tag:blogger.com,1999:blog-30072184178724610672024-03-24T08:10:56.567+01:00Chester HimesAdulé par les Français, considéré même par Giono comme un écrivain plus important que Dos Passos ou Hemingway, il est toujours lu mais méconnu par la critique. Pourtant, il nous dit tant de choses : sur les rapports entre littérature et littérature de genre ; sur l’histoire des Noirs ; sur le paradoxe de l’écrivain noir américain ; sur l’évolution des États-Unis qu'il analyse avec lucidité et pessimisme… Ce blog essaie de mieux le connaître et de lui rendre la place qui est la sienne.Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.comBlogger70125tag:blogger.com,1999:blog-3007218417872461067.post-29507361870815125872024-03-23T17:37:00.006+01:002024-03-23T17:48:11.089+01:00ENG - Himes's underlying inspiration: The Trees, by Percival Everett<p><span style="font-family: verdana;">This novel by Percival Everett, published in 2022 in the United States (and covered with awards) has just been translated into French, under the title <i>Châtiment</i>.</span></p><p class="MsoNormal" style="margin: 0cm;"><span lang="EN-US"><span style="font-family: verdana;">The French weekly <i>Le Canard Enchaîné</i> devotes a warm review to it (March 13, 2024), as a counterpoint to the review of a novel by Richard Wright, without ever, however, mentioning what jumped out at me: the link with Himes.<o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0cm;"><span lang="EN-US"><span style="font-family: verdana;"> </span></span></p><p class="MsoNormal" style="margin: 0cm;"><span lang="EN-US"><span style="font-family: verdana;">Indeed, in chapter 8 of the novel, a couple of black inspectors from the MBI (Mississippi Bureau of Investigation) appear. Jim Davis and Ed Morgan remind us of Gravedigger and Ed Coffin: same friendship between the two men, same relaxation, same distance from their theoretical mission. The fundamental difference is that they are police officers in Mississippi and that they are confronted with local police officers (sheriffs) whose racism is consubstantial. We can even notice the resemblance with the late appearance of the two police officers, in <i>A Rage in Harlem</i> / <i>For Love of Imabelle</i>. We will measure the distance traveled since Himes's story and his improbable invention of two black police officers, powerful and resolute, in the Harlem of the 1950s. Alongside Jim Davis and Ed Morgan, we also find a black FBI agent and Asian police officers from California, all aware of their origin and their identity.<o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0cm;"><span lang="EN-US"><span style="font-family: verdana;"> </span></span></p><p class="MsoNormal" style="margin: 0cm;"><span lang="EN-US"><span style="font-family: verdana;">The evocation of Himes can also be read in the plot. Like <i>Plan B</i>, the last, unfinished novel in the Harlem cycle, <i>The Trees</i> recounts a scheme conceived by a mind of exceptional foresight and resolution, which exceeds its author's intention and degenerates into an uncontrollable war between races. Next to all the white victims, murdered and castrated, is the body of a young black man, lynched a few decades earlier, probably Emmet Tyll, lynched by the Ku Klux Klan in 1955.<o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0cm;"><span lang="EN-US"><span style="font-family: verdana;"> </span></span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: verdana;">A must read!</span><span face="Aptos, sans-serif"><o:p></o:p></span></p>Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-16510911531203130122024-03-19T15:49:00.011+01:002024-03-23T17:57:46.021+01:00Himes sous-jacent : Châtiment (The Trees) par Percival Everett<p style="text-align: justify;"><span style="font-family: verdana;">Ce roman de Percival Everett, paru en 2022 aux Etats-Unis (et couvert de prix) vient d'être traduit en français, sous le titre de <i>Châtiment</i>.</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><i>Le Canard Enchaîné</i> lui consacre une critique chaleureuse (13 mars 2024), en contrepoint de la critique d'un roman de Richard Wright, sans jamais, cependant, mentionner ce qui m'a sauté aux yeux : le lien avec Himes.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">En effet, au chapitre 8 du roman, apparaît un couple d'inspecteurs noirs du MBI (<i>Mississipi Bureau of Investigation</i>)<i>. </i>Jim Davis et Ed Morgan évoquent Fossoyeur et Ed Cercueil : même amitié entre les deux hommes, même décontraction, même distance vis à vis de leur mission théorique. La différence fondamentale est qu'ils sont policiers dans le Mississipi et qu'ils y sont confrontés à des policiers locaux (shérifs) pour qui le racisme est consubstantiel. On pourra même remarquer la ressemblance avec l'apparition tardive des deux policiers, dans <i>La reine des pommes</i>. On mesurera le chemin parcouru depuis l'uchronie de Himes et son invention improbable de deux policiers noirs, puissants et résolus, dans le Harlem des années 1950. A côté de Jim et Ed, on trouve aussi une agente noire du FBI et des policiers asiatiques de Californie, tous conscients de leur origine et de leur identité.</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><span>L'évocation de Himes se lit aussi dans l'intrigue. Comme <i>Plan B</i>, le dernier roman, inachevé, du cycle de Harlem, <i>Châtiment</i> raconte une machination conçue par un esprit d'une clairvoyance et d'une résolution exceptionnelles, qui dépasse l'intention de son auteur et dégénère en une guerre incontrôlable entre races. A coté de toutes les victimes blanches, assassinées et châtrées, se t</span><span>rouve le corps d'un j</span><span>eune homme noir, lynché quelques dizaines d'années auparavant, probablement Emmet Tyll, lynché par le Ku Klux Klan en 1955.</span></span></p><p style="text-align: justify;"><span style="font-family: verdana;">A lire absolument !</span></p>Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-19238020526783568162020-12-05T17:51:00.029+01:002020-12-16T16:16:42.152+01:00ENG - African or Harlemite scams?<p style="text-align: justify;"><span style="font-family: verdana;">In the 1990s, the Cameroonian feyman Donatien Koagne made himself famous for his scams, in particular the multiplication of banknotes. It consisted "of making rich suckers believe that they had a top secret way to turn white paper into dollars. […] The prey [is] invited [to] a private session intended to convince him/her of the efficiency of the process."<span style="color: #e69138;"><b>1</b></span> The scam is simple and clever, and works better when the greedy customers are gullible. Even if the terms differ<span style="color: #e69138;"><b>2</b></span>, one inevitably thinks of the banknote scam in the first chapter of<span> <i>For Love of Imabelle</i>. The date, however, prevents seeing the Cameroonian feyman as the inspiration for Himes. Indeed, the latter wrote<span> <i>For Love of Imabelle</i></span> more than 30 years before his exploits. Conversely, could Himes have inspired Koagne? In other words, did the scam the naive Jackson fell victim to existed or was it invented by Himes? It will undoubtedly be difficult to answer this question. As for Donatien Koagne, did he invent the banknote multiplication scam or did he simply dramatically develop an existing practice?</span> </span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span lang="EN-US" span="" style="font-family: verdana;">On the other hand, the connection with Cameroonian scams is interesting for two reasons. "Faced with the model of the ‘opponent’, ideal of the youth of the years 1991 to 1994, the feymen embodied, in collusion with the ruling class or manipulated by it, that of corruption, illegality, and easy money."<span style="color: #e69138;"><b>3</b></span> Let us remember the hatred that Grave Digger and Ed Coffin feel for crooks, while they do not bother, for example, "the owners of serious brothels, the managers of serious gambling houses, those in charge of underground lotteries and prostitutes who stay in their neighborhood"<span style="color: #e69138;"><b>4</b></span>, considering them as necessary for the needs of the inhabitants and the cohesion of Harlem. <o:p></o:p></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span style="font-family: verdana;">Moreover, for Himes, the scam often has an African origin: thus Dr. Mobuta (Mobutu?) and his remedies against infertility (<i>Blind Man with a Pistol)</i>, as well as the fake African doctor in rags that Sugar embodies in <i>The Crazy Kill</i>. The description of Sugar, dressed in a nightgown and a towel tied in a turban, and his words denote a vision of Africa as a land of superstitions and crude magic, a repulsive image of black origin. "This oil," Sugar continued, "is made with the fat of male kangaroo claws mixed with the essence of the productive organs of lions. It will make you jump like a kangaroo and roar like a lion."<span style="color: #e69138;"><b>5 </b></span>Besides petty scams (the rise in the value of banknotes or the title deeds of lost mines), the scam can take on a whole new dimension. "The religious crooks (<i>For Love of Imabelle</i>, <i>The Big Gold Dream</i>, <i>The Crazy Kill</i>) exploit the fervor of the Blacks, transmitted by their ancestors, to enrich themselves and perpetuate the existing order. The political crooks, whether they advocate the return to Africa, black power, the black Jesus or interracial fraternity deceive the messianic hope for the liberation of Blacks. Himes twice discredits the return to Africa, always marked since Marcus Garvey with the seal of the swindle (<i>The Heat’s On</i>, <i>Return to Africa</i>)."</span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt;"><span lang="EN-US"><span style="font-family: verdana;">Africa as the cradle and essence of the scam? <o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt;"><span lang="EN-US" o:p=""><span style="font-family: verdana;"> </span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span lang="EN-US"><span style="font-family: verdana;"><span style="color: #e69138;"><b>1</b></span> Dominique Malaquais, "Arts de feyre au Cameroun", in <i>Politique africaine</i>, 2001/2 (N ° 82), p. 101 to 118, https://www.cairn.info/revue-politique-africaine-2001-2-page-101.htm. Alain Mabanckou and Abdourahman Waberi, <i>Dictionnaire enjoué des cultures africaines,</i> also devote an article to feymania, Paris, Fayard, 2019, p. 154 and following. </span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span lang="EN-US"><span style="font-family: verdana;"><span style="color: #e69138;"><b>2</b></span> In <i>For Love of Imabelle</i>, the crook doubles the value of each note; Koagne multiplied the number of notes. </span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span lang="EN-US"><span style="font-family: verdana;"><span style="color: #e69138;"><b>3</b></span> Dominique Malaquais, "Arts de feyre au Cameroun", op. cit. </span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span lang="EN-US"><span style="font-family: verdana;"><span style="color: #e69138;"><b>4</b></span> Chester Himes, <i>The Big Gold Dream</i>, chap. 10.</span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span lang="EN-US"><span style="font-family: verdana;"><span style="color: #b45f06;"><b>5</b></span> <i>Ibid</i>., chap. 11. </span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt; text-align: justify;"><span style="font-family: verdana;"><span lang="EN-US"><span style="color: #b45f06;"><b>6</b></span> Sylvie Escande, <i>Chester Himes, l'unique</i>, Paris, L'Harmattan, 2013, p.167.</span><span lang="EN-US"><o:p></o:p></span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 6pt;"><span lang="EN-US"><span style="font-family: verdana;"> </span></span></p>Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-57092763915644315732020-11-11T08:56:00.012+01:002020-12-07T17:19:08.027+01:00Arnaques africaines ou harlemites ?<div style="text-align: justify;"><span style="font-family: verdana;">Dans les années 1990, le <i>feyman</i> camerounais Donatien Koagne s'est rendu célèbre par ses escroqueries, notamment la multiplication des billets de banque. Elle consistait "à faire croire à de riches pigeons qu’il disposait d’un moyen ultra secret pour transformer le papier blanc en dollars.[…] La proie [est] convi[ée] à une séance privée destinée à la convaincre de l’efficacité du procédé."</span><span style="color: #e69138; font-family: verdana; font-size: x-small;"><b>1</b></span><span style="font-family: verdana;"> L'arnaque est simple et astucieuse et marche d'autant mieux que les clients appâtés par le gain sont crédules. </span></div><p style="text-align: justify;"><span style="font-family: verdana;"> Même si les modalités diffèrent </span><span style="color: #e69138; font-family: verdana; font-size: x-small;"><b>2</b></span>, <span style="font-family: verdana;">on pense inévitablement à l'arnaque aux billets de banque dans le premier chapitre de <i>La reine des pommes</i>. La date, cependant, empêche de voir dans le <i>feyman</i> camerounais l'inspirateur de Himes. En effet, ce dernier écrit <i>La reine des pommes</i> plus de 30 ans avant ses exploits. À l'inverse, Himes aurait-il inspiré Koagne ? En d'autres termes, l'escroquerie dont est victime le naïf Jackson existait-elle ou a-t-elle été inventée par Himes ? Il sera sans doute difficile de répondre à cette question. Quant à Donatien Koagne, a-t-il inventé l'arnaque à la multiplication des billets de banque ou a-t-il simplement développé de façon spectaculaire une pratique existante ?</span></p><p style="text-align: justify;"><span style="font-family: verdana;">En revanche, le rapprochement avec les escroqueries camerounaises est intéressant à un double titre. "Face au modèle de l’« opposant », idéal de la jeunesse des années 1991 à 1994, les feymen incarnaient, en collusion avec la gent dirigeante ou manipulés par elle, celui de la corruption, de l’illégalité, de l’argent facile."<span style="color: #e69138; font-size: x-small;"><b><span>3</span> </b></span>Rappelons-nous la haine que Fossoyeur et Ed Cercueil vouent aux escrocs, alors qu'ils n'inquiètent pas, </span><span style="font-family: verdana; text-align: left;">par exemple, "les tenancières de maisons de prostitution sérieuses, les gérants de maisons de jeux sérieuses, les responsables des loteries clandestines et les prostituées qui restent dans leur quartier"<span style="color: #e69138; font-size: x-small;"><b>4</b></span>, les considérant comme nécessaires aux besoins des habitants et à la cohésion de Harlem. </span></p><p style="text-align: justify;"><span style="font-family: verdana;" verdana="">D'autre part, pour Himes, l'arnaque a souvent une origine africaine</span><span style="font-family: verdana;"> : "ainsi le Dr Mobuta (Mobutu ?) et ses remèdes contre l’infertilité (<i>L’aveugle au pistolet</i>), ainsi le faux médecin africain en haillons qu’incarne Sugar dans <i>Tout pour plaire"</i>. La description de Sugar, vêtu d'une chemise de nuit et d'une serviette nouée en turban, et ses propos dénotent une vision de l'Afrique comme terre de superstitions et de magie grossière, </span><span style="font-family: verdana;">image repoussante de l'origine des Noirs</span><span style="font-family: verdana;">. "Cette huile, continua Sugar, est faite avec le gras des griffes de kangourou mâle mélangé à l'essence des organes productifs des lions. Elle vous fera sauter comme un kangourou et rugir comme un lion."