songs into lullabies, invoking final sleep over the eyelids of their dreams. I will go from this bank along a new road; for it is good choice to die with colours of pride as a garland by the neck – holding in the left palm ashes of many dreams. CONTEXT: AFRICA MALIYA MZYECE-SILILO Maliya Mzyece-Sililo Through the Curtain of Eyelashes Mr Zulu, a successful businessman, woke up to a deceptively sunny day. A cold wind was blowing into his study through the window. Closing it, he resolved that nothing would dampen his spirits, for he was going to pick up his son from Lusaka International Airport, after sixteen years of absence. “The Zulu warrior,” he had fondly called him when he was a little boy. Mushe had lived up to this name. He had the tenacity of a warrior. Whatever he took on, he did to the best of his ability, and thus became an all-rounder at school. His curiosity knew no bounds – making him a father at the tender age of fifteen. Though Mr Zulu could smile about it now, the sordid episode made the family decide to send Mushe abroad for further studies after his O-levels. He had kept in touch constantly for the first three years, and then slowly his emails and Christmas cards become rarer and rarer until they stopped altogether. Then came the latest email. It read, in part: I hear you have taken on a second wife! The whole thing is barbaric and archaic. How could you subject my mother to this? I do not think that you understand how much you have hurt her. Men never do. I am coming home in July to comfort her and to show my solidarity with women. I have news for you, but I think it is better said face to face. For Mr Zulu, everything in that email fell on deaf ears except the news that his son was coming home. He had run out of his study to find his wife. “Mushe is coming home in July!” he had announced upon finding her with their daughter and granddaughter. Ignoring the shrieks of joy from the two girls, Mr Zulu watched his wife’s reaction with keen interest. He saw that glint in her eyes that signalled deep joy, but it did not spread to the rest of her face. It was as if something held her body back from experiencing the total abandonment of joy. But Mr Zulu was hopeful. That glint was the beginning. The rest would come when Mushe arrived, in July. That day finally came. “Are you sure you do not want to come with me to the airport?” Mr Zulu asked his wife, who was sitting across the breakfast table, picking at her food. “No, I do not want to come along. I might embarrass myself, and embarrass Mushe in the process. You go ahead; I would rather welcome him back here at home.” “Well then, ensure that everything is ready for him, will you?” said Mr Zulu. “Have you prepared his room?” He regretted this question immediately. CONTEXT: AFRICA MALIYA MZYECE-SILILO “Yes, I have. He cannot possibly share a room with his grown-up daughter and sister. The guest wing has been taken up by ‘Mai Nini’, your second wife. That leaves only one choice. He has to share a room with his brother!” There was an awkward silence. Mr Zulu attempted to change the subject: “You had better eat. What will your son think of me when he sees the starved look on your face?” His wife jerked her head up and glared at him, and Mr Zulu could have kicked himself. “Get a move on,” said his wife, standing up and walking towards the door. “It is almost seven o’clock. The plane will be landing at eight.” Mr Zulu followed, squeezing his potbelly past her on his way to the garage. The Benz groaned with his weight when he got in. He examined his wife through the rear-view mirror as he fastened his seatbelt. Her beauty still showed, though it was marred by a pained look she wore between her eyebrows. It added five years to her fifty-five. He did not understand her. How could she be so unhappy in the midst of plenty? He had given her everything a woman could want in the world – two cars at her disposal, a fat bank account, a dream house with all the latest gadgets on the market and the respect due a first wife, yet she still wallowed in misery. “Women!” he muttered under his breath as he drove down the driveway to the gate. Joining the great East Road, he drove due east towards the airport and his precious son. He remembered when he first brought Mushe home from the hospital. He was a beautiful child. Mr Zulu and his wife had been mesmerised by his beauty, and would stand in each other’s arms, staring at him as he slept. Unlike most babies, who are born with soft, furlike hair, Mushe had a thick mass of curly black hair with a definite hairline. His eyes were big, with eyelids that bore such long eyelashes that he seemed to see through them; it made them look solemn. That is what Mr Zulu enjoyed most about his son: his eyes. They were very expressive, and seemed to affect the rest of his face. They could be mischievous and sparkle with laughter, yet look serious and calm at other times. Then there was that special way Mushe would jerk his head each time something interesting caught his attention. That movement was special to him; only one other person in his life had that jerk. Mr Zulu felt his excitement rise at the thought of seeing his son again within the next thirty minutes. It made him press his foot down, and the Benz responded. He brought the car to a stop in the airport’s car park. Glancing at his watch, he realised he still had ten whole minutes before his son’s plane landed. It seemed like eternity. Now that the time of reckoning was at hand, he wondered how he was going to defend his polygamous marital status to his son, who had called his second marriage “barbaric” and “archaic”. He was not unduly worried; Mushe would understand. He was a hot-blooded young man, and there was a fifteen-year-olddaughter to prove it. They say Manzi okonkha mkolo, Mr Zulu thought, meaning “Water will always run in a furrow”. There was no doubt in his mind that Mushe would end up like him, in a polygamous marriage or with multiple relationships on the side. His thoughts were interrupted by the announcement of the arrival of the plane CONTEXT: AFRICA MALIYA MZYECE-SILILO bringing home his most treasured possession. The plane taxied to a stop on the runway. Mr Zulu watched anxiously as the door opened. A chain of strangers came out of the plane, but there was no sight of his son. He dipped his hand into his pocket and retrieved a piece of paper, which he examined. Yes, it was definitely the right flight ... Turning back to the passengers queuing up for customs clearance, Mr Zulu scrutinised them one by one. One young lady attracted his attention, and he stared at her. Her beauty reminded him of something ... he could not put his finger on it. The woman was very attractive, tall and dark with high cheekbones. The head jerked in his direction. Mr Zulu’s heart missed a beat: that young face brought back memories of happier times ... For a moment or two, Mr