Tour à tour nostalgique et apaisé, le poète-romancier Alain Mabanckou évoque les odeurs et les sons familiers qui ont bercé son enfance, rend hommage à la nature bienfaisante et célèbre ses racines : sa mère tant aimée et sa terre natale, l'Afrique, véritable terreau de l'espérance.
Alain Mabanckou was born in 1966 in Congo-Brazzaville (French Congo). He currently resides in Los Angeles, where he teaches literature at UCLA, having previously spent four years at the University of Michigan. Mabanckou will be a Fellow in the Humanities Council at Princeton University in 2007-2008. One of Francophone Africa's most prolific contemporary writers, he is the author of six volumes of poetry and six novels. He received the Sub-Saharan Africa Literary Prize in 1999 for his first novel, Blue-White-Red, the Prize of the Five Francophone Continents for Broken Glass, and the Prix Renaudot in 2006 for Memoirs of a Porcupine. He was selected by the French publishing trade journal Lire as one of the fifty writers to watch out for in the coming century. His most recent book is African Psycho.
"beaten down by so many white seasons I'll succumb one day I know it
but someplace there'll be a tree the same that moved its branches in my poems a rônier palm with leaves turning brown whose sap will freely flow
I'll sleep beside my dreams my childhood will melt in the morning mist my spirit will follow the trampling of herds a swallow will take to the air carefully grazing the family plot my mother's shape will emerge at last from the gloom"
I read Alain Mabanckou's novel, The Death of Comrade President (tr. Helen Stevenson) early last year and definitely plan to read more of his fiction. When I saw Seagull was publishing his poetry collection, I had to get it during the sale. His verses are spare and sparse, displaying a rich economy of language. None of them have titles and there is little punctuation. They tend to feel like rhythmic musical fragments which come together mosaical, a book-length poem, striving towards the unity of ideas and themes that are fleeting and grounded simultaneously.
His mother and motherland are both recurring figures and although his relationship with the latter is more fraught than the former, there is much poignancy as he yearns for both. Trees tower over these verses, their roots going deep into the earth and holding it together. They are regenerative, a symbol of hope, and as long as they take root in the earth, there is a chance for the human to remain. The collection is closed by an essay, "An Open Letter to Those Who are Killing poetry", where Mabanckou is hilarious and irreverent, launching wholesale criticism.
Ce livre regroupant l'œuvre poétique du poète congolais Alain Mabanckou est une très chouette surprise. J'ai beaucoup aimé sa manière d'utiliser la Nature comme image poétique. Une logique, une récurrence, s'installe dans les métaphores au fil des recueils (l'arbre, ses branches, les oiseaux...) et tout fait sens.
Deux poèmes favoris: "la patrie est une herbe qui prospère sur les terres vagabondes la pluie des larmes l'enracine dans l'humus l'exil est son engrais" (p.121, Les arbres aussi versent des larmes)
"il est encore dit dans le village d'où je viens que les arbres aussi versent des larmes lorsque perdure l'absence des oiseaux sur leurs branches" (p.150, Les arbres aussi versent des larmes)
As Long as Trees Take Root in the Earth: and Other Poems includes two of Mabanckou's poetry collections (When the rooster announces the dawn of another day... ,2000 and As long as trees take root in the earth, 2003, resp.), each a sequence of terse lines that flow chantlike into one long poem so beautifully translated by Nancy Naomi Carlson. The poetry is direct, critical, full of longing, and hopeful at once.
beautiful anthropomorphism of nature and whimsical depiction of rebuilding after civil war. author has fascinating francophone background living in congo (republic) and passionate stance on poetry.