</span><b style="caret-color: rgb(255, 164, 0); font-family: verdana;"><span style="color: #e69138; font-size: x-small;">5</span></b><span style="font-family: verdana;"> </span></p><p style="text-align: justify;"><span style="font-family: verdana;">À côté des petites arnaques (l'élévation de valeur des billets de banque ou les titres de propriété de mines perdues), l'escroquerie peut prendre une toute autre envergure. "Les escrocs religieux (<i>La reine des pommes</i>, <i>Couché dans le pain</i>, <i>Tout pour plaire</i>) exploitent la ferveur des Noirs, transmise par leurs ancêtres, pour s’enrichir et perpétuer l’ordre existant. Les escrocs politiques, qu'ils prônent le retour en Afrique, le pouvoir noir, le Jésus noir ou la fraternité interraciale trompent l’espoir messianique de libération des Noirs. Himes déconsidère à deux reprises le retour en Afrique, toujours marqué depuis Marcus Garvey du sceau de l’escroquerie (<i>Ne nous énervons pas</i>, <i>Retour en Afrique</i>)."<span style="caret-color: rgb(255, 164, 0);"><b><span style="color: #e69138; font-size: x-small;">6</span></b><b style="color: #ffa400; font-size: small;"> </b></span></span></p><p style="text-align: justify;"><span style="font-family: verdana;"><span style="caret-color: rgb(255, 164, 0);">L'Afrique comme berceau et essence de l'arnaque ?</span></span></p><p style="text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: justify;"><span style="color: #ffa400; font-family: verdana; font-size: x-small;"><b>1 </b></span><span style="font-family: verdana; font-size: x-small;"><span color="inherit" style="box-sizing: border-box; caret-color: rgb(50, 50, 50); text-align: left; text-decoration: none;"><a class="lien-auteur" href="https://www.cairn.info/publications-de-Dominique-Malaquais--9379.htm" style="box-sizing: border-box; caret-color: rgb(50, 50, 50); color: inherit; text-align: left; text-decoration: none;">Dominique Malaquais</a>, "</span><span style="box-sizing: border-box; caret-color: rgb(50, 50, 50); text-align: left;">Arts de feyre au Cameroun"</span><b style="box-sizing: border-box; caret-color: rgb(50, 50, 50); text-align: left;">, </b><span style="box-sizing: border-box; caret-color: rgb(50, 50, 50); text-align: left;">d</span><span style="caret-color: rgb(50, 50, 50); text-align: left;">ans<span> <i>Politique africaine</i></span></span></span><span style="text-align: left;">,</span><span style="text-align: left;"> </span><span style="box-sizing: border-box; caret-color: rgb(50, 50, 50); font-family: verdana; font-size: x-small; text-align: left;"><a href="https://www.cairn.info/revue-politique-africaine-2001-2.htm" style="box-sizing: border-box; color: inherit; text-decoration: none;">2001/2 (N° 82)</a></span><span style="caret-color: rgb(50, 50, 50); text-align: left;"><span style="font-family: verdana; font-size: x-small;">, p<span>. </span>101 à </span><span style="font-family: verdana; font-size: x-small;">118,</span> <span style="font-family: verdana; font-size: x-small;">https://www.cairn.info/revue-politique-africaine-2001-2-page-101.htm. Le <i>Dictionnaire enjoué des cultures africaines</i> </span><span style="font-family: verdana; font-size: x-small;">d'Alain Mabanckou et Abdourahman Waberi consacre également un article à la feymania. Paris, Fayard, 2019, p. 154 et suiv</span>.</span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: x-small;"><b style="color: #ffa400;">2 </b>Dans <i>La reine des pommes</i>, l'escroc multiplie par deux la valeur de chaque billet ; Koagne, lui, multipliait le nombre de billets.</span></p><p style="text-align: justify;"><span style="color: #ffa400; font-family: verdana; font-size: x-small;"><b>3 </b></span><span style="font-size: x-small;"><span color="inherit" style="box-sizing: border-box; caret-color: rgb(50, 50, 50); font-family: verdana; text-align: left;"><a class="lien-auteur" href="https://www.cairn.info/publications-de-Dominique-Malaquais--9379.htm" style="box-sizing: border-box; color: inherit; text-decoration: none;">Dominique Malaquais</a>, "</span><span style="box-sizing: border-box; caret-color: rgb(50, 50, 50); font-family: verdana; text-align: left;">Arts de feyre au Cameroun", op. cit.</span></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: x-small;"><b style="color: #ffa400;">4 </b>Chester Himes, <i>Tout pour plaire</i>, chap. 10.</span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: x-small;"><span style="color: #ffa400; font-weight: bold;">5 </span><span>Ibid., chap. 11.</span></span></p><p style="text-align: justify;"><span style="font-family: verdana; font-size: x-small;"><span style="color: #ffa400;"><b>6</b></span> Sylvie Escande,</span><span style="font-family: verdana; font-size: small;"> </span><i><span style="font-family: verdana; font-size: x-small;">Chester Himes, l'unique</span></i><span style="font-family: verdana; font-size: small;">, </span><span style="font-family: verdana; font-size: x-small;">Paris, L'Harmattan, 2013, p</span><span style="font-family: verdana; font-size: small;">.</span><span style="font-family: verdana; font-size: x-small;">167.</span></p><p style="text-align: justify;"><br /></p>Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-72691426310513360412020-05-22T20:02:00.002+02:002024-03-23T17:49:52.341+01:00ENG - In Harlem nobody knows Chester Himes<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: verdana;"><span lang="EN-US">The 110th street that borders Central Park on the north is now called Central Park North. This is where the Democratic politician Casper Holmes lived in <i>All Shot Up</i>. From his window, he could see the children of the black bourgeoisie of Harlem ice-skating in the park. I interview passersby. They are interested when I tell them about Himes but have never heard of him.</span><o:p></o:p></span></div>
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<span style="font-family: verdana;"><span lang="EN-US"><span face=""verdana" , sans-serif">I continue towards the north of Manha</span><span face=""verdana" , sans-serif">ttan. In Washington Heights, Edgecombe Drive (now Edgecombe Avenue) overlooks the Harlem River and the Yankee Stadium in the Bronx to the east. This is where two historic buildings </span><span face=""verdana" , sans-serif">of </span></span><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">Harlem - </span><span face=""verdana" font-size: 10pt"><span face=""verdana" , sans-serif">the 409 and the 555 -</span><span face=""verdana" , sans-serif"> </span></span><span face=""verdana" , sans-serif">are located, the latter also known as Roger Morris.</span></span></span></div>
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<span style="font-family: verdana;"><span face=""verdana" , sans-serif" lang="EN-US">These two buildings are quite present in several novels of Himes: in <i>The Crazy Kill</i>, "[Johnny Perry] and Dulcy, along with other well-heeled Harlem pimps, madams and numbers bankers, lived on the sixth floor of the flashy Roger Morris apartment house”. In <i>The Big Gold Dream</i>: "Without hesitation, Dummy entered the ornate lobby of the Roger Morris Apartment House, better known as 555. In its day, it had been a very pretentious apartment dwelling for upper income whites, but now it was occupied for the most part by successful colored racketeers, jazz musicians, madams and current prize fighters."</span><o:p></o:p></span></div>
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<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: verdana;">Today, like the 409, the Roger Morris has lost much of its grandeur. The building has become middle class. The beautiful, somewhat weathered lobby remains. I speak with a resident: he does not know Himes.</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;"><br /></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;"> <span lang="EN-US" style="font-family: verdana;">Melvin Van Peebles wrote in 1993: “Despite the fact that Chester, this literary giant, had been publishing essays, short stories, and novels for over a quarter of a century, I, a black American, had grown up, gone to college and never once heard his name mentioned in the myriad literature courses I had taken. This spoke volumes about the walls of prejudice and the barriers of racism.” (Preface to <i>Yesterday will make you cry</i>).<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: verdana;">New York, November 2011</span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-5583219720634093702020-05-08T19:09:00.000+02:002020-05-14T09:48:49.481+02:00ENG - Ataúd Ed Johnson y Sepulturero Jones<div class="MsoNormal" style="font-family: Cambria; margin: 0cm 0cm 0.0001pt;">
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<span style="font-family: "verdana" , sans-serif;">Ataúd Ed Johnson (Ataúd = coffin) and Sepulturero Jones (Sepulturero = grave digger) are the names of the two inspectors in the Spanish translations of Himes’ crime novels or his Harlem domestic novels as he used to call them.</span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">If we look at the Spanish titles of these novels, we can see they have been translated very faithfully from the titles in the American editions. They therefore do not take up the puns of the original French editions in the Série noire collection.</span></span><br />
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<span style="font-family: "verdana" , sans-serif;"> <o:p></o:p></span> <br />
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<span style="color: #f3f3f3; font-family: "verdana" , sans-serif; text-align: justify;">Original Himes' title</span></div>
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<span lang="EN-US"><span style="color: #f3f3f3; font-family: "verdana" , sans-serif;"><span style="color: white;">Title in the Série noire</span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="color: #f3f3f3; font-family: "verdana" , sans-serif;"><span style="color: white;">Title of the subsequent American edition </span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="color: #f3f3f3; font-family: "verdana" , sans-serif;"><span style="color: white;">Title of the Spanish edition </span><o:p></o:p></span></span></div>
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<i style="font-family: Verdana, sans-serif;"><span style="color: #f3f3f3; font-size: xx-normal;">The Five Cornered Square</span></i><br />
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">La reine des pommes<o:p></o:p></span></i></div>
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<span style="color: #b45f06; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>1. For Love of Imabelle </i>(1957). <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="color: #b45f06;">2.<i> A Rage in Harlem </i>(1965)</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">Por amor a Imabelle</span></i><span lang="EN-US" style="font-size: xx-small;"><o:p></o:p></span></span></div>
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<span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>If Trouble Was Money</i><o:p></o:p></span></div>
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<span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>Il pleut des coups durs</i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">The Real Cool Killers</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">La banda de los musulmanes</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">A Jealous Man Can’t Win<o:p></o:p></span></i></div>
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<span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>Couché dans le pain</i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">T</span><span style="color: #b45f06;">he Crazy Kill</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">El loco asesinato</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">The Big Gold Dream<o:p></o:p></span></i></div>
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<span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>Tout pour plaire</i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">The Big Gold Dream</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">El gran sueño de oro</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">Don’t Play With Death<o:p></o:p></span></i></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">Imbroglio négro<o:p></o:p></span></i></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="color: #b45f06;">All Shot up</span><o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">Todos muertos</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">Be Calm<o:p></o:p></span></i></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">Ne nous énervons pas<o:p></o:p></span></i></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="color: #b45f06;">The Heat’s On</span><o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">Empieza el calor</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">Back to Africa<o:p></o:p></span></i></div>
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<i><span style="color: #f3f3f3; font-family: "verdana" , sans-serif; font-size: xx-small;">Retour en Afrique<o:p></o:p></span></i></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="color: #b45f06;">Cotton Comes to Harlem</span><o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i><span style="color: #b45f06;">Algodón en Harlem</span></i><span lang="EN-US" style="font-size: x-small;"><o:p></o:p></span></span></div>
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</span></span> <span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">Translating Himes is never easy. For the blog <i>Mis detectives favoritos</i>, "it is a </span></span></div>
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<span style="font-family: "verdana" , sans-serif;">challenge to translate the language of Harlem into Spanish. Some translators keep the original nicknames of the inspectors, others translate them. The translation of Bruguera (<i>Por Amor a Imabelle</i>, 1980) has not aged very well because it used the slang of the time (and slang, which evolves more quickly than the common language, always ages worse) ".<o:p></o:p></span><br />