Zulu was at a loss. Then he purposefully walked to the enquiries desk. “Excuse me, I was expecting my son on this flight, but he does not seem to be on it,” he addressed the young lady behind the desk. “What is his name?” she asked him. “Zulu; Mr Mushe Zulu.” “Yes we have a Zulu ... but wait a minute, I am afraid we have a Ms M. Zulu on the list.” “There must be a mistake. Maybe there is a woman with the same name?” Mr Zulu looked anxious. “Both possibilities are likely. Look, do not worry. Come back when the passengers are through with the customs formalities. We shall call him to the enquiries desk.” “Thank you. I will do just that.” Mr Zulu grew very worried. How was he going to face his wife with the news that the “prodigal son” had not returned after all? She would be heartbroken. He had hoped Mushe’s visit would brighten up her life. His eyes were drawn to the queue once again, and behold, the attractive woman was walking towards him. She looked very familiar now. Her eyes were a marvel, and had a mischievous look in them. He wondered if she was a daughter he had not acknowledged ... (Mr Zulu had sowed quite a number of wild oats when he was young.) As she drew closer, he noticed her bright smile, the sparkle in her eyes. It was very weird indeed, he thought – the lady looked so much like his son. Was the boy playing tricks on him? Mr Zulu decided his own eyes were at fault: “It must be my unconscious playing havoc with my mind,” he reasoned, and looked away. He was about to return to the enquiries desk but could not help glancing back and taking one last look at the strange woman, only to find she was a few metres away. He noticed her thin, well-shaped fingers, which looked like fresh bean pods that had been left in the sun for a day. Those fingers evoked childhood memories of hot porridge with groundnuts. Yes, she must be a long-lost daughter, the “news” his son had mentioned in the email. He made as if to walk towards her, but nagging doubt held him back. In spite of her beauty and familial resemblance, the woman gave him the creeps. She moved closer, and her smile wavered. “Hello, Dad, I am your daughter ... I mean your son ... Mushe.” “Mushe!” Mr Zulu echoed. If he had doubted the testimony of his eyes, he now doubted what he heard. His whole being rejected what was standing before CONTEXT: AFRICA MALIYA MZYECE-SILILO him. “Mushe, my ... son?” He could hardly speak. His eyes focused on the woman’s protruding breasts. To his horror, he realised they were real. “Yes, Dad, forgive me. I thought ...” Mr Zulu did not hear the rest of the explanation. Shifting his eyes back to the face, they met a pair of worried eyes looking at him through a curtain of eyelashes. Yes, the solemn look was still there. The eyes! Those had not been changed. It was his son, all right, but now ... He could not put it into words. The realisation was slowly sinking in and, at the same time, fear, disappointment and mental anguish were taking hold. Mr Zulu began feeling that he was going mad. Sweat streamed down his body. The apparition with his son’s eyes stretched out her bony fingers to touch him. Mr Zulu jumped back like a scalded cat. He could not believe his own strength and agility. Then he heard a horrible sound from somewhere, a hoarse yell of pain, fear, anger and despair all mingled into one dreadful cry. He put his hand to his mouth to stop it. The darkness that was slowly enveloping him was a welcome relief. CONTEXTE: AFRIQUE DJAMEL MATI Djamel Mati Extrait du roman Aigre-doux Les amants, c’est franchement... « Les poitrines toujours occupées à battre pour l’autre et les ventres vacants attendant l’autre... c’est franchemen t... les amants; tellement symbiotiques et antinomiques à la fois, mais subtilement complémentaires! Comme la vie et la mort, comme la haine et l’amour! Phallique et concave, seul leur antagonisme peut les unir dans l’extravagance de la vie où le plein cherche le vide et le vide aspire le plein. Chacun d’eux, le vide et le plein, ignore d’ignorer l’autre uniquement pour rester toujours soupirant. Les amants vivent le présent dans l’adversité de la fougue de leurs sentiments. L’avenir, ils l’imaginent dans leur regard, mais c’est leur cœur qui part toujours en voyage, seul, accompagné par le rêve éclairé de l’autre, ou d’un autre. Et c’est le hasard qui s’occupe de tout et meuble leur existence rythmée par l’alternance: un jour, les portes claquent à tout moment et leurs cris remplacent leurs rires; une nuit, le lit exulte de leurs étreintes, les draps se parent de quintessence et le plaisir remplace les pleurs. Les poitrines occupées à battre pour l’autre et les ventres vacants attendant l’autre... c’est franchement...cupide, les amants. Copieusement, l’exaltation de leurs sens oublie le temps, ce même temps qui égrène leur passion. Et lorsqu’un oublie l’autre, le second oublie tout. Leur ferveur est sans cesse traversière, elle butine de fleur en fleur puis revient toujours chercher refuge chez l’autre... ou un autre, au hasard d’un petit temps qui cadence l’inadvertance sempiternelle des amants. Un jour, les souvenirs jaillissent de leur tombe et viennent hanter leur chagrin ou faire rire leur cœur. Une nuit, la froideur les glace et le doute reprend sa place. Leurs mots restent avares, bloqués, serrés entre leurs lèvres, et du regard ils construisent des murs de silence, signent de leur sexe des traités de paix et misent sur la roulette du hasard. C’est vraiment... parieur, les amants. Les poitrines occupées à battre pour l’autre et les ventres vacants attendant l’autre... c’est franchement sourd, les amants. Leurs oreilles se bercent de symphonies aphasiques jouées par leurs craintes, leurs tourments, mais aussi par leurs impostures ou tout simplement par leurs désirs. Alors, amphigourique devient leur esprit, incohérents sont leurs propos; ils se cherchent et ne trouvent pas de mots pour entendre le désordre de leur amour ou de leur désunion. Le désordre affectif, c’est l’ordre moins le pouvoir des mots, dirait le poète. Ils sont partis, leurs mots, dans des chaos, quelque part dans une obscurité où les portes continuent de claquer, leurs échos se sont perdus dans la connerie des convenances ostentatoires et de la fidélité obligatoire, factice et hypocrite. Partis, les mots dans les matins éclairés des promesses éteintes, balisés uniquement par le murmure des serments. Et les restes des mots sont bâillonnés, enrôlés pour se taire et se plaire dans l’ambiguïté des silences ou des murmures. CONTEXTE: AFRIQUE DJAMEL MATI Les poitrines occupées à battre pour l’autre et les ventres vacants attendant l’autre... c’est franchement muet, les amants. Alors, tout ce qu’ils trouvent à se dire ne devient que verbiage stérile, puéril. Ils font semblant de parler, mais ils ne s’écoutent même pas. Alors, volages, leurs lèvres s’envolent pour butiner des verbes prometteurs dans la chaleur