{"id":1408,"date":"2018-01-28T01:00:35","date_gmt":"2018-01-28T07:00:35","guid":{"rendered":"https:\/\/www.lavenderink.org\/site\/?p=1408"},"modified":"2024-05-26T08:22:25","modified_gmt":"2024-05-26T13:22:25","slug":"fares-thompson","status":"publish","type":"post","link":"https:\/\/www.lavenderink.org\/site\/magazine\/fares-thompson\/","title":{"rendered":"Far\u00e8s \/ Thompson"},"content":{"rendered":"
\"\"<\/a>
Peter Thompson<\/figcaption><\/figure>\n

I doubt this press would exist– at least not in its current form– without the help and consultation of Peter Thompson<\/a>, Professor of Romance Languages at Roger Williams University. It was out of conversations with Peter a decade or so ago that the Di\u00e1logos imprint was born, and he is my go-to, always, for advice on all matters concerning the art of translation and on what ought to be translated. So we’re happy to see him embarked on a new project and giving us an early preview.<\/p>\n

\"\"<\/a>
Nabile Far\u00e8s<\/figcaption><\/figure>\n

What follows here is an excerpt from Peter’s in-progress annotated translation of The Olive Grove (Le Champ des oliviers)<\/em>— the first novel in Nabile Far\u00e8s’s trilogy La D\u00e9couverte du nouveau monde.\u00a0<\/em>Far\u00e8s (1940-2016) is Algerian-French (complete bio and other works here<\/a>), and the experience of exile colors all his wildly various writings. He is poet and novelist and everything in between; his language can whirl in imagistic torrents, relax in lyrical simplicity, or engage philosophical discourse… sometimes all at once, as you will see below.\u00a0<\/p>\n

If you like what you see, you can pick up copies of two other Far\u00e8s titles, the novel\u00a0Exile and Helplessness<\/em> <\/a>and the more recent poetry,\u00a0Exile: Women’s Turn<\/em><\/a>, on our site, today only, for half price. Today only, also, pick up any of Peter’s other translations and\/or his own books<\/a>, also half price.<\/p>\n

 <\/p>\n

\n

From:\u00a0The Olive Grove (Le Champ des oliviers), <\/em>by Nabile Far\u00e8s, translated by Peter Thompson<\/h3>\n