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">The blog <i>Cuaderno de trabajo</i> presents Himes as follows: "Chester Himes is a North American writer who was very well known in his time and who is now a bit out of fashion and little present in journalistic references." We can but subscribe to this comment.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">We saw in the article <a href="https://chesterhimes.blogspot.com/2015/05/a-cidade-escaldante-what-can-be-learned.html" target="_blank">Cidade escaldante; What can be learned from a Portuguese edition of Himes’ The Heat’s On?</a> that Himes, in his position of author working on commission for the Série noire collection (with a 220 page imposed format, for example) had also accepted – or anticipated – the formulation of titles conforming to the line or the style of the collection: the example of <i>Ne nous fâchons pas</i> (<i>Be Calm</i>), later renamed <i>The Heat's On</i>, is the most striking. Between the French title and the title of the subsequent American edition, we are dealing with two types of puns and humor (traditional French vs hardboiled American). The difference also tells us about the distance between the language of Himes and that of his translations.</span><span style="font-family: "cambria";"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "cambria";"> </span>Unlike the titles of the Série noire, the titles of the Spanish editions do not take the risk of the pun: a pity because <i>The Five-Cornered Square </i>– the title given by Himes to the manuscript of the novel later titled <i>For Love of Imabelle</i> or <i>A Rage in Harlem</i> – with its pun on “square” (naïve), had given in French a very good <i>La reine des pommes</i>.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="background-color: none; line-height: 19px; text-align: center;"><a href="http://elblogdejcgc.blogspot.fr/2014/09/chester-himes-dos-novelas-de-harlem.html" target="_blank">El blogo de Juan Carlos</a></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><a href="https://cuadernodetrabajo.wordpress.com/2008/07/16/chester-himes-empieza-el-calor/" target="_blank">Cuaderno de trabajo</a></span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-45010360900409197762020-05-03T10:48:00.002+02:002020-05-05T09:34:12.030+02:00ENG - Cotton Comes To Harlem: the peak of MacGuffin<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">The MacGuffin was not invented nor coined by Hitchcock [<span style="color: #b45f06;">1</span>] but he undoubtedly theorized it in a humorous way: "A MacGuffin – you see it in most films about spies – is the thing the spies are after. […]. It is always called the thing the characters on the screen worry about, but the audience don't care." It is found in a number of other novels and films, for example, in the excellent <i>Kiss Me Deadly</i>, by Robert Aldrich, adapted very freely (fortunately!) from the novel by Mickey Spillane, A MacGuffin is an element, often material, which is supposed to be an issue in the story and, more often than not, a pretext for its development. One inevitably thinks of the Maltese falcon in the novel of the same name. Himes could not do without having recourse to it: it is, for example, the false mining title in <i>A Rage In Harlem</i>, Val’s secret in <i>The Crazy Kill</i>, Alberta’s money in <i>The Big Gold Dream</i>… </span><span style="font-family: "times new roman"; font-size: 11pt;"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">It is however in <i>Cotton Comes To Harlem</i> that it is used in the most accomplished way. In this novel, one MacGuffin contains another: in the cotton ball is hidden the money that the Harlemites gave, in all gullibility, to the false Reverend O'Malley to organize their release and their return to Africa, the land of their ancestors.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">The henchmen of Colonel Calhoun, leader of the Back To the Southland Movement steal the cotton ball. It then passes into the hands of an old black ragpicker, Uncle Bud, the only one who realizes the dream of returning to Africa where he will buy "a hundred women of average quality" with the money hidden there. Dancer Billy buys the cotton for her cotton dance at the Cotton Club (!). The two inspectors finally seize it, after a chase punctuated by an impressive number of corpses. They will discretely compensate the inhabitants of Harlem, robbed by black scammers and white racists.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">It is partly for the magnificent use of the MacGuffin that <i>Cotton Comes to Harlem</i> is the culmination of the detective form in Himes, while constituting a significant step in the creation of a new genre, more political and fantastic.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">Himes had a clear insight: "It is a good novel, probably the best of my detective novels". "My last book on the Cops and the Cotton is entirely devoted to the racial problem and the living conditions in Harlem and I make my inspectors express what they – and the other blacks – feel in Harlem" [<span style="color: #b45f06;">2</span>]. On the one hand, there is "a mastery of the storytelling which joins the classic tradition of the black novel, on the other, an intrigue whose historical and political issues are clearly mentioned. Finally, a writing more brilliant than ever, but now more subject to the necessities of storytelling. The complexity of the organization is particularly evident in the careful watchmaking of cotton. A cotton ball is lost by a truck; this cotton ball is found by an old black man by the name of Cotton Bud; simultaneously, an advertisement is posted in Colonel Calhoun's room "looking for cotton ball"; Cotton Bud sells the cotton bale to a ragpicker; an employee of the latter, Josh, offers Colonel Calhoun to sell him the cotton ball; the ragman's warehouse watchdog is poisoned and then Josh is murdered: the cotton is gone ... "[<span style="color: #b45f06;">3</span>]<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">[<span style="color: #b45f06;">1</span>] The term "MacGuffin" was coined by a screenwriter Hitchcock worked with named Angus MacPhail<span style="color: black;">,</span> according to Donald Spoto in <i>The Art of Alfred Hitchcock : Fifty Years of His Motion Pictures</i>.</span></span><br />
<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">See <a href="http://www.openculture.com/2013/07/alfred-hitchcock-explains-the-plot-device-he-called-the-macguffin.html" target="_blank">Hitchcock and MacGuffin</a><span id="goog_1425594449"></span><span id="goog_1425594450"></span><a href="https://www.blogger.com/"></a><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">[<span style="color: #b45f06;">2</span>] These two references are found in the second volume of Himes' autobiography, <i>My Life of Absurdity</i>, New York, Doubleday, 1976, p. 277 and p. 279.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">[<span style="color: #b45f06;">3</span>] Sylvie Escande, <i>Chester Himes, l'unique</i>, Paris, L’Harmattan, 2013, p. 142.</span><span style="font-family: "times new roman"; font-size: 11pt;"><o:p></o:p></span></span></div>
Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-79737422909219254582020-04-07T12:35:00.002+02:002020-08-04T10:41:25.314+02:00ENG - Chester Himes, my neighbor<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US" style="color: #b45f06; font-family: "verdana" , sans-serif;">On the cover of <i>My Life of Absurdity*</i>, Chester in the last years of his life. We can see by his emaciated face that he is sick, but Anne-Christine who knew him at that time describes a man with demonstrative joy, happy to be in the company of children and in love with his cats.</span></div>
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<span style="font-family: "verdana" , sans-serif;">We used to go on holidays to Moraira (a Spanish village located between Valencia and Alicante on the Costa Blanca), in a house that my parents had bought in 1962. It was called Casa Ana Cristina and was lost in the pine forest, but we still had a few neighbors.</span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">In Pla del Mar (name of the small hill on which our house was located), the summers were the same from one year to the next...<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">On the other side of the pine forest that you had to cross to access it, Casa Griot, a rather imposing house belonged to Lesley and Chester Himes. The advantage of this pretty house over the others was its beautiful swimming pool, a promise of freshness during these hot summers.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">We were very often invited there for endless baths (my parents and the Himes were friends since their installation in Moraira). Chester, despite his handicap, took baths with us, strapped in a sort of big black buoy (a big tyre inner tube!) and we played. He laughed heartily, I imagine he was happy to find a little carelessness and lightness.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Then Lesley would help him out and put him in his wheelchair by the pool under a small arbor and he would watch us play in the water.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">I knew from my parents that he wrote books, but for a 10-year-old girl, it was pretty vague. I was also aware of his accident. No matter, for my brother and I he was a man who liked to laugh, to bathe in all simplicity with us.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">I still remember his thunderous laugh during the many dinners and other celebrations at home. Chester liked to sit at the large rattan table on the terrace in front of the house, always in the same chair. He seemed to be enjoying mom's food and the good Spanish wine.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">He told stories in his big voice (in English, my parents luckily spoke it well) and, for us, his presence was the assurance of going to bed late and staying with "the grown-ups".<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Sometimes we went to their place, always for a final swim in the pool and then we had dinner under a sort of large veranda which was accessed via a large staircase. Lesley concocted nice meals. She was always imperturbable and dressed in white!<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Chester’s cats accompanied these evenings. He had a passion for these animals (Abyssinian cats I believe). They were impressive and enigmatic and sometimes even a little scary.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Lesley and Chester then left this house, which was no longer convenient for him, and they settled (still in Pla del Mar) in a one-story house.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">It wasn't until much later that I realized that we had a "somewhat special" neighbor. From these memories, there are a few photos left in the family albums and in my mother's library the works of Chester with this dedication "For Pierre and Nicole from Chester".<o:p></o:p></span></div>
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<span lang="EN-US">Anne-Christine T-M (January 2017)<o:p></o:p></span><br />
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<span lang="EN-US">Dedication to Anne Christine's parents.</span><br />
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<span lang="EN-US" style="color: #b45f06;">* My Life of Absurdity (1976) is the second volume of Himes' autobiography.</span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-73711104272929170602020-03-25T21:51:00.001+01:002020-04-03T10:57:37.565+02:00ENG - The Invention of Harlem - 2: When the fiction breaks up<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">Himes' last two novels, <i>Blind Man With a Pistol</i> and <i>Plan B</i>, are marked by a clear break as regards the role of the two detectives and the representation of Harlem. </span>The existence of the two detectives was first determined by a narrative requirement. They only appear in the 8<sup>th </sup>chapter of <i>A Rage in Harlem</i>/<i>For Love of Imabelle</i>, when Himes realized what the presence of police could add to his intrigue. They are part of a larger whole: Harlem. Himes has built around Harlem a fiction necessary for the development of his detective stories. Harlem appears, in the early novels, in an imprecise way, as a free black state, with its own physical and human geography and borders. This is never explicitly said but rather suggested by remarkable omissions. Indeed, in Himes' description of Harlem, the marks of the Whites’ economic and political domination, and even, to a large extent, of their presence, are obscured.</span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">The role of the two detectives arises from the same fictional necessity. Until <i>Cotton Comes to Harlem</i>, they act almost independently, according to their own initiatives. They are appreciated and covered by their hierarchy, reduced to Lieutenant Anderson. The explicit mission of Grave Digger and Ed Coffin is to maintain order in Harlem, which leads them to repress mainly other Blacks, but also to protect the Whites when they enter the black city. Their conception of their role goes, however, beyond what is assigned to them. They intend to keep some sense to the world in which black people live, by preventing the city and its inhabitants from falling into the chaos of absurdity and boundless violence. In short, they are and they make the law in Harlem. For this, they implement a particular morality and apply their own rules, taking care, for example, not to harm the organized crime when it meets the needs of the population, but chasing the numerous crooks, including religious or political crooks.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">The 1960s were marked in the United States by intense political struggles, with the civil rights movement, the emergence of more radical parties (Black Power), </span></span><span style="font-family: "verdana" , sans-serif;">and the strong development of Black Muslims. Himes does not openly take sides but insists on the need for Blacks to use organized violence, not in a separatist or supremacist vision, but to create an irremediable shock. From </span><i style="font-family: verdana, sans-serif;">All Shot Up</i><span style="font-family: "verdana" , sans-serif;"> (1960), and much more clearly from </span><i style="font-family: verdana, sans-serif;">The Heat’s On </i><span style="font-family: "verdana" , sans-serif;">(1961), several developments inexorably contribute to the explosion of the joint fiction of Harlem as a free city and of the two detectives as free policemen. The first one is a change in the nature of violence. In the first novels Harlem is violent but this violence occurs between Blacks (settling of scores, burglaries, scams, domestic violence). As soon as it appears, the violence of Whites turns out to be different: it emanates from organized crime (the heroin trade in </span><i style="font-family: verdana, sans-serif;">The Heat’s On</i><span style="font-family: "verdana" , sans-serif;">) and it comes from the South. It is therefore marked by sadism and inhumanity (</span><i style="font-family: verdana, sans-serif;">All Shot Up</i><span style="font-family: "verdana" , sans-serif;">, </span><i style="font-family: verdana, sans-serif;">Cotton Comes to Harlem</i><span style="font-family: "verdana" , sans-serif;">). As positive or endearing characters disappear, the Harlem cycle evolves towards drama. </span></div>