de leur fièvre. Elles glanent des métaphores menteuses et aveugles dans les champs du virtuel; leurs mots leur mentent, les enivrent et ils les boivent, trinquent avec. Ils se saoulent même à leur vinaigre. Facile, il leur suffit de fermer leurs sens afin de désarçonner leurs émotions pour les laisser affranchies, chaotiques, enfin presque libres; les jambes en l’air, les yeux hagards, les lèvres scellées et les narines écartelées, ils finissent par humer les parfums qu’ils se sont créés, sans bouger la langue ou fixer le regard! Ils imaginent! Les poitrines occupées à battre pour l’autre et les ventres vacants attendant l’autre... c’est franchement... myope, les amants. Ces yeux qu’ils se refusent d’ouvrir de peur de regretter la lumière qui les guette dehors, qui leur goberait les pupilles, les rétines et finirait par éclairer leur cerveau. Ils ne les ouvriraient même pas devant eux, leurs yeux. Ils savent que l’hypocrisie arrive à faire mentir les miroirs, et les miroirs savent aussi qu’ils mentent aux autres miroirs, alors comment peuventils croire au regard, de l’autre, du sien, du tien, du mien ou du miroir? Ainsi, dans un soubresaut, ils lâchent: « pourquoi ne pas le dire, l’écrire, dénoncer cette supercherie et enfin paraître nus dans la vérité? » Et bien, non! Ils préfèrent se taire pour ce qui les concerne et parler pour les autres, par commodité, parce qu’il est plus facile de parler sur une vérité que d’être vrai! Les poitrines occupées à battre pour l’autre et les ventres vacants attendant l’autre... c’est franchement... menteur, les amants. Après tout, ils ne sont que de simples psychés qui essaient de réfléchir sans prendre de risques, sans déranger les accords, les croyances, les promesses et les rêves... Et la vérité, cette vérité qui est toujours ailleurs tout comme est ailleurs l’origine des mirages et des aurores boréales. Voir en s’obligeant de croire que la réverbération des sens est réelle. Non! Quand sauront-ils que les yeux sont faits pour être retournés au-dedans de soi? Jamais; qu’ils commencent par s’aimer « soi-même » avant d’envahir le cœur de l’autre et s’ils n’ont pas compris cela, qu’ils regardent au moins jusqu’au bout de leur nez, et laissent l’autre vivre comme il lui plaira. La mue doit se faire à l’envers c’est certainement le seul moyen de la faire juste pour que durant un instant, un petit instant seulement, ces poitrines occupées à battre pour l’autre et ces ventres vacants attendant l’autre ou un autre... ils s’uniront dans la plénitude de l’attachement symbiotique, même si ce n’est que pour une brève étreinte. Et là... là, c’est vraiment... con et merveilleux d’être amants. » Au-dessus de l’ex-rue du diable, de tristes nuages maquillent un autre matin, comme était travesti le rêve de cette exceptionnelle nuit dont je n’ai retenu que cette prose nombrée qui martela mon sommeil. Après plus de neuf mois de doute et d’angoisse, j’ai fini par quitter ce quartier, ce passage, cette maison, cette chambrette: le point B114 et surtout la femme pour qui je pensais être revenu. La pièce ovale était devenue trop exiguë pour moi, pour elle. Il était temps de sortir de son existence, je ne me trouve pas le droit de la lui pourrir plus. Comme je l’avais toujours imaginé, je me suis extrait de la fenêtre pour déchoir comme un fœtus mort-né qui s’extirpe de la matrice dans un dernier souffle avant de reprendre vie. Je dégringole sur des marches qui revêtent le relief mouvementé de la venelle. Vers CONTEXTE: AFRIQUE DJAMEL MATI le haut de l’étroit escalier, j’aperçois un petit coin de ciel gris. Il fait sombre malgré l’heure avancée de la matinée. Je choisis de descendre en me frayant un chemin au milieu des poubelles vides. Je pars, mais... pour aller où? Je me retrouve dans la rue, sous une pluie grise d’ennui. Un baluchon sur l’épaule résume ma pauvreté. Je lève la tête et je vois, derrière la fenêtre de la chambre, cette femme, ma compagne, impuissante, qui me regarde fuir. Je sais bien que la buée dans son regard ne provient pas de la rosée matinale. Je m’efforce de lui sourire et esquisse un signe de la main pour lui dire de tenir bon et de m’attendre. J’ai vidé les lieux sans la réveiller. Comme un voleur? Non, mais je ne voulais pas me voir dans ses yeux mouillés car je n’aurais pas su trouver le moindre mot du lexique de la rupture. – désolé, est un mot dur à prononcer et surtout lâche en toutes circonstances. Je lui ai déjà causé tant de peines. Cette nuit, dans une ultime étreinte, je lui avais dit que je l’aimais. Elle me répondit, en baissant les yeux: « Il y a des mots qui ne prennent leur véritable sens que dans l’action; celui de l’amour exige, avant toute chose, la présence auprès de la personne aimée. C’est comme cela que je conçois l’Amour. » Un silence s’en fut pour réponse. « Amour » est la dernière parole que j’emporte avec moi en quittant l’ex rue du diable, le point B114. (Apic, 2006) CONTEXT: AFRICA UNITY DOW Unity Dow Excerpt from the novel The Heavens May Fall I am sure I am giving the impression that there is no satisfaction in the work I do. But I shouldn’t be so negative, for only a month earlier I had come back from court glowing with pride from a skirmish won. The case of Jane, a sixteen-year-old child who was in turn mother of a twoyear-old child, ought to have given me some hope. These two children became my clients when Jane’s parents came to me for help. They had played a central role in the creation of the problem, but they sought its resolution with an earnestness I did not doubt for a minute. Guilt can be a powerful motiva¬tor, and quite a few mothers came to my offices filled with guilt. Very often the self-blame was not grounded in reason, but in the case of Jane’s parents they had a very good reason to blame themselves. Jane had been a student at a junior secondary school when, hardly two months after her first period, she became pregnant. Her parents belonged to a church that punished out-of-marriage pregnancies by excommunicating the pregnant woman and her family. They preferred that pregnancies took place within mar¬riage – even forced ones, even in the case of little girls. When Jane’s parents found out about her pregnancy they quickly arranged for the collection of 6,000 pula from the culprit’s parents. They called the payment bogadi and bundled the fourteen-year-old off to her husband’s home one Saturday morn¬ing. One day Jane was a Gaborone girl, having been born to par¬ents who had had little to do with Serowe, the village of their own birth, and the next she was in Tsienyane, a village she hadn’t even known existed. She was a wife who was about to become a mother. She could forget about the school netball team she had been hoping she would be picked for. She could forget about the Whitney Houston tape a friend had promised to lend her. She could forget about the ballroom dancing club she had joined in school. She could