I. \u2026 8:57<\/span><\/span> at night. February 8, 1971. Track 10. A train leaves Paris, headed for Barcelona. My garnet-colored suitcase (Brandy Fax speaking, also writing, reading, staring, living, weeping, longing, puking, also\u2026) carries within it some red wool pants, a shirt, five pounds of oranges, a cartoon of cigarettes, briefs, a pair of shoes. A chunk of Paris, Three Books. One of these treats primitive societies. The suburban trains (Brandy Fax observing) (Brandy Fax is the name I\u2019ve given myself in order to fully sketch out (me, a primitive from the Old World) the framed panorama of Westernness: that edge between two worlds) sport strange, glowing signals as, switching tracks, they branch off from the Main Lines and veer toward the tenements you see (Brandy Fax here) all lighted up like radios. His right hand (Brandy Fax is writing this) rests on the cover of a paperback. Entitled The Steppes<\/em>. Followed by other accounts. He gazes through windows above the tracks (Brandy Fax doing the looking) and his image trembles, his forehead furrowed like autumn land waiting to be plowed. He\u2019s not on the platform. But on the train, on a train that doubles his body with a rail reality, a real reality. He\u2019s alone. The compartment is Deluxe Second Class. Where he can read or write under a white fluorescent light. The SNCF blankets are merely part of a universe run through with power lines that bring the night right up to you eye. The impossible winter nights are beginning their hellish rounds (Brandy Fax thinks about the two freezing months he\u2019s just spent in Paris with the most astounding person it had ever been his fate to encounter) while the SNCF conductors fret over this passenger who fills a solitary compartment with pen, notebook, volume. \u201cYes.\u201d \u201cThat will take you a while?\u201d is asked. Who\u2019s asking? Who asks? \u201cA while of what?\u201d One could say? A long time of what? Of launching words into the air? (Brandy Fax\u2019s own culture is one of orality.) But he says. Brandy Fax. He says. To keep on being what in fact he is. He says. \u201cNo, I don\u2019t have much more to do. An hour or two. I don\u2019t know. Maybe I\u2019ll stay all night. My night.\u201d \u201cOK. OK. We\u2019ll decide later. You have a berth?\u201d \u201cYes. And more\u2026 my couchette is number 45.\u201d The conductors leave. Night waxes around the train while the billboards retreat from the tracks, toward the roads, lobbing flashes (sharp) of white light across my eyes. This is his third trip to Barcelona and he, Brandy Fax the Fifth ( ) ( ) has put aside what he wanted to write about one of the most central figures North Africa had ever known. The O\u2026 A doubt persists. This dissertation on the meaning of a rare Ogress, little known in Europe, will never get anywhere (where) (see the light of day) (night) (perhaps not) (?) (Who knows?) Obsession? The slow task of remorse, as the poet said (You\u2019ll devote the bulk of your time to obsession) Obsession! The quality of the works that arise from it. May obsession go fuck itself along with all its creations. \u201cThat\u2019ll take you a while?\u201d I\u2019ve seen it all. An hour or two. I\u2019ve seen it all. And I\u2019m leaving. Me. Brandy Fax ( ) ( ) For Barcelona. As I\u2019m leaving I think \u201cI must have been a victim (I am a victim) of a global thought. Not mine. But one belonging to everyone else. Everyone who wanted to keep me under the ground. Down in the barely-reachable loci of mystery. (rarely visited). (of mystery) The mystery of my eloquence. This eloquence that has (already) run me through a good many wars.\u201d Yes. Who can speak about an Ogress without having one. On top of the ability (that faculty!) to avoid the all-consuming work on the Ogress. Certain artistic gifts. Utterly artistic. Scientific, even. Because I\u2019m a scientist. Me. Brandy Fax ( ) ( ). I\u2019m sewn together from all the cloaks of science, scientificness. And the audience was huge. Hardly smaller than a movie\u2019s. They wanted the movie version. Probably. Thought they were going to see a movie. I stepped forth. But not at all as they had wished. And such is, was, the Truth the Irony of this question \u201cWhat do I signify? Me? The Ogress of Obscure Name\u2026\u201d since I\u2019ve spoken of a being whose reality everyone knows or suspects and yet who doesn\u2019t exist. Enigma! Yes. Enigma. The Ogress doesn\u2019t exist. She doesn\u2019t exist. \u201cLike a railroad A house A tree Power lines A traveler A fluorescent light A tangerine A cigarette A cigarette butt A glance A star A thought A book A conductor An Austerlitz Station A month A day A February An omelet A winter Paris A nice hot shower Peanuts A typewriter A night of love A doctorate A backyard A Monsieur-le-Prince Street A Metro ticket A bus An espresso A few bad days A meal at Claude\u2019s A brawl Private lessons An OK Bar A pimp\u2019s life Pastis drinks Pastis drinks triple strength Brown hands Potatoes Ragouts Potato ragouts A manuscript A railroad crossing\u201d Yes. The Ogress exists.<\/p>\n","protected":false},"excerpt":{"rendered":"

I doubt this press would exist– at least not in its current form– without the help and consultation of Peter Thompson, Professor of Romance Languages at Roger Williams University. It was out of conversations with Peter a decade or so ago that the Di\u00e1logos imprint was born, and he is my go-to, always, for advice […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[268],"tags":[],"class_list":["post-1408","post","type-post","status-publish","format-standard","hentry","category-magazine"],"yoast_head":"\nFar\u00e8s \/ Thompson - Lavender Ink \/ Di\u00e1logos<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.lavenderink.org\/site\/magazine\/fares-thompson\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Far\u00e8s \/ Thompson - Lavender Ink \/ Di\u00e1logos\" \/>\n<meta property=\"og:description\" content=\"I doubt this press would exist– at least not in its current form– without the help and consultation of Peter Thompson, Professor of Romance Languages at Roger Williams University. 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