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<span style="font-family: "verdana" , sans-serif;"><i><span lang="EN-US">Blind Man With a Pistol</span></i><span lang="EN-US"> eventually reveals the domination of the Whites over Harlem. The interlude between the 2<sup>nd</sup> and 3<sup>d</sup> chapters puts an end to the deliberate omission of the previous seven novels. It focuses on the Mecca of Harlem, the intersection of 7th avenue and 125th street. “Many white people, riding the buses or in motorcars, pass this corner daily. Furthermore, most of the commercial enterprises </span><span lang="EN-US">–</span><span lang="EN-US"> stores, bars, restaurants, theaters, etc. </span><span lang="EN-US">–</span><span lang="EN-US"> and real estate are owned by white people. But it is the Mecca for black people. The air and the heat and the voices and the laughter, the atmosphere and the drama and the melodrama are theirs. Theirs are the hopes, the schemes, the prayers and the protest. They are the managers, the clerks, the cleaners, they drive the taxis and the buses, they are the clients, the customers, the audience; they work it, but the white man owns it.” The constant presence of Whites in Harlem was set up in <i>Blind Man With a Pistol</i>: the entire 1<sup>st </sup>chapter with the Mormon reverend, his 20 wives and 50 children, is seen through the eyes of two white policemen.<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US"><i>Blind Man With a Pistol </i>highlights </span></span><span style="font-family: "verdana" , sans-serif;">Harlem's </span><span style="font-family: "verdana" , sans-serif;">absurdity: a hundred-year-old Mormon reverend, father of more than 50 children, a fertility treatment based on baboon testicles and fighting cock feathers, a television delivery in the middle of the night, a black plaster Jesus with fists clenched in rage… The city also falls prey to the agitation of movements which all betray black people, intentionally or because they are manipulated. </span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">There is no longer any hope of deliverance and chaos has taken over Harlem. The two detectives run out of steam on a meaningless mission </span><span lang="EN-US">–</span><span lang="EN-US"> to find the cause and the instigator of the riot </span><span lang="EN-US">–</span></span><span lang="EN-US"><span style="font-family: "verdana" , sans-serif;">, and lose their authority, with the arrival of a white police hierarchy which distrusts them and pushes them aside. The first ending of <i>Blind Man with a Pistol</i> in the penultimate chapter shows the two inspectors slaughtering rats.</span><span style="font-family: "cambria";"><o:p></o:p></span></span><br />
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<span lang="EN-US"><span style="color: #b45f06; font-family: "verdana" , sans-serif;">The three covers come from the Payback Press British edition (1996). It includes <i>The Dilemma of the Black Writer in America</i>, a conference given by Himes in 1948 (never before published) and introductions by Melvin Van Peebles and Lesley Himes.</span></span><br />
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-38070418025073385002020-03-17T19:26:00.003+01:002020-03-24T17:42:44.312+01:00ENG - Himes in the Penguin Modern Classics collection<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: justify;">
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<span style="font-family: "verdana" , sans-serif;"><span style="text-align: start;">The first three </span></span><span style="font-family: "verdana" , sans-serif;">Chester Himes'</span><span style="font-family: "verdana" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">Harlem domestic novels, with the exception of </span><i style="font-family: verdana, sans-serif;">Run Man Run</i><span style="font-family: "verdana" , sans-serif;"> (which, despite its great quality, is less known, presumably because it did not have the two detectives for heroes) have been published by the great British publisher Penguin, in the Modern Classics collection, alongside, for example, James Joyce's </span><i style="font-family: verdana, sans-serif;">Ulysses</i><span style="font-family: "verdana" , sans-serif;">.</span><br />
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<span style="font-family: "verdana" , sans-serif;">In the Penguin edition, the first </span><span style="font-family: "verdana" , sans-serif;">one</span><span style="font-family: "verdana" , sans-serif;">, </span><i style="font-family: verdana, sans-serif;">La reine des pommes</i><span style="font-family: "verdana" , sans-serif;">, is titled </span><i style="font-family: verdana, sans-serif;">A Rage in Harlem</i><span style="font-family: "verdana" , sans-serif;">. Michel Fabre, Robert E. Skinner and Lester Sullivan* have identified the successive titles of the novel. The original title, that of Himes' English manuscript (1957), is </span><i style="font-family: verdana, sans-serif;">The Five Cornered Square</i><span style="font-family: "verdana" , sans-serif;">, which in a literal reading. means a square with five sides, but also contains a play on words, “square” also having the meaning of naive, gullible, or simple. It obviously refers to Jackson, compared to Goldy, his twin brother, so much more intelligent and creative. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Let us give back to the Série noire where the novel was originally published the credit it deserves: </span><i style="font-family: verdana, sans-serif;">La reine des pommes</i><span style="font-family: "verdana" , sans-serif;"> is a clever equivalent of the original title, </span><i style="font-family: verdana, sans-serif;">pomme</i><span style="font-family: "verdana" , sans-serif;"> being close to </span><i style="font-family: verdana, sans-serif;">square</i><span style="font-family: "verdana" , sans-serif;"> in its naive sense. Still the text was never published in English under the original title. The Anglo-Saxon editions have had for titles either </span><i style="font-family: verdana, sans-serif;">A Rage in Harlem</i><span style="font-family: "verdana" , sans-serif;"> or </span><i style="font-family: verdana, sans-serif;">For Love of Imabelle</i><span style="font-family: "verdana" , sans-serif;">.</span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">In his introduction to the Penguin edition, Luc Sante explains why <i>A Rage in Harlem</i> imposed itself, at the expense of the title wanted by Himes "not because it is descriptive or even especially appropriate, but because it combined two nouns guaranteed to act as flint and steel in the mind of the average 1950s American drugstore paperback browser. Harlem (...) was more myth than place to most white Americans of the period."**<o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;">* Chester Himes, <i>An Annotated Primary and Secondary Bibliography</i>. Compiled by Michel Fabre, Robert E. Skinner and Lester Sullivan. Greenwood Press, 1992.</span></div>
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<span style="font-family: "verdana" , sans-serif;">** A Rage in Harlem. Introduction by Luc Sante. Penguin Modern Classics, 2011.</span></div>
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<span style="font-family: "verdana" , sans-serif;">About the titles of the Harlem Cycle novels, see on this blog <a href="https://chesterhimes.blogspot.com/2015/05/a-cidade-escaldante-what-can-be-learned.html" target="_blank">Cidade escaldante: What can be learned from a Portuguese edition of Himes' The Heat's On?</a>.</span><span id="goog_630046793" style="font-family: "cambria";"></span><span id="goog_630046794" style="font-family: "cambria";"></span><span style="font-family: "cambria";"><a href="https://www.blogger.com/"></a><a href="https://www.blogger.com/"></a></span><br />
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-21175312904557916062020-01-12T17:07:00.000+01:002020-03-17T19:59:55.098+01:00Himes chez Penguin<div style="text-align: justify;">
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<tr><td class="tr-caption" style="text-align: center;"><i>A Rage in Harlem</i></td></tr>
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<span style="font-family: "verdana" , sans-serif;">Les trois premiers romans du cycle de Harlem, à l'exception de <i>Dare-dare / Run Man Run</i> (qui, malgré sa grande qualité, est moins connu, sans doute parce qu'il n'a pas les deux inspecteurs pour héros) ont été publiés chez le grand éditeur britannique Penguin, qui plus est dans la collection Modern Classics, aux côtés, par exemple, de <i>Ulysses</i> de James Joyce.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Chez Penguin,<i> La reine des pommes </i>a pour titre <i>A Rage in Harlem</i>. Michel Fabre, Robert E. Skinner et Lester Sullivan* ont identifié les titres successifs du roman. Le titre original, celui du manuscrit de Himes (1957), est <i>The Five Cornered Square</i>, qui dans une lecture littérale. signifie le carré à cinq côtés, mais qui contient un jeu de mot. Car <i>square</i> a aussi le sens de naïf, crédule, simplet. Il s'agit bien évidemment de Jackson, comparé à Goldy, son frère jumeau, tellement plus intelligent et créatif. Rendons à la Série noire ce qui lui est dû : <i>La reine des pommes</i> est un équivalent astucieux du titre original. Cependant, le texte n'a jamais été publié en anglais sous ce titre. Les éditions anglo-saxonnes ont eu pour titres soit <i>A Rage in Harlem</i> soit <i>For Love of Imabelle</i>.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Dans sa préface à l'édition Penguin, Luc Sante explique pourquoi <i>A Rage in Harlem</i> s'est imposé, aux dépens du titre voulu par Himes "non pas parce qu'il est descriptif ou même particulièrement approprié mais parce qu'il combinait deux noms réputés agir comme le silex et l'acier dans l'esprit du lecteur américain moyen de livres de poche de supermarché dans les années 1950. Harlem (...) était plus un mythe qu'un lieu pour la majorité des Américains blancs de l'époque."**</span></div>
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<span style="font-family: "verdana" , sans-serif;">* Chester Himes, <i>An Annotated Primary and Secondary Bibliography</i>. Compiled by Michel Fabre, Robert E. Skinner and Lester Sullivan. Greenwood Press, 1992.</span></div>
<span style="font-family: "verdana" , sans-serif;">**A Rage in Harlem. Préface de Luc Sante. Penguin Modern Classics, 2011.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Sur les titres des romans policiers de Himes, voir la page de ce blog <a href="https://chesterhimes.blogspot.com/2015/04/a-cidade-escaldante-ce-que-nous-apprend.html" target="_blank">Cidade escaldante : ce que nous apprend une édition portugaise de Himes</a></span><span id="goog_630046793"></span><span id="goog_630046794"></span><a href="https://www.blogger.com/"></a><a href="https://www.blogger.com/"></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Imbroglio négro</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Il pleut des coups durs</i></td></tr>
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<br />Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-18783603556669508592019-03-11T15:14:00.007+01:002020-04-10T10:02:39.980+02:00"Une découverte stupéfiante" : Himes et James Dean<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">Le commentaire qui suit a été laissé anonymement (et c'est bien dommage) après l'article <i>De Qu'on lui jette la première pierre à Hier te fera pleurer.</i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "cambria";"><span style="font-family: "verdana" , sans-serif;">« </span><span style="font-family: "verdana" , sans-serif;">La version de 1952, sous le titre <i>Qu'on lui jette la première pierre</i>*, était un livre de poche enfoui dans la bibliothèque de James Dean. Le fait que Jack Warner, patron de la maison de production Warner Bros au début des années 1950 a eu en même temps sous contrat Dean pour ses films les plus importants et les plus iconiques (<i>La fureur de vivre</i>, <i>A l'est d'Eden</i>, <i>Géant</i>) et brièvement</span></span><span style="font-family: "cambria";"> </span><span style="font-family: "verdana" , sans-serif;">comme scénariste Himes qu'il a ensuite licencié car il était noir, est un autre fait choquant et oublié.</span></span><span style="font-family: "verdana" , sans-serif;"> La relation entre Jim et Dido dans le roman de Himes fait beaucoup penser à celle entre Jim Starck (James Dean) et le personnage de Plato, interprété par Sal Mineo, dans </span><i style="font-family: verdana, sans-serif;">La fureur de vivre</i><span style="font-family: "verdana" , sans-serif;">.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Est-il possible qu'il y ait eu un lien ou une influence dont peu de gens se seraient rendu compte ?</span><span style="font-family: "verdana" , sans-serif;"> »</span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #b45f06;">*</span> <i>Cast the First Stone.</i></span><br />
<span style="font-family: "verdana" , sans-serif;">Ce roman est une version édulcorée du manuscrit de Himes. Le texte original sera rétabli beaucoup plus tard (en 1978) sous le titre <i>Hier te fera pleurer.</i></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #b45f06;">Voir</span><i> </i><a href="https://chesterhimes.blogspot.com/2014/11/de-quon-lui-jette-la-premiere-pierre.html" target="_blank">De <i>Qu'on lui jette la première pierre à Demain te fera pleurer</i></a></span></div>
Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-90127275687079277422019-02-19T17:35:00.001+01:002019-03-11T15:25:13.747+01:00ENG - "A startling discovery" - Himes and James Dean<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">The following comment (to <i>From Cast the first stone</i> <i>to</i> <i>Yesterday Will Make you Cry</i>) was left anonymously (what a pity!) on this blog.</span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana";"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana";">"The 1952 version under the title <i>Cast The First Stone</i> was a paperback tucked on to James Dean's bookshelf. The fact that Jack Warner, head of Warner Brother Studios in the early 1950s, had both </span><span style="font-family: "verdana";">Dean </span><span style="font-family: "verdana";">under contract for his major and most iconic films (</span></span></span><span style="font-family: "verdana" , sans-serif;"><i>Rebel Without a Cause</i>, <span style="font-family: "verdana";"><i>East of Eden</i>, </span><span style="font-family: "verdana";"><i>Giant</i>) and had Himes under contract briefly as a screenwriter and then fired him because he was black is another sho</span><span style="font-family: "verdana";">cking fact lost to history. The relationship between Jim and Dido in Himes' novel is also very resonant of the relationship between Jim Starck (Dean) and the character of Plato, played by Sal Mineo in <i>Rebel</i>.</span></span></span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;">Could there be a connection/influence that few people have ever realized?"</span></div>
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</span>Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-10703004845351737352018-07-20T20:52:00.000+02:002020-03-26T11:31:18.639+01:00L’invention de Harlem - 2 : L’éclatement de la fiction <div align="center" class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; text-align: center;">
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<span style="font-family: "verdana" , sans-serif;">Les deux derniers romans de Himes, <i>L’aveugle au pistolet </i>et <i>Plan B</i>, sont marqués par une rupture nette quant au rôle des deux inspecteurs et à la représentation de Harlem.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">L’existence des deux inspecteurs est déterminée par une exigence narrative. Ils n’apparaissent d’ailleurs qu’au chapitre 8 de <i>La reine des pommes</i>, quand Himes prend conscience de ce que la présence de policiers pourrait apporter à son intrigue. Ils sont un élément d’un ensemble plus vaste : Harlem. Himes construit autour de Harlem une fiction nécessaire au développement de ses histoires policières. Harlem apparaît, dans les premiers romans, de façon imprécise, comme un État libre, qui a une géographie physique et humaine propre et des frontières. Cela n’est jamais explicitement dit mais plutôt suggéré par des omissions remarquables. En effet, dans la description qu’il en fait, les marques de la domination économique et politique des Blancs, et même, dans une grande mesure, de leur présence, sont occultées. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Le rôle des deux policiers relève de la même nécessité fictionnelle. <i></i>Jusqu’à <i>Retour en Afrique</i>, ils agissent quasiment en toute indépendance, en fonction de leurs propres initiatives. Ils sont appréciés et couverts par leur hiérarchie, réduite au lieutenant Anderson. La mission explicite de Fossoyeur et d’Ed Cercueil est de maintenir l’ordre dans Harlem, ce qui les amène à réprimer pour l’essentiel d’autres Noirs, mais aussi de protéger les Blancs quand ils pénètrent dans la ville noire. La conception qu’ils ont de leur rôle va, cependant, au delà de ce qui leur est assigné. Il s’agit pour eux de conserver un peu de sens au monde dans lequel vivent les Noirs, en empêchant que la ville et ses habitants ne sombrent dans le chaos de l’absurdité et d’une violence sans limites. En résumé, ils sont et font la loi à Harlem. Pour cela, ils mettent en œuvre une morale particulière et appliquent des règles qui leur sont propres, en veillant, par exemple, à ne pas nuire au milieu organisé quand il répond à des besoins de la population, mais en pourchassant les escrocs sous toutes leurs formes, y compris les escrocs religieux ou politiques. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Les années 1960 sont marquées aux États-Unis par des luttes politiques intenses, avec le mouvement des droits civiques, l’apparition de partis plus radicaux (Black Power), et le fort développement des Musulmans noirs. Himes ne prend pas ouvertement parti mais il insiste sur la nécessité pour les Noirs d’une violence organisée, non dans une vision séparatiste ou suprématiste, mais pour créer un choc irrémédiable. À partir de <i>Imbroglio négro </i>(1960), et beaucoup plus nettement à partir de <i>Ne nous énervons pas </i>(1961), plusieurs évolutions concourent inexorablement à l’éclatement de la fiction conjointe de Harlem et des deux inspecteurs libres. La première est un changement dans la nature de la violence. Le Harlem des premiers romans est violent mais cette violence se produit entre Noirs (règlements de compte, cambriolages, arnaques, violences conjugales). Dès qu’elle apparaît, la violence des Blancs s’avère différente : elle émane du grand banditisme (le trafic d’héroïne dans <i>Ne nous énervons pas</i>) et elle vient du Sud. Elle est, par conséquent, marquée par le sadisme et l’inhumanité (<i>Imbroglio négro</i>, <i>Retour en Afrique</i>). La disparition des personnages positifs ou attachants est aussi une des évolutions vers le drame. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i><span style="font-family: "verdana" , sans-serif;">L’aveugle au pistolet </span></i><span style="font-family: "times";"><span style="font-family: "verdana" , sans-serif;">révèle, enfin, la domination des Blancs sur Harlem. L’<i>Interlude </i>entre les chapitres 2 et 3 met fin à l’omission délibérée des sept romans précédents. Il est focalisé sur la Mecque de Harlem, le croisement de la 7<sup>e </sup>avenue et de la 125<sup>e </sup>rue. « De nombreux Blancs, dans les autobus ou en voiture, y passent tous les jours. De plus, la plupart des commerces, magasins, bars, restaurants, théâtres, et l’immobilier appartiennent à des Blancs. Mais c’est quand même la Mecque des Noirs. L’air et la chaleur, et les voix et le rire, l’atmosphère, le drame et le mélodrame sont à eux. De même que les espoirs, les plans, les prières et les protestations. Ils sont les gérants, les employés, les nettoyeurs, ils conduisent les taxis et les autobus, ils sont les clients, les consommateurs et le public, c’est eux qui travaillent mais cela appartient au Blanc. » La présence constante des Blancs à Harlem est mise en place dès le début de <i>L’aveugle au pistolet </i>: tout le premier chapitre avec le révérend mormon, ses 20 femmes et ses 50 enfants, est vu au travers du regard de deux policiers blancs.</span><span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;">Dans <i>L’aveugle au pistolet</i>, Harlem est devenue la proie de l’absurde : un pasteur mormon centenaire père de plus de 50 enfants, un traitement de fertilité à base de testicules de babouin et de plumes de coq de combat, une livraison de télévision en pleine nuit, un Jésus en plâtre noir aux poings crispés par la rage… La ville est aussi en proie à l’agitation de mouvements qui tous trahissent les Noirs, intentionnellement ou parce qu’ils sont manipulés. Il n’y a plus d’espoir de délivrance et Harlem est livré au chaos<i>. </i>Les deux inspecteurs s’essoufflent dans une mission insensée – trouver la cause et l’instigateur de l’émeute –, et perdent leur autorité, avec l’apparition d’une hiérarchie policière blanche qui se méfie d’eux et les écarte. La première fin de <i>L’aveugle au pistolet</i>, dans l’avant-dernier chapitre, montre les deux inspecteurs désœuvrés, occupés à abattre des rats.<o:p></o:p></span></div>
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<span style="color: #b45f06; font-family: "verdana" , sans-serif;">Les trois couvertures ci-dessus proviennent de l'édition britannique de Payback Press (1996). Elle comprend un inédit, <i>Le dilemme de l'écrivain noir aux États-Unis</i>, une conférence donnée par Himes à Chicago en 1948, et les préfaces de Melvin Van Peebles et de Lesley Himes.</span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-41668576394555055912018-06-05T18:23:00.002+02:002020-04-21T09:39:24.524+02:00Hommages littéraires à Chester Himes <div class="MsoNormal" style="font-family: Calibri; margin: 0cm 0cm 0.0001pt; text-align: justify;">
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;">Le jeune narrateur du roman de Patrick Modiano <i>Un cirque passe </i>(1992) déambule dans Paris accompagné d’une mystérieuse jeune femme, Gisèle, dont il est amoureux. Pendant les quelques jours où se déroule leur histoire, durant l’année 1963, il lui donne des rendez-vous et notamment au café Tournon. En l’attendant, il aperçoit Chester Himes. Voici comment il en parle (p. 32 et suivante de l’édition Folio, 1994) : <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;">« <i>J’ai observé un client assidu, l’écrivain Chester Himes, toujours entouré de musiciens de jazz et de très jolies femmes blondes.</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><i><span style="font-size: 10pt;">J’étais arrivé au Tournon vers six heures et à six heures et demi elle n’était pas encore là. Chester Himes était assis sur la banquette, près de la vitre, en compagnie de deux femmes. L’une portait des lunettes de soleil. Ils avaient une conversation animée, en anglais. Des clients consommaient, debout devant le zinc. Pour calmer ma nervosité, je tentais de suivre la conversation de Himes et de ses amies, mais ils parlaient trop vite sauf l’une des femmes à l’accent scandinave </span></i><span style="font-size: 10pt;">[<span style="color: orange;">*</span>] <i>dont je comprenais quelques propos. Elle voulait changer d’hôtel et elle demandait à Himes comment s’appelait celui où il avait habité au début de son séjour à Paris</i>. » </span></span><span style="font-family: "calibri"; font-size: 10pt;">[<span style="color: orange;">**</span>]<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;">En écho </span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">à ce livre, Michelle Le</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">sbre dans son récit <i>Sur le Sable </i>(Sabine Wespieser, 2009) rend hommage à l’écrivain Modiano et aux déambulations de ses personnages dans Paris. La narratrice écrit : « <i>Je marchais avec eux dans un Paris onirique et familier, où nos parcours se croisaient sans cesse… mais je savais que je ne trouverais pas le studio Obligado </i></span><span style="font-family: "calibri"; font-size: 13.333333015441895px;">[</span><span style="color: orange; font-family: "calibri"; font-size: 13.333333015441895px;">**</span><span style="color: orange; font-family: "verdana" , sans-serif; font-size: 13.333333015441895px;">*</span><span style="font-family: "calibri"; font-size: 13.333333015441895px;">]</span><span style="color: orange; font-family: "verdana" , sans-serif; font-size: 13.333333015441895px;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-family: "verdana" , sans-serif; font-size: font-size: 10pt;"><i>ni Chester Himes attablé au Tournon</i> (page 55 et suivante de l’édition Folio).</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"> »</span></span><i style="font-family: verdana, sans-serif;"> </i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;">Commentaires<span style="color: orange;"> </span></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="color: orange;">*</span> : Il pourrait s’agir soit d’une Danoise, Chester Himes était parti en séjour au Danemark au début des années 60 et depuis connaissait bien des ressortissants de pays, soit d’une Suédoise, Chester étant très ami avec Torun, originaire de Stockholm, rencontrée à Paris à la même époque, mais celle-ci vivait avec son mari, soit tout simplement d’une personne originaire de Scandinavie et rencontrée par Himes, grand séducteur.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="color: orange;">**</span> : Il peut s’agir de l’hôtel Scandinavie, situé juste en face du café, où Himes habita au début de son arrivée à Paris, en avril 1953 après la première nuit passée à l’hôtel de la Vigne, ou de l’hôtel Michelet situé lui aussi à côté du jardin du Luxembourg ; Himes y emménagea, début mai de la même année, avec Alva Trent, rencontrée durant sa première traversée en bateau vers l’Europe.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="color: orange;">***</span> : Surnom donné au narrateur de <i>Un cirque passe </i>par un des personnages de ce roman.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Bernard Daguerre</span><span style="font-family: "cambria";"><o:p></o:p></span></div>
Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-24108822184240507452018-02-26T19:25:00.001+01:002019-02-19T17:32:37.720+01:00ENG - The invention of Harlem - 1: How Himes got to know the city<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "verdana" , sans-serif;">Evita
recently asked on this blog the following question: "How authentic is
Chester Himes’ Harlem? I understand that he never actually lived there, however
there is an abundant description of addresses, bars / clubs (real or
fictitious); the fashions and hairstyles, songs and dances sound particularly
accurate. Harlem seems to be at that time a unique microcosm in the United
States. Could it be inspired by another city, or memories, or is it an entirely
fictitious neighborhood that one reads in its novels?"<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "verdana" , sans-serif;">The question
calls for a balanced answer. Yes, Himes is very familiar with Harlem and his
physical and social geography. Other places and characters also inspire him,
however, mainly those of Cleveland, the city where he spent his youth and ended
pimping and gambling. Above all, in his crime novels, Harlem is a mixture of
realism and invention, which makes possible the improbable: a city separated
from the white world where two black policemen make the law. The last two
novels of the Harlem domestic novels (<i style="mso-bidi-font-style: normal;">Blind Man
with the Pistol</i>, <i style="mso-bidi-font-style: normal;">Plan B</i>) will
destroy this construction and will give another image of Harlem, dominated and crisscrossed
by whites.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "verdana" , sans-serif;">Himes is
not a Harlemite. He was born in the South and spent his teens in Cleveland. He
discovers Harlem in July 1940, at the age of 31. He stays there for several
days and sleeps one night in the famous Theresa Hotel, at the crossroads of
125th Street and 7th Avenue. After the war years spent in California, he moves
to New York with Jean, his wife. He lives in Harlem between September 1944 and
November 1945 and between January and June 1947 and eventually, occasionally,
between the spring of 1952 and his departure for France, on April 3, 1953.