forget about school, period. Very few relatives were involved in all this, but the church was happy and Jane’s parents were able to worship with dignity. They had saved their place in heaven and what more could any earth-ling hope for? Hallelujah! Even before the child was born, Jane was being battered and abused by her husband. Twice she nearly lost her life and the baby, but twice the local clinic was able to save both children. Finally the baby was born, but very little changed in the parents’ relationship. The father blamed the mother for her loose morals. If she had not been so easy, a teacher in his position, who had dutifully agreed to accompany his school’s debating team to far-off Gantsi, would never have got her to agree to a behind-the-dormitory sexual act. And if she had not been so easy, she would not have become preg¬nant. If she had not become pregnant, he would not have CONTEXT: AFRICA UNITY DOW had to marry her because there wouldn’t have been the threat of the Ministry of Education hearing about the behind-the-dormitory sexual act. If there had been no threat to inform the Ministry of Education, there would have been no threat of his losing his teach¬ing job. Her loose morals had resulted in his having to shell out 6,000 pula – and in his gaining an unwanted wife and even less wanted child. And to add insult to injury, his head teacher had ar¬ranged that he be transferred to this other-side-of-nowhere dusty place to teach in a badly-resourced school. How could he not be moved to violence? So he beat her. He beat her for being a lousy cook. He beat her for being a lousy housekeeper. He beat her for being a lousy mother. But above all, he beat her for being a lousy sexual partner. First she complained that she was too pregnant for sex. Then she complained she was too sore for sex. After that she complained she was too tired for sex. He figured that the least his 6,000 pula could buy him was continuous and undisturbed access to sex. She did not seem to be willing, so he beat her. And he drank. First, she thought of consulting a village expert on love po¬tions, reasoning that if he loved her, he would not beat her so. But she discarded these thoughts as soon as they entered her frus¬trated brain. All she needed was to be caught with some suspi¬cious concoctions and she would surely be branded a witch. Then she thought of boiling some water and pouring it over his geni¬tals. That would have been easy enough. He drank, rode her as if she was a donkey and then rolled off, snoring like a demented hy¬ena. But she didn’t have the heart to harm any living thing, even one as despicable as the man that abused her. So, one day, when her brute of a husband was at work, she fled, taking little Michael with her. She arrived at the home of her Christian parents after a particu¬larly brutal beating. Her body had been slashed by a sjambok and her eyes almost closed by fists. She had not seen her parents since the “wedding” because her “in-laws” had not brought her back for a first visit, as was the custom. Until they brought her back for a visit, she was not allowed to come on her own, and her parents had not been permitted to visit her. Her parents were shocked at her condition. She had written before, to say she was unhappy and that her husband was beating her. Still, they had not expected the level of abuse they saw in her face, body and spirit. She looked old and ill. They decided she was not going back. There was, however, the problem of the 6,000 pula they had received. The man came with his uncles and aunts, demanding his wife and son back. When he thought Jane’s parents did not seem to appreciate how serious he was, he went to the Customary Court. He sued Jane’s parents, seeking an order directing that his wife and son be returned to him. The Customary Court agreed with him. Bogadi had been paid and the son had been born within marriage. Therefore the two people belonged to the man who had paid so dearly for them. Jane’s parents appealed to the Customary Court of Appeal, and the decision was the same. They had received 6,000 pula as bogadi, and could not be heard to say they wanted to keep their daughter and grandson. Neither of the two people belonged to them. They were keeping someone’s wife and someone’s child. The law was clear, and in fact they were wasting the court’s time. The court set a date on which Jane’s parents should make the wife and son CONTEXT: AFRICA UNITY DOW available for collection. The wife had not been party to any of the court cases. No one had asked for Jane’s opinion as no one had thought her views mat¬tered. In fact, during one of the hearings she had been in hospital, suffering from blazing headaches, which the doctors thought could be the result of trauma to the head. It was with the clock ticking towards the scheduled day of the handover of the wife and son that Jane’s parents came to my office. I asked to see Jane, and within hours we had an urgent appli¬cation ready to be argued before the High Court. Our argument was simple enough. Botswana had ratified the United Nations Convention on the Rights of the Child, and thus the best inter¬ests of the child had to be the primary consideration in all deci¬sions affecting them. Clearly, marrying off a child without first consulting her and later making court decisions without consult¬ing her could not be in the child’s best interest. What was more, surely removing a child from an abusive environment was in the child’s best interest? The marriage was invalid for the reason that the child had not been consulted. The Customary Court decisions were not valid for the reason that they were made as if involving a bag of salt as opposed to a human being. An important princi¬ple of the law was the audi alteram partem rule, the “hear the other side” rule. The other side had not been heard, thus the decisions made had to be invalid. Waltzing through the gaps between the two systems and grab¬bing an offered opportunity was not always easy, but the High Court agreed with my arguments, so Jane and Michael did not have to go back to Tsienyane. No marriage had been contract¬ed, period. The judge recommended that Jane be readmitted to school and that a social worker monitor her progress. Jane and her parents thought I was a hero. And for an after¬noon, until the next case hit my desk I, too, thought I had been pretty good. But it was those cases I lost that seemed to stick in my mind, making me wonder whether I would find the ever-shifting goalposts in the legal system. No doubt my work at the agency gives me a skewed view of life. Surely life is not all about rape and abuse? And it doesn’t help that I spend so much time with my cousin Mmidi, whose working days are often just as depressive. Why couldn’t we be a couple of musicians, belting out ballads to cheering crowds? (Double Storey, 2006) CONTEXT: AFRICA OUSMANE SEMBÈNE 1923 – 