Black Bazaar Read online

  Alain Mabanckou was born in 1966 in Congo. He currently lives in Los Angeles, where he teaches literature at UCLA. He received the Subsaharan African Literature Prize for Blue-White-Red, and the Prix Renaudot for Memoirs of a Porcupine, which is published by Serpent’s Tail along with his earlier novels, Broken Glass and African Psycho.

  Praise for Alain Mabanckou

  “This bar-room yarn-spinner tells his fellow tipplers’ tales in a voice that swings between broad farce and aching tragedy. His farewell performance from a perch in Credit Gone West abounds in scorching wit and flights of eloquence … vitriolic comedy and pugnacious irreverence” Boyd Tonkin, Independent

  “A dizzying combination of erudition, bawdy humour and linguistic effervescence” Melissa McClements, Financial Times

  “Broken Glass is a comic romp that releases Mabanckou’s sense of humour … Although its cultural and intertextual musings could fuel innumerable doctorates, the real meat of Broken Glass is its comic brio, and Mabanckou’s jokes work the whole spectrum of humour” Tibor Fischer, Guardian

  “Deserves the acclaim heaped upon it … self-mocking and ironic, a thought-provoking glimpse into a stricken country” Waterstone’s Books Quarterly

  “Taxi Driver for Africa’s blank generation … a deftly ironic Grand Guignol, a pulp fiction vision of Frantz Fanon’s ‘wretched of the earth’ that somehow manages to be both frightening and self-mocking at the same time” Time Out, New York

  “The French have already called [Mabanckou] a young writer to watch. After this debut, I certainly concur” Globe and Mail, Toronto

  “Broken Glass proves to be an obsessive, slyly playful raconteur … the prose runs wild to weave endless sentences, their rhythm and pace attuned to the narrator’s rhetorical extravagances … With his sourly comic recollections, Broken Glass makes a fine companion” Peter Carty, Independent

  “A book of grubby erudition … full of tall tales that can entertain readers from Brazzaville to Bognor” James Smart, Guardian

  “Mabanckou’s narrative gains an uplifting momentum of its own” Emma Hagestadt, Independent

  “Mabanckou’s irreverent wit and madcap energy have made him a big name in France … surreal” Giles Foden, Condé Nast Traveller

  “Magical realism meets black comedy in an excellent satire by an inventive and playful writer” Alastair Mabbott, Herald

  “Africa’s Samuel Beckett … Mabanckou’s freewheeling prose marries classical French elegance with Paris slang and a Congolese beat. It weds the oral culture of his mother to an omnivorous bibliophilia encouraged by his stepfather … Memoirs of a Porcupine draws on oral lore and parables in its sly critique of those who use traditional beliefs as a pretext for violence” The Economist

  BLACK BAZAAR

  ALAIN MABANCKOU

  Translated by Sarah Ardizzone

  A complete catalogue record for this book can

  be obtained from the British Library on request

  The right of Alain Mabanckou to be identified as the author of this work

  has been asserted by him in accordance with the Copyright, Designs and

  Patents Act 1988

  Copyright © Éditions du Seuil 2009

  Translation copyright © 2012 Sarah Ardizzone

  All rights reserved. No part of this book may be reproduced, stored in a

  retrieval system or transmitted in any form or by any means, electronic,

  mechanical, photocopying, recording or otherwise, without the prior

  permission of the publisher.