Between these stays, he resides most often in Brooklyn, in the Bronx and in the
New England properties where he and Jean work as caretakers. In 1972, Himes
recalls his happiness when walking the streets of Harlem: "I was going
down south [...] beyond Fat Man's bar on the 155th, Eddie's chicken restaurant
and Lucky night club, and all the hairdressers, restaurants and beauty parlors
that served the lottery barons, the numbers racketeers and the black <i style="mso-bidi-font-style: normal;">bourgeoisie</i> <span style="mso-spacerun: yes;"> </span>who lived on 140th St and the neighboring
streets. I would take 145th St to Brother 'Lightfoot' Michaux's Harlem Temple,
then headed south again, into the neon jungle of 7th Avenue, Harlem's main
street (which I've always considered the land of dreams), past the Renaissance
dance hall, Small's Paradise Inn and Dickie-Wells Restaurant & Bar."<span style="color: #b45f06; font-size: x-small;">[1]</span><o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "verdana" , sans-serif;">For the
most part, however, his discovery of Harlem is subsequent to his exile in
France (1953). In 1955, from the end of January to mid-December, Himes spends 10
months in New York. He lives in Greenwich Village but cruises Harlem and
becomes impregnated with the city: "It was at that moment that I really
made my acquaintance with Harlem: its geography, the way of life of its
inhabitants, its mobsters, its vices, its slang, its absurdities. I acquired
all this knowledge unintentionally. Perhaps it saved my life later because
it allowed me to write the novels that appeared in the Série Noire at
Gallimard Editions in France."<span style="color: #b45f06; font-size: x-small;">[2]</span> It is interesting to note that Himes
then doesn’t have any detective novel in mind. The crucial meeting with Marcel
Duhamel, the director of the Série Noire, will only take place in 1957.<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "verdana" , sans-serif;"><span style="color: #b45f06; font-size: x-small;">1</span> Edward
Margolies and Michel Fabre, <i>The Several Lives of Chester Himes</i>, p. 53-54.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: "verdana" , sans-serif;"><span style="color: #e69138; font-size: x-small;">2</span> Chester
Himes, <i>Regrets sans repentir</i>, Paris, Gallimard, 1979, p. 224.</span><o:p></o:p></span></div>
Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-69267145897332006642018-02-22T20:34:00.000+01:002020-03-28T12:06:36.471+01:00L'invention de Harlem - 1 : Comment Himes découvre la ville<div class="MsoNormal" style="margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph; vertical-align: baseline;">
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<span style="font-family: "verdana"; font-size: 10.0pt;">Evita posait récemment sur ce blog la question suivante : « quel est le degré d’authenticité du Harlem de Chester Himes ? Je comprends qu’il n‘y ait pas vraiment habité, cependant il y a une abondante description d’adresses, de bars/clubs (réels ou fictifs) ; les modes vestimentaires et coiffures, chansons et danses sonnent particulièrement justes. Harlem me semble être à cette époque un microcosme unique aux Etats Unis</span><span style="font-family: "verdana"; font-size: 10.0pt;">. Pourrait-il être inspiré d’une autre ville, ou bien de souvenirs, ou bien est-ce un quartier entièrement fictif que l’on lit dans ses romans ? » </span><br />
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</span> <span style="font-family: "verdana"; font-size: 10pt;">La réponse ne peut être que nuancée. Oui, Himes connaît parfaitement Harlem et sa géographie physique et sociale. Il s’inspire aussi, cependant, d’autres lieux et personnages, principalement ceux de Cleveland, la ville où il a passé sa jeunesse et connu de très près le milieu. Surtout, dans ses romans policiers, Harlem est un mélange de réalisme et d’invention, qui rend possible l’invraisemblable : une ville à l’écart du monde blanc où deux policiers noirs font la loi. Les derniers romans du cycle de Harlem (</span><i style="font-family: verdana;">L’aveugle au pistolet</i><span style="font-family: "verdana"; font-size: 10pt;">, </span><i style="font-family: verdana;">Plan B</i><span style="font-family: "verdana"; font-size: 10pt;">) détruiront cette construction et donneront une autre image de Harlem, dominée et quadrillée par les Blancs.</span></div>
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<span style="font-family: "verdana"; font-size: 10.0pt;">Himes n’e</span><span style="font-family: "verdana"; font-size: 10.0pt;">st</span><span style="color: #222222; font-family: "verdana"; font-size: 10.0pt;"> </span><span style="font-family: "verdana"; font-size: 10.0pt;">pas h</span><span style="font-family: "verdana"; font-size: 10.0pt;">arl</span><span style="font-family: "verdana"; font-size: 10.0pt;">é</span><span style="font-family: "verdana"; font-size: 10.0pt;">mite</span><span style="color: #222222; font-family: "verdana"; font-size: 10.0pt;">. </span><span style="font-family: "verdana"; font-size: 10.0pt;">Il est né dans le Sud</span><span style="color: #222222; font-family: "verdana"; font-size: 10.0pt;"> </span><span style="font-family: "verdana"; font-size: 10.0pt;">et a passé son ado</span><span style="font-family: "verdana"; font-size: 10.0pt;">lescence à </span><span style="font-family: "verdana"; font-size: 10.0pt;">Cleveland</span><span style="color: #222222; font-family: "verdana"; font-size: 10.0pt;">. </span><span style="font-family: "verdana"; font-size: 10.0pt;"><span style="font-size: 10pt;">Il découvre Harlem en juillet 1940, à 31 ans. Il y reste plusieurs jours et dort une nuit dans le célèbre hôtel Theresa, au carrefour de la 125</span><sup style="font-size: 10pt;"><span style="font-size: xx-small;">e</span></sup><span style="font-size: 10pt;"> rue et de la 7</span><sup style="font-size: 10pt;"><span style="font-size: xx-small;">e</span></sup><span style="font-size: 10pt;"> avenue. Après les années de guerre pendant lesquelles il vit en Californie, il s'installe à New York avec Jean, sa femme. Il vit à Harlem entre septembre 1944 et novembre 1945 puis entre janvier et juin 1947 </span></span><span style="font-family: "verdana"; font-size: 10pt;">et enfin, occasionnellement,</span><span style="font-family: "verdana"; font-size: 10pt;"> entre le printemps de 1952 et son départ pour la France, le 3 avril 1953</span><span style="font-family: "verdana"; font-size: 10pt;"><span style="font-size: 10pt;">. </span><span style="font-size: 10pt;">Entre ces séjours, il réside le plus souvent à Brooklyn, dans le Bronx et dans les propriétés de Nouvelle-Angleterre où Jean et lui travaillent comme gardiens. En 1972, Himes rappelle son bonheur de marcher dans les rues de Harlem : « Je descendais vers le sud […] au-delà du bar de Fat Man sur la 155</span><sup style="font-size: 10pt;"><span style="font-size: xx-small;">e</span></sup><span style="font-size: 10pt;">, du restaurant de poulet d’Eddie et du night-club de Lucky, et de tous les coiffeurs, restaurants et instituts de beauté qui servaient les barons des loteries, les collecteurs de grilles</span><i style="font-size: 10pt;"> </i><span style="font-size: 10pt;">[des loteries clandestines] et les bourgeois noirs qui vivaient à la hauteur de la 140</span><sup style="font-size: 10pt;"><span style="font-size: xx-small;">e</span></sup><span style="font-size: 10pt;"> rue et des rues voisines. Je prenais la 145</span><sup style="font-size: 10pt;"><span style="font-size: xx-small;">e</span></sup><span style="font-size: 10pt;"> rue jusqu’au Temple de Harlem de Frère ‘Lightfoot’ Michaux, puis reprenais la direction du sud, dans la jungle de néon de la 7</span><sup style="font-size: 10pt;"><span style="font-size: xx-small;">e</span></sup><span style="font-size: 10pt;"> avenue, la rue principale de Harlem (que j’ai toujours considérée comme la terre des rêves), en passant devant le dancing de la Renaissance, Small’s Paradise Inn et le restaurant-bar Dickie-Wells</span></span><span style="font-family: "verdana"; font-size: 14.666666984558105px;"> »</span><span style="font-family: "verdana"; font-size: 10pt;">.</span><span style="font-family: "verdana";"><span style="color: #b45f06; font-size: xx-small;"><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" style="font-family: verdana;" title="">[1]</a></span></span><br />
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<span style="mso-bookmark: _ftnref1;"><span style="font-family: "verdana"; font-size: 10.0pt;">Pour l'essentiel, cependant, sa découverte de Harlem est postérieure à son exil en France (1953). En 1955, de la fin janvier à la mi-décembre, Himes passe 10 mois à New York. Il sillonne Harlem et s'imprègne de la ville : « C’est à cet instant-là que je fis réellement connaissance avec Harlem : sa géographie, le genre de vie de ses habitants, ses truands, ses vices, son argot, ses absurdités. J’acquis toutes ces connaissances sans y prendre garde. Peut-être m’ont-elles sauvé la vie plus tard car elles me permirent d’écrire les romans qui parurent dans la Série noire aux Éditions Gallimard en France ».</span></span><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" title=""><span style="mso-bookmark: _ftnref1;"><span style="color: #e69138; font-family: "verdana"; font-size: xx-small;">[2]</span></span><span style="mso-bookmark: _ftnref1;"></span></a><span style="mso-bookmark: _ftnref1;"></span><sup><span style="font-family: "verdana"; font-size: 10.0pt;"> </span></sup><span style="font-family: "verdana"; font-size: 10pt;">Il est intéressant de noter que Himes n’a alors aucun projet de roman policier en tête. La rencontre déterminante avec Marcel Duhamel, le directeur de la Série noire, n’aura lieu qu’en 1957.</span></div>
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<span style="font-family: "verdana" , sans-serif; text-indent: -18pt;"> <span style="color: #e69138;"><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" style="font-family: verdana; text-indent: 0px;" title=""><span style="mso-bookmark: _ftnref1;"><span style="color: #e69138; font-size: xx-small;">1</span></span></a> </span></span><span style="font-family: "" "verdana" "" , "serif"; text-indent: -18pt;">Edward Margolies et Michel Fabre, <i>The Several Lives of Chester Himes, </i>p. 53-54.</span></div>
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<span style="font-family: "" "verdana" "" , "serif"; font-size: 10.0pt;"> </span><span style="font-family: "" "verdana" "" , "serif"; font-size: 10.0pt;"><span style="color: #e69138;"><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" style="text-indent: 0px;" title=""><span style="mso-bookmark: _ftnref1;"><span style="color: #e69138; font-family: "verdana"; font-size: xx-small;">2</span></span></a></span> Chester Himes<i>, Regrets sans repentir</i>, Paris, Gallimard, 1979, p. 224.</span><span style="font-family: "times"; font-size: 10.0pt;"><o:p></o:p></span><br />
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</span> <span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: 11pt;">Ce qui vient de Cleveland</span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: 10pt;"><span style="font-size: 11pt;">Beaucoup de détails pittoresques du cycle de Harlem sont, par exemple, des souvenirs de Cleveland, que Himes a rapportés par ailleurs, dans son autobiographie, <i>The Quality of Hurt</i>, ou dans son roman autobiographique, <i>La troisième génération</i>. Il en est ainsi de la danse frénétique des filles sur un solo de trompette dans un night club (<i>L'aveugle au pistolet</i>), du clou pour prévenir de l'arrivée de la police et des armes déposées à l'entrée de la salle de défonce (<i>Retour en Afrique</i>), des vêtements de <i>madam</i> de maison close de Mamie Pullen – robe noire jusqu'aux chevilles et chaussures d'homme (<i>Couché dans le pain</i>), de Billy, la maquerelle à robe rouge et moustache (<i>La reine des pommes</i>), de plusieurs noms de maison de jeu ou de personnes – Tijuana, Johnny Perry, Val, Chink Charlie, Abie le Juif et Dummy (<i>Couché dans le pain</i> et <i>Tout pour plaire</i>).</span> </span></div>
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<span style="color: #b45f06; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Sylvie Escande, <i>Chester Himes, l'unique</i>, Paris, L'Harmattan, 2013, p. 86-87.</span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-79326728046343114492017-09-15T13:09:00.001+02:002017-12-09T19:47:36.022+01:00Il faut sauver le chat de Chester<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><i>The Paris Review</i> a publié récemment un échange de lettres entre Chester Himes et son ami John Williams. Le sujet : trouver aux Etats-Unis les boîtes de nourriture pour chat dont Griot, le siamois des Himes, raffole et sans lesquelles il ne se nourrit plus.</span></div>
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<span style="font-family: "verdana" , sans-serif;">L'ensemble est amusant parce que les deux correspondants savent dramatiser avec talent ce qui n'est qu'une broutille.</span></div>
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<span style="font-family: "verdana" , sans-serif;">On peut, cependant, rappeler le commentaire décapant d'un journaliste du quotidien espagnol <i>El Pais</i> après la parution en Espagne des deux volumes de l'autobiographie de Himes : il reproche à Himes de rappeler "avec une minutie exaspérante les aspects les moins intéressants de sa vie (...). Il s'embourbe dans des détails ennuyeux (quand il rapporte) ses nombreuses relations avec des femmes, les gens inintéressants qu'il a rencontrés, et d'innombrables chats et chiens".</span></div>
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<span style="font-family: "verdana" , sans-serif;">Augusto M. Torres, <i>El Pais</i>, 11 décembre 1988.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Je serais tentée d'ajouter : et ses voitures...</span></div>
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<a href="https://www.theparisreview.org/blog/2016/07/29/saving-chester-himess-cat/"><span style="font-family: "verdana" , sans-serif;">https://www.theparisreview.org/blog/2016/07/29/saving-chester-himess-cat</span></a></div>