2007 Amadou Gueye Ngom Un certain regard: Ousmane Sembène 1923 – 2007 Il arrive que ce coquin de sort, contre lequel on se plaît à gémir, arrange nos affaires. Ce ne fut pas hasard que Sembène s’en soit allé, le même jour et une demiheure après le décollage de mon avion vers les Etats-Unis. Son sens du devoir et des obligations professionnelles était tel, qu’il voulait partir à mon insu, afin que je ne retarde pas mon départ. Je compris qu’il tenait également à m’éviter de frayer avec les imposteurs qui viendraient réclamer indûment leur part de sa mort, à coups de péroraisons funèbres ou d’exploser comme son fils cadet. Je l’appelais « Grand », il m’appelait « Petit ». C’était dans l’ordre des choses. Moi par déférence, lui par affection. A ses funérailles, des hommages de circonstance truffés d’épithètes, d’attributs, dont il était cliniquement allergique, lui furent servis. Sembène a été si « vilipendé » que ses propres enfants ont cru qu’il s’agissait de quelqu’u… n d’autre. On lui a tout rendu, sauf ce qui lui appartenait et auquel il tenait le plus: son refus des connivences et, plus obstinément, son impertinente lucidité: « l’Afrique est une belle garce, mais c’est ma mère » avait-il lâché à RFI. On lui a tout prêté, lui qui de son vivant, n’a jamais rien emprunté à personne et devait tout à lui-même. A ses funérailles, on a fait de lui un Monsieur, alors que toute sa vie durant, il se sentait bonhomme, rien que le bonhomme qui s’ est construit sa vie de petits bouts en petits bouts. Des corporations d’artistes de tous poils sont venues en actionnaires, alors que Sembène avait déjà investi son capital auprès de l’artisan qui se rend à l’atelier, chaque matin, plutôt que d’ attendre l’ inspiration qui justifie si aisément la paresse et l’improductivité. Aux funérailles de Sembène, des intellectuels mondains se reconnurent soudain dans l’homme à la casquette de maquisard ou au bonnet de laine du grand âge, alors qu’ il n’ a jamais fait bon d’ être vu en sa compagnie, fleurant encore le poisson et le goudron. Les politiciens – hommes d’affaires – capables d’extraire le sang à une bouture de manioc, oublièrent, pour un instant, les crachats dont l’auteur de « Xala » les fit couvrir par les ignobles « déchets humains » que sont les « humiliés et offensés », pour lui chanter l’hymne des héros. Aux funérailles de « Grand », des cinéastes de la seconde génération riches de leurs seuls fantasmes qu’ils comparaient en ricanant aux « tarzanneries du vieux ringard », se découvrent soudain un maître, juste pour donner l’illusion d’être de ses disciples. Ses vrais disciples, pour autant qu’ il en ait eu, l’auraient célébré comme un anti-héro. Chez Sembène, seule la prise de conscience, la remise en CONTEXT: AFRICA OUSMANE SEMBÈNE 1923 – 2007 question permanentes sont héroïques et non les hommes, ni anges ni démons, mais seulement des êtres que façonnent les circonstances... Dans une discussion contradictoire, jamais je n’ai entendu « Grand » donner la réplique en commençant par « je » Il prenait l’idée au bond, se contentant juste de donner sa position sans le péremptoire et dogmatique « je sais, je dis que ». Pour ce géant torturé d’inquiétudes questionneuses, « je » ne doit se conjuguer qu’avec un verbe d’ action. Pour parler de Sembène, tel que je l’ai connu, il me suffirait simplement de faire un alignement de substantifs à la Prévert. J’ai connu l’auteur de Voltaïques et Niwaan, en 1975 à l’Association des Ecrivains du Sénégal dont j’assurais le Secrétariat permanent. L’homme ne faisait presque jamais de phrases, en parlant. Il lâchait des mots. D’où mon sentiment premier de doute insinuant quelque supercherie au sujet du personnage qui me semblait terne et sans bagout. Impossible qu’il ait écrit Les bouts de bois de dieu me surprenais-je à penser. Les écrivains défilant au siège de l’Association, me semblaient si flamboyants. C’est bien plus tard et à force de le retrouver que je compris pourquoi l’homme était un si piètre orateur. Le souci de précision qu’on retrouve dans chaque acte de sa vie l’emportait sur la volonté de séduction. Ce trait de caractère s’apparente à ce que les psychologues désignent par l’expression: esprit de l’escalier. Seulement, Sembène n’attend pas l’inspiration, d’une marche à l’autre; il collecte ses arguments et prend le temps de les assembler. Je connaissais mal le cinéaste dont les films figuraient peut-être une ou deux fois l’an à l’affiche des salles de cinéma, bien plus hospitalières aux James Bond et autres fureurs de Hong Kong. Huit ans plus tard, je faisais véritablement connaissance avec Sembène le cinéaste à qui je demandais orientation vers une école de cinéma. A ma grande surprise, il dit : «Si tu veux apprendre le cinéma, vas aux Etats-Unis; ce sont les meilleurs de l’industrie. » J’en tirerai une bien précieuse leçon sur l’homme et ses supposés aliénations idéologiques. Il faut appartenir au monde du cinéma pour appréhender la somme d’ingéniosité dont Sembène doit faire preuve, tout seul, sans éprouver le sentiment d’avoir accompli un chef d’œuvre, mais d’avoir simplement fait son travail. C’est ainsi qu’il construisit sa vie, toute sa création cinématographique, en assimilant, jusqu’ à l’obsession, chacune des composantes de son métier. Ses connaissances d’ancien maçon lui furent utiles pour planter le décor des films « Camp de Thiaroye », la mosquée de « Ceddo ». Dans une interview à New York, il expliquait la nécessité pour lui d’être à la fois bûcheron et sculpteur ; c’est-à-dire scénariste, metteur en scène, dialoguiste, réalisateur et parfois producteur, là où l’industrie euraméricaine mobilise une équipe de plusieurs dizaines de personnes sur la feuille de paye qu’ aucun réalisateur africain au sud du Sahara ne peut s’offrir. Seuls ses intimes savent que Sembène se demande toujours s’il a été suffisamment clair ou percutant au sortir d’un échange verbal. Chaque fois que j’ai été témoin d’ une de ses interviews aux Etats-Unis, il m’ a tiré à part, aussi anxieux qu’un adolescent au sortir d’un examen oral: « Alors Petit ... » ? Le mot « important » n’avait aucun sens pour lui ; il le préférait à « utile ». CONTEXT: AFRICA OUSMANE SEMBÈNE 1923 – 2007 Il se voulait utile et ne s’entourait que de choses destinées à servir. Dans les marchés aux puces ou hardware (quincailleries) de New York où je lui servais de guide, ses yeux pétillaient à la recherche de l’accessoire précis dont il a besoin pour une séquence déterminée de son prochain film. Chez lui, presque pas de meubles mais des boîtes à outils. L’ouvrier ne veut pas perdre la main qui lui a permis, avec l’aide de quelques amis, de construire lui-même « Galle Ceddo », sa maison dans le quartier de Yoff, à Dakar. Dans un placard de son bureau-atelier sont rangés tous les costumes ayant servi ou qui iront à des personnages déjà en esquisse. Et il sait avec exactitude où se trouve la pince ou les tenailles de ses bricolages qu’il ne quittait que pour le crayon, la feuille de dessin ou le carnet de notes. Jamais, je n’ai trouvé Sembène oisif . Il n’était pas gentil, dans le sens accommodant du terme, mais vrai. Derrière sa rudesse voulue se cachait un homme prévenant sans obséquiosité. Ses acteurs qu’il appelle « wa ker gi » – ceux de la maison – savaient d’emblée que les caprices de star ne trouveraient pas preneur chez lui. Nul ne lui était indispensable et il ne concédait à personne le pouvoir de le contrôler ou de contrarier ses prévisions. Ceux de la maison le disaient pingre. Non, près de ses sous comme tous ceux à qui la vie n’a jamais fait de cadeau. Il ne fallait surtout pas jouer les monstres sacrés avec «Grand » qui a bien retenu du cinéma soviétique que le contexte fait l’homme et non l’inverse. De héros, point n’en avait. Je ne saurai évoquer Sembène sans mentionner sa rigueur qu’il insuffle à ceux qui lui sont attachés. A mon fils qui venait retirer les petites affaires que je lui confiais au terme de ses séjours américains, il exigeait un reçu dûment signé dont il s’empressait de m’envoyer copie, par la poste. Au-delà de la rigueur de l’acte, j’ai mieux compris l’adage faussement insultant qui estime que « la confiance n’exclut pas le contrôle ». « Grand » n’avait pas besoin de discours là-dessus. L’exemple suffisait. Il en était ainsi dans tous les actes de sa vie. A ce trait de caractère, il convient d’ajouter la probité intellectuelle qui lui interdisait religieusement de juger autrui. Agir sa différence lui servait d’argument et il n’endossait rien, ne patronnait personne. Rédiger une simple préface à un recueil de Nouvelles lui apparaît comme une préséance usurpée. Dans ses films, Sembène réussit le tour de force de ne jamais être de connivence ou en antagonisme avec ses personnages. Il en laisse la responsabilité au public de ses films. On lui devine, tout au plus, un rictus qu’on ne sait ni de cruauté ni de compassion. « Grand » n’était dupe ni des prix de film, ni des distinctions. Il savait que le cinéma africain est fait de bouts de ficelle mais avec son esthétique propre et qu’il ne sera pour le moment qu’ « Un certain Regard » sur le critérium international. Il sait que le budget d’un film publicitaire américain de trente secondes peut lui financer cinq longs métrages. Pourvu que le grain ne meure! CONTEXT: AFRICA CONTRIBUTORS Alkasim Abdulkadir has had his short fiction and poetry published in a number of journals and anthologies, including Drum Voices Revue (Southern Illinois University), Unique Madmen (Association of Nigerian Authors) and Pregnant Skies, New Beginnings (British Council Nigeria). In 2004, he was a writer-in-residence at the Fondación Valparaiso, Spain. He is a radio broadcaster in Abuja, Nigeria. Toyin Adewale was born in Ibadan, Nigeria, in 1969 and learned English as a second language, after her native Yoruba. She went on to obtain an MA in English Literature from Obafemi Awolowo University, Ile-Ife. In 1995 she published her first collection, Naked Testimonies, which earned her an honourable mention from the Association of Nigerian Authors (ANA). She is the founder and president of Women Writers of Nigeria (WRITA), which works to improve the position of women writers in that country. Her work has appeared in numerous Nigerian, German and American journals, newspapers and anthologies. Seyi Adigun is a Yoruba medical doctor and poet from north-central Nigeria. He currently serves on the executive committee of the Association of Nigerian Authors (ANA), Abuja chapter. His poetry is collected in Kalakini – Songs of Many Colours (2004) and Bard of the Shore (2005). He is currently working on a third collection, Along the Niger. Frank Mackay Anim-Appiah is a journalist, poet, writer, teacher and a pioneer field team member of the Nonviolent Peace Force in Sri Lanka (2003–06). He has held various posts, and was the editor of Overseas Business Magazine in Germany and the Financial Guardian and the Evening Guardian in Ghana. He is currently Executive Director of Freedom International, and is also a founding member and President of Ghanaian PEN and Chair of its Writers in Prison Committee. Pierre Astier est né en 1956 en Algérie. Sa famille s’installe en France en 1957, en Savoie. Il vit et travaille à Paris depuis 1973 où il a d’abord oeuvré dans le milieu de l’art contemporain (Centre Georges Pompidou, Palazzo Grassi) avant de créer la maison d’édition Le Serpent à Plumes. Aujourd’hui, il dirige l’agence littéraire Pierre Astier & Associés, l’une des toutes premières agences littéraires en France, et représente des auteurs de langue française (mais aussi non francophones) tant dans le domaine de la fiction que de la non-fiction, avec une attention particulière aux auteurs des pays émergents et un grand souci de la bibliodiversité. Sefi Atta was born in Lagos, Nigeria. She trained as an accountant in London and began to write while working in New York. Her works have won prizes from Zoetrope, Red Hen Press, the BBC and PEN International. In 2006 she was shortlisted for the Caine Prize for African Writing, and her CONTEXT: AFRICA CONTRIBUTORS debut novel Everything Good Will Come was awarded the Wole Soyinka Prize for Literature in Africa. Nicole Barrière est un poète et sociologue née en 1952 à Saint-Babel, France. Elle a publié de nombreux recueils de poésie chez différents éditeurs. En s’engageant de manière militante pour les femmes et la paix, elle a lancé en 2001 un appel aux poètes du monde entier : « 1001 poèmes pour la paix et la démocratie en Afghanistan ». Elle défend la francophonie, les langues et les cultures menacées en participant activement au PEN International et à la Nouvelle Pléiade. Traduite en persan, espagnol, italien. Jean Auguste David Bonnaire est actuellement Trésorier-General de PEN Sénégal. Il est un poète et aussi l’auteur de la nouvelle Les Exilés d’Eden (2005). Shimmer Chinodya is one of Zimbabwe’s foremost authors. He won the Commonwealth Writers’ Prize in 1990 for his critically acclaimed novel Harvest of Thorns. His other books include Dew in the Morning (1982), Tale of Tamari (2004) and Can We Talk and Other Stories (1998), which was shortlisted for the Caine Prize for African Writing in 2000. Chinodya has written short stories, children’s books and film scripts. He has received numerous writing fellowships. From 1995–97, he was Visiting Professor in Creative Writing and African Literature at the University of St Lawrence in the US. Unity Dow is the author of four novels, including Screaming of the Innocent (2002) and Juggling Truths (2003). She is Botswana’s first female High Court judge. Catherine Eden studied Hausa and Economics at the School of Oriental and African Studies in London, graduating in 2003. She has studied in Nigeria and worked in Tanzania and Sudan on voluntary projects. Currently she works as a freelance