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<span style="font-family: "verdana" , sans-serif;">En prime, une très belle photo de Himes avec un de ses chats.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Les lettres proviennent de <i>Dear Chester, Dear John</i>, recueil de lettres entre Chester et son ami, l'écrivain John Williams, édité par John et Lori Williams.</span></div>
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<br />Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com2tag:blogger.com,1999:blog-3007218417872461067.post-78799809110435921112017-07-17T00:20:00.000+02:002018-03-13T04:58:02.738+01:00Across 110th Street / Meurtres dans la 110e rue<div class="MsoNormal" style="margin-bottom: 6pt; text-align: left;">
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<span lang="FR"><span style="font-family: "verdana" , sans-serif;">Le titre de ce film (de Barry Shear, 1972, adapté
du roman de Wally Ferris) est bien mal traduit en français : <i style="mso-bidi-font-style: normal;">Meurtres dans la 110<sup>e</sup> rue. </i>Ce
devrait être exactement <i style="mso-bidi-font-style: normal;">De l’autre côté
de la 110<sup>e</sup> rue </i><span style="mso-bidi-font-style: normal;">ou</span><i style="mso-bidi-font-style: normal;"> Au-delà de la 110<i style="mso-bidi-font-style: normal;"><sup>e</sup></i> rue</i>. Les lecteurs de <i style="mso-bidi-font-style: normal;">Imbroglio négro</i> savent que la 110<sup>e</sup> borde Central Park au
nord et constitue donc la limite sud de Harlem. Dans ce roman, c’est sur cette
rue –bourgeoise – qu’habite le politicien noir démocrate Casper
Jones. Dans le film, un des mafieux définit Central Park comme « le no
man’s land qui nous sépare du Harlem noir ». </span><o:p></o:p></span><br />
<span lang="FR"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
<span style="font-family: "verdana" , sans-serif;">C’est un bon film d’action bien cynique qui
présente plus de flics corrompus que de policiers honnêtes et la lutte entre la
mafia et les gangs africains-américains pour dominer le trafic des loteries
clandestines.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Le film vaut par l’évocation de Harlem et on y
trouve des lieux et ambiances bien connus de Fossoyeur et Ed Cercueil :
triste paysage urbain de taudis et de rues jonchées d’immondices, prostituées,
travestis ; des scènes aussi comme la recherche de la connivence avec le policier noir (« nous
sommes entre gens de couleur ») qui rappelle l’interrogation des témoins
au début de </span><i style="font-family: verdana, sans-serif;">Imbroglio négro</i><span style="font-family: "verdana" , sans-serif;">. La
collecte des paris pour les loteries évoque aussi </span><i style="font-family: verdana, sans-serif;">Tout pour plaire</i><span style="font-family: "verdana" , sans-serif;">. Enfin, le sadisme des tortures et exécutions
n’est pas pour surprendre les lecteurs de Himes pour qui la violence du grand
banditisme blanc a été révélée dans </span><i style="font-family: verdana, sans-serif;">Imbroglio
négro</i><span style="font-family: "verdana" , sans-serif;"> et réaffirmée dans </span><i style="font-family: verdana, sans-serif;">Ne nous
énervons pas !</i><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Le film est intéressant aussi par les relations
entre le jeune inspecteur noir et son supérieur, le vieux flic italien à moitié
pourri. Il démontre très clairement </span><i style="font-family: verdana, sans-serif;">a
contrario </i><span style="font-family: "verdana" , sans-serif;">l’incongruité du couple d’inspecteurs de Himes et de leur
quasi-souveraineté dans les premiers romans du cycle de Harlem. Les policiers
sont majoritairement blancs et si l’enquête est confiée à l’inspecteur noir c’est
pour des raisons politiques, avec une allusion explicite aux émeutes raciales
de l’année précédente. Il faut calmer une opinion qui commence à compter.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">En cela, il est révélateur d’un monde qui change. Le renoncement au pouvoir du vieux flic blanc corrompu et sa relation
avec le jeune inspecteur noir honnête sont fondés sur cette conscience. C’est
Harlem après </span><i style="font-family: verdana, sans-serif;">L’aveugle au pistolet </i><span style="font-family: "verdana" , sans-serif;">:
hyper-présence des Blancs dans Harlem, coopération et haine raciale entre
gangsters noirs et blancs (la mafia emploie des hommes de main noirs, mais l’alliance
entre la mafia et les gangs noirs est menacée à tout moment). On devrait plutôt dire « un monde qui
semble changer </span><span style="font-family: "verdana" , sans-serif;">»</span><span style="font-family: "verdana" , sans-serif;"> car la pauvreté et l’oppression, elles, n'ont pas changé et la criminalité a son origine dans le besoin de sortir de la misère. C'est ce qu'ont toujours dit Fossoyeur et Ed Cercueil.</span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-53747150423304212722017-01-09T14:41:00.000+01:002020-04-09T09:45:46.684+02:00Mon voisin Chester Himes<div style="font-family: Arial; font-size: 12px;">
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</span></span><span style="color: #b45f06;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 13px; text-align: left;">Sur la couverture de <i>My Life of Absurdity</i>*, Chester dans les dernières années de sa vie. </span><span style="font-family: "verdana" , sans-serif; font-size: 13px; text-align: center;">On voit à son visage émacié qu'il est </span><span style="font-size: 13px; text-align: center;">malade, </span><span style="font-size: 13px; text-align: center;">mais Anne-Christine qui l'a connu à cette époque </span><span style="font-family: "verdana" , sans-serif; font-size: 13px; text-align: center;">nous décrit un </span><span style="font-size: 13px; text-align: center;">homme à la joie démonstrative, heureux </span></span><span style="font-family: "verdana" , sans-serif; font-size: 13px; text-align: center;">de se trouver </span><span style="font-family: "verdana" , sans-serif; font-size: 13px; text-align: center;">en compagnie d'enfants et amoureux de ses chats.</span></span><br />
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<span style="font-family: "verdana" , sans-serif;">Nous venions en vacances en Espagne à Moraira (village situé entre Valence et Alicante sur la Costa Blanca) dans la maison achetée par mes parents en 1962 et baptisée Casa Ana Cristina, perdue dans la pinède, mais nous avions quand même quelques voisins.</span></div>
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<span style="font-family: "verdana" , sans-serif;">A Pla del Mar (nom de la petite colline sur laquelle se trouvait notre maison), les étés se ressemblaient d’une année à l’autre…</span></div>
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<span style="font-family: "verdana" , sans-serif;">De l’autre côté de la pinède qu’il fallait traverser pour y accéder, il y avait une maison assez imposante : Casa Griot, nous étions chez Lesley et Chester Himes. L’avantage de cette jolie maison sur les autres était sa belle piscine, promesse de fraîcheur lors de ces étés chauds.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Nous y étions très souvent invités pour des bains interminables (mes parents et les Himes étaient amis depuis leur installation à Moraira). Chester, malgré son handicap, prenait des bains avec nous, sanglé dans une sorte de grosse bouée noire (une grosse chambre à air!) et nous jouions. Il riait de bon cœur, heureux j’imagine de retrouver un peu d’insouciance et de légèreté.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Ensuite, Lesley l’aidait à sortir et l’installait dans son fauteuil roulant au bord de la piscine sous une petite tonnelle et il nous regardait jouer dans l’eau.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Je savais par mes parents qu’il écrivait des livres mais, pour une petite fille de 10 ans, cela restait assez vague. </span><span style="font-family: "verdana" , sans-serif;">J’étais aussi au courant de son accident. Peu importe, pour mon frère et moi il était un homme qui aimait rire, se baigner en toute simplicité avec nous.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Je me souviens encore de son rire tonitruant lors des nombreux dîners et autres réjouissances à la maison. </span><span style="font-family: "verdana" , sans-serif;">Chester aimait s’attabler devant la grande table en rotin qui trônait sur la terrasse devant la maison, toujours dans le même fauteuil. Il semblait apprécier la cuisine de maman et le bon vin espagnol.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Il racontait de sa grosse voix des histoires (en anglais, mes parents heureusement parlaient bien cette langue) et, pour nous sa présence était l’assurance de se coucher tard et de rester avec « les grands ».</span></div>
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<span style="font-family: "verdana" , sans-serif;">Parfois nous allions chez eux, toujours pour un ultime bain de piscine et ensuite le dîner que nous prenions sous une sorte de grande véranda par laquelle on accédait via un grand escalier. </span><span style="font-family: "verdana" , sans-serif;">Lesley concoctait des repas sympathiques. Elle était toujours imperturbable et habillée en blanc !</span></div>
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<span style="font-family: "verdana" , sans-serif;">Ces soirées étaient accompagnées par les chats de Chester, qui avait une passion pour ces animaux (des chats abyssins je crois). Ils étaient impressionnants et énigmatiques et parfois même un peu effrayants.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Lesley et Chester quittèrent ensuite cette maison peu pratique pour lui et s’installèrent (toujours à Pla del Mar) dans une maison de plein pied.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Ce n’est que beaucoup plus tard que j’ai réalisé que nous avions un voisin « un peu particulier ». </span><span style="font-family: "verdana" , sans-serif;">De ces souvenirs, il reste quelques photos dans les albums familiaux et dans la bibliothèque chez ma mère, les œuvres de Chester avec cette dédicace « For Pierre and Nicole from Chester </span><span style="font-family: "verdana" , sans-serif;">»</span><span style="font-family: "verdana" , sans-serif;">.</span></div>
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</span> <span style="font-family: "verdana" , sans-serif;">Anne-Christine T-M (janvier 2017)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwgwgFG9sHaqnuEmHNwuu9ZYQa8pyiE8ZTfYN1-FsiDDHH3-u_Jk-uJSp7pnv0WGOuVGB_gsQGE9XA5YcBJt31iEY9vvXjHq63bS6vLV4jXi1FCh5gE6P9vFpbcNYlvfgma5jTmOi3gLM/s1600/photohimes+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwgwgFG9sHaqnuEmHNwuu9ZYQa8pyiE8ZTfYN1-FsiDDHH3-u_Jk-uJSp7pnv0WGOuVGB_gsQGE9XA5YcBJt31iEY9vvXjHq63bS6vLV4jXi1FCh5gE6P9vFpbcNYlvfgma5jTmOi3gLM/s320/photohimes+1.JPG" width="320" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">La dédicace aux voisins</span><br />
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<span style="color: #b45f06; font-family: "verdana" , sans-serif;">* <i>My Life of Absurdity</i> est le second volume de l'autobiographie de Chester.</span></div>
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<span style="color: #b45f06; font-family: "verdana" , sans-serif;">Les deux volumes ont été condensés en un seul en français par Yves Malartic, traducteur de Himes, sous le titre <i>Regrets sans repentir</i> (1979).</span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-41499412018976996692016-11-21T15:36:00.003+01:002020-03-23T12:29:29.981+01:00S’il braille, lâche-le… (If He Hollers Let Him Go). L'écho d’une comptine raciste<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Le premier roman
de Chester Himes a un titre un peu étrange : <i>S’il braille lâche-le…</i>
En anglais <i>If He Hollers, Let Him Go</i>. Ce titre est tiré d’une comptine
enfantine, très connue aux États-Unis, l’équivalent de notre <i>Amstramgram</i>.</span><span lang="FR"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Eenie, meenie, miney, moe, </span><span lang="FR"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Catch a tiger by the toe. </span><span lang="FR"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: "verdana" , sans-serif;"><span lang="FR">If he hollers, let him go. </span><span lang="FR"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: "verdana" , sans-serif;"><span lang="FR">My mother said to pick </span><span lang="FR"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">The very best one </span><span lang="FR"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">And you are not it.</span><span lang="FR"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Eenie, meenie, miney, moe</span><span lang="FR"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Attrape un tigre par la patte</span><span lang="FR"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: "verdana" , sans-serif;"><span lang="FR">S'il braille, lâche-le. </span><span lang="FR"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Ma mère a dit de faire </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Le bon choix</span><span lang="FR"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Et ce n’est pas toi.</span><span lang="FR"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">À aucun endroit
de son autobiographie, Himes n’explique le choix de ce titre<i> </i>pour son
roman. On peut imaginer, cependant, qu’il fait référence à une ligne cachée de
la comptine. Il en existe, en effet, plusieurs variantes et notamment une
version courante au 19<sup>e</sup> siècle dans laquelle <i>Catch a tiger by the
toe</i> était remplacé par <i>Catch a nigger by the toe </i>(Attrape un nègre
par la patte).</span><span lang="FR"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="FR">Une comptine est
une chanson enfantine qui sert à déterminer le rôle des participants à un jeu. Le
comptage permet au meneur de jeu de choisir ou d'exclure les
joueurs. Il n'y a aucune certitude, mais cela irait bien avec le piège
raciste dans lequel tombe Robert Jones, sa sélection finale, en dépit de tous
ses efforts, pour l’armée américaine, son rejet par sa fiancée presque blanche
et l'ensemble de la société californienne des années 1940.</span><span lang="FR"><o:p></o:p></span></span></div>