editor, based in London. Nadia Galy est née à Alger de parents franco-algériens et a baigné dans les deux cultures. Elle vient s’installer à Paris pour faire des études d’architecture. Elle y ouvre un cabinet avant de mener ses activités en plusieurs régions du monde – comme l’île de St-Pierre, où elle restait six années, et qu’elle a commencé à écrire et décrire cette Algérie extraordinaire où elle retourne plusieurs fois par an. Nadia Galy was born in Algiers to Franco-Algerian parents, and was steeped in both cultures. After moving to Paris to pursue her studies in architecture, her practice took her to several countries, and to the island of St-Pierre, where she stayed six years and began to write about that CONTEXT: AFRICA CONTRIBUTORS extraordinary country, Algeria, to which she now returns several times per year. Chenjerai Hove is a Zimbabwean poet, novelist and essayist. Born in 1956, he was educated at the University of South Africa and the University of Zimbabwe, and has worked as an educator and journalist. A critic of the government of Robert Mugabe, he currently lives in exile in Norway. Sarah Lawson is a member of English PEN. She translates from French, Spanish, and Dutch, and has translated both the medieval French feminist Christine de Pisan and the twentieth-century iconoclast Jacques Prévert. Her most recent volume of poetry is All the Tea in China (2006). Wangari Muta Maathai was born in Kenya in 1940. The first woman in East and Central Africa to earn a doctorate degree, she obtained a degree in Biological Science in 1964 and a M.Sc. in 1966 in the US, and a PhD from the University of Nairobi in 1977. In 1976 she founded the Green Belt movement (www.greenbeltmovement. org), aimed at curtailing the devastating effects of deforestation, which led to the 1986 establishment of a Pan-African Green Belt Network. In 2005 she was elected Presiding officer of the Economic, Social and Cultural Council (ECOSOCO) of the African Union. She has won numerous awards including the 2004 Nobel Peace Prize, the Nelson Mandela Award for Health and Human Rights and France’s Legion d’honneur. Jack Mapanje is a Malawian poet who has written and edited numerous books. His first collection of poems, Of Chameleons and Gods, was published in the UK in 1981 and withdrawn from bookshops, libraries and all institutions of learning in Malawi in June 1985. He was imprisoned without trial or charge by the Malawian government in 1987 and freed only in 1991. The poems in The Chattering Wagtails of Mikuyu Prison (1993) were composed while in prison, as was most of Skipping Without Ropes (1998). He lives in York, UK, and teaches Creative Writing and Literatures of Incarceration at the School of English, University of Newcastle-upon-Tyne. Beasts of Nalunga (2007) is his most recent collection. Mohamed Magani est né en 1948 à El Attaf, un petit village en Algérie. Après des études à l’Université d’Alger et à l’Université de Londres, il a enseigné de 1985 à 1995 au Centre National pour la Formation des Enseignants et à l’Université d’Alger. Son roman La faille du ciel a gagné le Grand Prix Littéraire International d’Alger en 1987. De 1995 à 2000 il était « writer-in-exile » à Berlin à l’invitation de l’International Parliament of Writers. Membre du comité éxécutif de PEN International, il vit actuellement en Algérie. Parmi ses autres ouvrages littéraires sont Le refuge des ruines CONTEXT: AFRICA CONTRIBUTORS (2002) et Une Guerre se meurt (2004). Jackie Mansourian is an Armenian-Australian writer born in Alexandria, Egypt. She lived in Mozambique from 1987–97, where she was a community development worker. For part of this time she worked for an international organisation that supported children, communities and government services in post-conflict rehabilitation. She is currently Secretary of Melbourne PEN. Rhoda Mashavave worked for Zimbabwe’s banned Daily News. In 2002 she was arrested, beaten and detained by Zimbabwean police. She regularly writes articles for various publications and is currently living in Germany doing a media programme. Djamel Mati a publié son premier roman Sibirkafi.com, ou « les élucubrations d’un esprit tourmenté », en 2003. Sibirkafi.com est le premier livre d’une trilogie fantasmagorique. Aigre-doux (2005) est son troisième roman et le deuxième volet de la trilogie, suivi par On dirait le Sud (2007). Il travaille dans un centre de recherche en tant qu’ingénieur. Lorsque le temps lui permet, il participe, tant bien que mal, à des marathons (de moins en moins). Léonora Miano est née en 1973, à Douala, au Cameroun. Elle a écrit en moyenne un roman par an depuis ses seize ans, mais ce n’est qu’à trente ans qu’elle a commencé à songer à se faire publier, s’estimant enfin prête. L’intérieur de la nuit a été publié en 2005, suivi par Contours du jour qui vient en 2006. Classé meilleur premier roman français pour l’année 2005 par le magazine Lire, L’intérieur de la nuit fait aussi partie des dix finalistes de l’édition 2006 du Prix des Cinq Continents de la Francophonie. Contours du jour qui vient figure sur la première sélection du Goncourt 2006. Amadou Gueye Ngom est un critique d’art, producteur et réalisateur de films documentaires, ancien secrétaire permanent des écrivains du Sénégal et contributeur à Afrik’Art et Ethiopiques magazines et chroniqueur au quotidien Le Matin (Sénégal). Il est un professeur de français à Berlitz International Language Center, aux Etats-Unis. Ethel Ngozi Okeke graduated from the University of Jos, Nigeria, with BA in English in 1986, and completed an MA in English Literature in 1992. She currently lectures in the General Studies Division of Enugu State University of Science and Technology, Nigeria. She has one collection of poems, Spring from Recession (2000). Sylvester Omosun is a writer, poet and a technical planning officer at Bells University of Technology, Ota, Nigeria. He also teaches creative writing CONTEXT: AFRICA CONTRIBUTORS in his spare time. His website is www.omosun.wordpress.com. Amadou Lamine Sall est l’un des plus importants poètes de l’Afrique francophone contemporaine et le poète le plus doué de sa génération, selon Léopold Senghor. Né en 1951 à Kaolack, Sénégal, il est le fondateur de la Maison Africaine de la Poésie Internationale, et il préside aux destinées de la Biennale internationale de poésie à Dakar, au Sénégal. Lauréat du Grand Prix de l’Académie française, il est l’auteur de nombreuses anthologies de poésie qui ont été traduites en plusieurs langues. Il est Conseiller du Ministre de la Culture du Sénégal et Vice président du centre PEN Sénégal. Amadou Lamine Sall is one of Africa’s most important contemporary francophone African poets, and called the most gifted poet of his generation by Léopold Senghor. Born in 1951 in Kaolack, Senegal, he is the founder of the Maison Africaine de la Poésie Internationale, and is the president of the Poetry Biennial of Dakar. A recipient of the Grand Prix of the Académie Française, he is the author of several collections of poetry, which have been translated into numerous languages. He is currently the advisor to the Senegalese Minister of Culture and Vice President of PEN Senegal. Mary Watson Seoghie lives in Cape Town. Her collection of interlinking stories, Moss, was published in 2004. She is currently lecturing in Film Studies at the University of Cape Town where she received a meritorious publication award for Moss. She was awarded the Caine Prize for African Writing in 2006. She has contributed several short stories to published anthologies, including translations in Afrikaans, German, Italian and Dutch. Maliya Mzyece Sililo is amongst the very few published female fiction writers in Zambia, and a storyteller who has revived that “lost art”, using it to transmit folklore and life skills to Zambian youth. She hopes to publish her first short story collection in due course, in which she will explore the idea of individual awakening to social issues, the “Eureka” moment when one attains greater social awareness. Sami Tchak est né en 1960 au Togo. Lauréat du Grand prix de littérature d’Afrique noire 2004, il est à la fois écrivain et essayiste. Titulaire d’un doctorat en sociologie, il est l’auteur de nombreux essais de sociologie aussi que plusieurs romans dont Place des fêtes (2001), Hermina (2003), La fête des masques (2004) et Le paradis des chiots (2006). De son vrai nom, Sadamba Tchakoura, il a d’abord étudié la philosophie avant de s’engager dans l’enseignement dans un lycée de son pays. Nassima Touisi est née en 1968, à Alger. Elle est ingénieur d’état en agronomie et enseigne actuellement les sciences naturelles et le théâtre dans une école privée. CONTEXT: AFRICA CONTRIBUTORS Par ailleurs, elle écrit des articles pour un magazine culturel, C-News. Elle s’occupe de la rubrique « jeunes talents en herbe ». Sa devise dans la vie se résume en trois verbes puissants : aimer, aider et pardonner. Une lettre à Kahina (2005) est son premier roman. Benjamin Ubiri is a Nigerian writer, performance poet and journalist. He is a member of the ANA and the Kaduna Writers’ League. His work, mainly comprising unpublished poetry, includes Konga’s Harvest: Replying to Soyinka, The Soloist and Onime and Other Poems. His journalism has appeared in numerous periodicals, though he prefers writing fiction and poetry to the haste of journalism. Manuel Ulacia (1953 – 2001) was a Mexican poet and critic. He was educated at Yale and specialised in the poetry of Luis Cernuda. Ulacia was the codirector of the magazine El Zaguán from 1974–77. He had several works published, including La Materia como ofrenda (1980) and Luis Cernuda: escritura, cuerpo y deseo (1986), and translated poems from English, Portuguese and French. He was building a reputation as one of Mexico’s most distinguished younger poets when he died in a drowning accident off the Pacific coast. Uchechukwu Peter Umezurike is a Nigerian poet, children’s novelist and short-story writer. He was among the twenty-four winners of the 2006 Commonwealth Short Story Competition and the winner of the 2006 ANA/ Funtime Prize for Children’s Literature. He is the author of Dark through the Delta (poems), Tears in Her Eyes (short stories), and Aridity of Feelings (poems). He is currently working on a collection of poems centring on the Niger Delta. Agatha Mwila Zaza was born and raised in Zambia, and obtained a M.Sc. in Ireland. Currently a technical advisor at a donor agency as well as a writer (her work has appeared in the British Council’s Crossing Borders and elsewhere), her ambition is to open a publishing company to promote Zambian writing and writers. CONTEXT: AFRICA THE INTERNATIONAL PEN FOUNDATION We are grateful to the following Friends of the International PEN Foundation who continue to support our work. Peter Ackerman The Andrew W. Mellon Foundation Jane Asher The Austrian PEN Centre Professor John Bayley Beryl Bainbridge Niels Barfoed Margaret Barilone Mary Baxter, MBE Pamela Birley Sir Christopher Bland Jennie Bland Melvyn Bragg Simon Brett The British Library Helen Chadwick Eric Charles Charles Stanley & Co. Ltd Susie Chiang The City of Vienna Sylvestre Clancier Cumberland Ellis Peter & Joan Cundill Colman Getty Associates Jilly Cooper Louis de Bernières Alain de Botton Lindsey Davis Robert Dawson-Scott Laurie Deemer Paul Deemer Frank Delaney Laura Devine Margaret Drabble Holroyd Lord Egremont Buchi Emecheta Lesley Fernández-Armesto Ken Follett Leslie Forbes Mr & Mrs Fox-Andrews Clare Francis Peter Francis Paula Fure Frances Fyfield Jane Gardam Robert Goddard The Paul Hamlyn Foundation Georgina Hammick Corinna Harry Josephine Hart M. L. F. 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Tel: +44 (0) 20 7405 0338 Fax: +44 (0) 20 7405 0339 E-mail: [email protected] Website: www.internationalpen.org.uk Presidents Emeritus: Homero Aridjis; Ronald Harwood CBE; Francis King CBE; György Konrád; Mario Vargas Llosa; Per Wästberg Vice Presidents: Margaret Atwood; Andrei Bitov; Alexandre Blokh; Sook-Hee Chun; J. M. Coeztee; Georges Emmanuel Clancier; Moris Farhi MBE; Gloria Guardia; Nadine Gordimer; Nancy Ing; Lucina Kathmann; Joanne Leedom-Ackerman; Predrag Matvejevic; Toni Morrison; Boris A. Novak; Antonio Olinto; Michael Scammell; Thomas von Vegesack v v Board: Jiri Grusa (International President); Eugene Schoulgin (International Secretary); Eric Lax (International Treasurer); Caroline McCormick (Executive Director); Cecilia Balcázar; Michael Butscher; Takeaki Hori; Mohamed Magani; Elizabeth Nordgren; Kristin T. Schnider; Haroon Siddiqui Registered Charity No. 1010627. For details of how to become a Friend of the International PEN Foundation, please contact the office. CONTEXT: AFRICA ACKNOWLEDGEMENTS Editor: Mitchell Albert Design and layout: Forever Studio Ltd Proofreading: Brandon E. Hopkins and Vincent Rey The Lilitree from Dinaane: Short Stories by South African Women, ed. Maggie Davey, 2007, Telegram Books, London. The Jambula Tree from African Love Stories: An Anthology, ed. Ama Ata Aidoo, 2007, Ayebia Clarke, London. Everything Good Will Come, 2007, Double Storey, Cape Town. Sefi Atta Jack Mapanje’s poems from Beasts of Nalunga, 2007, Bloodaxe Books, Highgreen. Le paradis des chiots, Mercure de France, 2006, courtesy of the French Book Office, London. Alger, lavoir gallant, Albin Michel, 2007, courtesy of the French Book Office, London. Chenjerai Hove interview by Rhoda Mashavave, courtesy of the The Association of Zimbabwe Journalists in the UK, www.zimbabwejournalists.com Chairman of Fools, 2006, Double Storey, Cape Town. Contours du jour qui vient, Plon, 2006, courtesy of the French Book Office, London. Unbowed, 2007, William Heinemann, London; see also www.greenbeltmovement.org The Heavens May Fall, 2006, Double Storey, Cape Town.