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<span lang="FR" style="font-family: "verdana" , sans-serif;">Merci à Hélène B.</span><span lang="FR" style="font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-70438827086772896832016-09-23T00:08:00.000+02:002020-04-21T09:39:58.722+02:00Le 15 octobre 2016, Tandem Paris New York - Chester Himes : de Harlem à la Seine<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Le 15 octobre 2016, de 16h à 18h, à la Bibliothèque des littératures policières (BILIPO), dans le cadre du Tandem Paris-New York, rencontre autour de Chester Himes avec </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Pierre Bondil, Bernard Daguerre, Sylvie Escande et Jake Lamar.</span></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 19px;">BIBLIOTHEQUE DES LITTERATURES POLICIERES</span></div>
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<span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif; line-height: 17px; text-transform: uppercase;">48 RUE DU CARDINAL lEMOINE</span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 13px; line-height: 17px; text-align: center; text-transform: uppercase;">MÉTRO CARDINAL LEMOINE OU JUSSIEU</span></div>
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<span style="font-family: "verdana" , sans-serif;">Paris-New York : les deux villes se font écho dans la vie de Chester Himes ; elles sont aussi intimement liées à son oeuvre et à son rayonnement.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Quand en 1953, Chester Himes quitte New York pour s'installer à Paris, il fait le même trajet que d'autres écrivains et artistes Noirs américains. Il restera toujours profondément américain mais il crée à Paris une oeuvre originale dans laquelle le personnage principal, Harlem, mélange d'observation et d'imagination débridée, est destiné aux lecteurs français et conçu pour eux.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Himes écrit en anglais pour être traduit en français dans la Série noire. Sa langue, ses traductions dans l'idiome de la Série noire des années 1950, le travail scrupuleux de médiation qu'il accomplit pour ses lecteurs français illustrent sa position très particulière, entre deux pays et deux langues.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Enfin, la reconnaissance de Himes reste, symétriquement, partielle et partiale de part et d'autre de l'Amérique. Les Français font - injustement - trop peu de cas de la première partie de son oeuvre. Quant au cycle de Harlem, il est mal connu des Américains… et même des Harlémites. Le temps est venu pour les Français et les Américains d'élargir leur vision de Himes pour lui donner toute son importance.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinL-r_vqguIP1cNOvBRoKS7JDFbwZQdgR2MUUZFbEvalPEXhztJZAqvj9OCvczyc0by2GdgBgz_t-Zul4zyA7HKCjeHh8VB19tZLxCoDVOLXuRsLnx2RvVZkQcLW0gh9bifnhO3NzwAo/s1600/Tandem+Paris+New+York.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinL-r_vqguIP1cNOvBRoKS7JDFbwZQdgR2MUUZFbEvalPEXhztJZAqvj9OCvczyc0by2GdgBgz_t-Zul4zyA7HKCjeHh8VB19tZLxCoDVOLXuRsLnx2RvVZkQcLW0gh9bifnhO3NzwAo/s320/Tandem+Paris+New+York.jpg" width="320" /></a></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-60737706845419507992016-07-12T06:31:00.000+02:002020-04-07T15:50:50.428+02:00ENG - Dallas lone shooter: reminiscence of Plan B?<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">A black sniper was responsible for the death of five police officers in Dallas, on the 7st of July, 2016.</span></div>
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<span style="font-family: "verdana" , sans-serif;">A picture of the sniper, Micah Johnson, extracted from his Facebook account, shows some ancient attributes of black radicalism: the Pan African flag, popular during the 1960's, the clenched-fist salute of the black athletes in Mexico and a Black Power drawing.</span></div>
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<span style="font-family: "verdana" , sans-serif;">In Himes' last novel, left unfinished, <i>Plan B</i> (1964 - chapter 8), two white policemen are patrolling in Harlem.</span></div>
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<span style="font-family: "verdana" , sans-serif;">"Give them a burst from the siren', said Pan.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Instead, there was a burst from an automatic weapon from the front window of a third-floor tenement and the windscreen of the police cruiser exploded in a burst of iridescent safety glass. Not to mention the fact that Pan and Van were riveted to their black plastic seats by a row of 7.62 caliber rifle bullets that passed through their diaphragms."</span></div>
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<span style="font-family: "verdana" , sans-serif;">At first sight, the conclusion is different. Micah Jones was killed by a tele commanded robot, the sniper in <i>Plan B</i> by a 105 mm tank cannon but Himes emphasizes the inhumanity of the tank: "No human life was visible within it. It was shaped like a turtle with an insect's antenna. It moved on rubber-treated caterpillar tracks. It didn't make any noise. It came quickly and silently, as if it knew where it was going and was in a hurry to get there."</span></div>
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<span style="font-family: "verdana" , sans-serif;">Of course, the current situation is also different, with a black president, a black chief of police in Dallas, the importance of social networks and the public recognition of police brutality against black people. Still the modus operandi both of the killing and of the elimination of the sniper takes us back to the racial wars of the 1960's and to Himes' power of imagination.</span></div>
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<br />Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com1tag:blogger.com,1999:blog-3007218417872461067.post-61196345306435605172016-03-31T19:53:00.002+02:002016-11-26T09:24:41.343+01:00ENG - Translating Chester Himes<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">One of the labels in this blog is <i>Translation</i>. It may be surprising for the English-speaking readers who are not familiar with the translations of Chester Himes in French, Spanish, Portuguese, or other languages, nor aware there might be a problem about these translations.</span></div>
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<span style="font-family: "verdana" , sans-serif;">For the French, it is of crucial importance. Himes' novels were read in France and in French through the mediation of a team of translators, who though they sometimes were not professional translators (or more accurately because they were not professional translators) had be chosen by Marcel Duhamel. Duhamel himself, the director of the famous Série Noire, the Gallimard collection, was a well-known translator without an academic education.</span></div>
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<span style="font-family: "verdana" , sans-serif;">The situation of Himes in relation to the Série Noire is particular: Himes' novels were not translated into French after being published in English. They were written for the Série Noire and Himes worked - in a certain way - on commission. Thus there were less cuts in Himes' novels than in some other authors' works. In his introduction to the English edition of the first </span><span style="font-family: "verdana" , sans-serif;">three </span><span style="font-family: "verdana" , sans-serif;">novels of the Harlem domestic novels, Melvin Van Peebles shows Himes' work method: "He pointed to the two neat piles on either side of the typewriter and explained that before he started one of his 'detective stories' or 'action novels' as he insisted on calling them, he would count out 220 pieces of carbon paper and 440 pieces of typing paper. He would then place a sheet of carbon paper between every two sheets of typing paper so that way he would have an original and a copy of each page that he completed. He would then put the untouched pile on the right hand side of his typewriter and begin to bang away. After he finished typing a page he would put it down on the pile at his left. (…) 'When the pile on the right hand side begins to get low I know it's time to start winding the story up."</span><span class="MsoFootnoteReference" style="font-family: "verdana" , sans-serif;"><span class="MsoFootnoteReference"><span lang="FR"><span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" name="_ftnref1" style="font-family: verdana, sans-serif;" title="">[1]</a></span></span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;">Still Himes wrote in English and had to be translated. The language the Série Noire translators produced, meant to be an equivalent of Himes' language, highly contributed to the success of his novels in France. It draws upon the Parisian slang (<i>argot</i>). In the issue of <i>813</i> dedicated to Chester Himes, the French translator Pierre Bondil acknowledges that Himes is not easy to translate but reports the over-use of Parisian <i>argot</i> to render the black vernacular, and numerous treasons of the style and rhythm of Himes' language.</span><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" name="_ftnref1" style="font-family: verdana, sans-serif; font-size: small;" title="">[2]</a></div>
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<span style="font-family: "verdana" , sans-serif;">It is no use criticizing these translations. They belong to a general cultural era (ignorance of the American culture and particularly of the African American culture; distrust regarding America in the cold war period). They also belong to a certain cultural and economical context of the Série Noire itself.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Gallimard revised these translations in 2007 (Quarto collection). Still a totally new version, with different fundamental choices is something to dream about.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9S2tDQrwL4ezkm1tcFXG3SciKtNPnxUbceVmLLtnyGkDzfdHRwyx4_jfAmhNN0oxl9RnY0aIoJBdNrH1bGeAEnm3vzG60mFOtAhgzu-qgrL9hbYZkJnXu3wuzp626Vvf5KswxfmZJGqQ/s1600/Cidade+escaldante.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9S2tDQrwL4ezkm1tcFXG3SciKtNPnxUbceVmLLtnyGkDzfdHRwyx4_jfAmhNN0oxl9RnY0aIoJBdNrH1bGeAEnm3vzG60mFOtAhgzu-qgrL9hbYZkJnXu3wuzp626Vvf5KswxfmZJGqQ/s1600/Cidade+escaldante.jpeg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinFgEtgJmkLdUTCG8GDFyuT4rUp1HPcpA8rVR-ixZI_fPGiEd1XF0joM1mBIoIb09d86QemYMe022DTIfjIVXDAuYda6DLyQkcX3swykpY4A9IJG0WnAINL8xLo_NWg-oTtUGiBOo9ckg/s1600/Ne+nous+e%25CC%2581nervons+pas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinFgEtgJmkLdUTCG8GDFyuT4rUp1HPcpA8rVR-ixZI_fPGiEd1XF0joM1mBIoIb09d86QemYMe022DTIfjIVXDAuYda6DLyQkcX3swykpY4A9IJG0WnAINL8xLo_NWg-oTtUGiBOo9ckg/s200/Ne+nous+e%25CC%2581nervons+pas.jpg" width="121" /></a><span style="font-family: "verdana" , sans-serif;"></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Portuguese and Spanish translations of the titles of several novels have been reviewed </span><span style="font-family: "verdana" , sans-serif;">in this blog</span><span style="font-family: "verdana" , sans-serif;">. As one can see with the different versions of <i>The Heat's On</i>, unlike the French version they were translated from the titles Himes chose for the later American publication of his books.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="FR"><span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" name="_ftnref1" title="">[1]</a> Chester Himes, The Harlem Cycle, volume 1, Edinbourgh, Cannongate Books, 1996.</span></span></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="FR"><span style="font-size: x-small;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="FR"><span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=3007218417872461067#_ftn1" name="_ftnref1" title="">[2]</a><span style="font-size: small;"> </span><a href="http://chesterhimes.blogspot.fr/2015/10/eng-special-issue-of-813.html" target="_blank">Special issue of 813 dedicated to Himes</a>.</span></span></span></span></span></span></span></span></span><br />
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0tag:blogger.com,1999:blog-3007218417872461067.post-60550951788012804392016-03-26T22:23:00.000+01:002016-11-07T13:38:34.194+01:00Sepulturero, Montalbán, Chester Himes y Bernard Daguerre<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">Répondant à l'article consacré aux traductions espagnoles du cycle de Harlem (Sepulturero Jones et <span lang="FR">Ata</span><span lang="FR">ú</span><span lang="FR">d</span> Ed Johnson)<span lang="FR">, </span>Bernard Daguerre, organisateur du festival Polar en cabanes et, entre autres talents, coordinateur du numéro spécial de <i>813</i> consacré à Himes, signale qu'il n'a pas trouvé trace de la préface de <i>Por amor a Imabelle (La reine des pommes),</i> écrite par Manuel <span lang="FR">V</span><span lang="FR">á</span><span lang="FR">squez Montalb</span><span lang="FR">á</span><span lang="FR">n. Montalban y fait, pourtant, </span> référence dans un texte<span lang="FR">, extrait de <i>El escriba sentado</i>, publié en 1997 dans <i>El </i></span><span lang="FR" style="font-style: italic;">Pa</span><span lang="FR" style="font-style: italic;">í</span><span lang="FR"><i>s </i>et traduit dans l</span>e numéro spécial (n° 122) de la revue <i>813</i>.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Ce texte est magnifique par son intelligence. Pour en citer un court extrait : "Bien sûr, ses romans peuvent être qualifiés de policiers, mais ils sont si multidimensionnels et ouverts qu'ils mériteraient d'être considérés comme des romans sans plus de qualificatifs, grands petits romans qui ont fait de leur auteur un maître comparable à Hammett, Chandler, Poe ou Simenon. Le délit déjà commis ou sur le point de l'être met en mouvement les policiers et c'est ainsi que débute un voyage littéraire dans lequel le délit et sa sanction sont ce qui importe le moins ; le plus important est le voyage, un voyage à travers un Harlem sans murs ni cloisons, à l'intérieur duquel erre le regard du lecteur surpris et surprenant lui-même la logique interne d'une réalité ceinte de murailles invisibles."</span></div>
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<span lang="FR" style="font-family: "verdana" , sans-serif;">Voir dans le présent blog <a href="http://chesterhimes.blogspot.fr/2015/10/un-numero-special-de-813.html" target="_blank">Un numéro spécial de 813</a></span></div>
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Sylvie ESCANDEhttp://www.blogger.com/profile/06729639940131738304noreply@blogger.com0