  First published as Black Bazar in 2009 by Éditions du Seuil, Paris

  First published in this English translation in 2012 by Serpent’s Tail,

  an imprint of Profile Books Ltd

  3A Exmouth House

  Pine Street

  London EC1R 0JH

  website: www.serpentstail.com

  ISBN 978 1 84668 777 8

  eISBN 978 1 84765 657 5

  Designed and typeset by Crow Books

  Printed and bound in the UK by CPI Group (UK) Ltd,

  Croydon, CRO 4YY

  2 4 6 8 10 9 7 5 3 1

  To Pauline Kengué, my mother

  Prologue

  Four months have come and gone since my partner ran off with our daughter and the Hybrid, this African drummer in a group nobody’s ever heard of in France, and that’s including in Corsica and Monaco. I’m trying to move out of this place, you see. I’ve had all I can take of my neighbour, Mr Hippocratic, he’s always giving me a hard time, he spies on me when I take the rubbish down to the basement and he lays the blame for all the evils on earth at my door. And another thing, I keep thinking I can make out the figures of my ex and the Hybrid stalking me at home. It’s not like I haven’t cleaned the studio from top to bottom, or painted the walls yellow instead of the sky blue that was there before. So there’s nothing left to remind me that a woman and child used to live here too. Except for the shoe that my partner must have forgotten in her rush. I guess she was worrying I might be back at any moment that day and that I’d catch her packing when I was just enjoying my Pelfort over at Jip’s. Finding that shoe was partly thanks to a tip-off from one of my pals at Jip’s, Paul from the big Congo. He’d confided in me over a couple of beers that when a woman leaves you’ve absolutely got to move your bed in order to draw a line under your past life and steer clear of nightmares involving small men who will haunt you and curse you. He was right. Sure enough, for seven nights after my ex left I had plenty of nightmares. I jumped off the Great Wall of China into thin air. I had wings, I could soar so high, I flew more than ten thousand kilometres in a few seconds, then I landed on a mountain peak ten times higher than the Himalayas and twenty-five times higher than our mountains in the Mayombe Forest. The pygmies of Gabon were circling me with their poisoned assegais. I couldn’t shake them off, they were flying faster than me. When I was a boy, people used to claim those pygmies had supernatural powers because they were the first people entrusted by God with the keys of the earth since the time of Genesis. It was to them that the Lord dedicated the fifth day of Creation when he said: “Be fruitful and multiply and fill the earth …” At that time, the small men were still wondering what they would be able to eat down here, so God, who could read the thoughts of every creature, reassured our pygmies of Gabon by adding: “I give you every seed-bearing plant on the face of the whole earth, and every tree that has fruit with seed in it. They will be yours for food.” These days, mankind destroys the flora and perhaps that’s why the pygmies of Gabon come back to terrify us in our dreams.

  During those nightmares, I would toss and turn in bed and sweat like I had a fever. The pygmies of Gabon were getting ready to hurl my daughter into a pot of boiling palm oil.

  I called out:

  “Oh no, boys, oh no you don’t! That’s my daughter! My daughter! My little Henriette! She’s innocent. You can take me instead, if you like. But don’t go putting humanity to shame, when you are our ancestors. Show the whole world that cannibalism doesn’t exist where you come from, that it was invented by explorers, above all by those Africans who write books!”

  And the oldest of them came towards me with his grey beard, his red eyes and his yellow teeth:

  “Who told you we were cannibals, eh? We’re vegetarians, one hundred per cent! We’re only sacrificing your child so that the rains will come. We need all her blood, then we’ll hand her back to you …”

  I called out to my ex for help, and that’s when I woke up with a jolt to realise there weren’t any pygmies of Gabon, I was alone, and I’d fallen asleep without switching off the lights or the television.

  It wasn’t until I moved my bed that those small men finally disappeared …

  * * *

  I
’m a regular at Jip’s, the Afro-Cuban bar near the fountain at Les Halles in the 1st arrondissement, and these days you could say I’m even more of a regular than usual. Sometimes I doze off until I get woken by the sound of chairs being stacked by Lazio the security guard, who’s cursing under his breath because someone did a runner and he’s the one who takes the rap, when it’s his job to sort out the riff-raff from the banlieues not to worry about who has or hasn’t settled their bill. Willy the barman tells him there’s no difference between a thug who smashes the joint and a customer who hasn’t paid their bill. They’ve both got it coming, even if you pull your punches with the non-payer …

  Before walking into the bar, I always glance across to where Soul Fashion, a ladies’ underwear shop, used to be. There’s a reason for me looking that way: it’s where my ex used to work. The shop closed down and nobody knows why. So now the Chinese guy with a restaurant a bit further along, on Rue de la Grande Truanderie, is opening a dry cleaners on the premises …

  Lately, when I show up at Jip’s, Roger the French-Ivorian pounces on me. He’s heard it from Paul from the big Congo that, in order to drown my sorrows after my ex left me and to control my anger against the Hybrid, I’m writing a diary at home with a typewriter I bought from a second-hand shop in Porte de Vincennes.

  Take the day before yesterday, when he saw me coming he didn’t even give me time to reach the spot by the bar where Paul from the big Congo often stands to get a better view of the girls going by in Rue Saint-Denis.

  He said to me:

  “Here you are, Buttologist, just the person I’ve been waiting for! Paul from the big Congo tells me you’re writing this and that and it is called Black Bazaar. So what’s your little scam? Why are you writing? I suppose you think anyone can write stories, eh? Is this a trick to claim that you are unemployed, to squeeze through the chinks in the system, to steal other people’s benefits, to dig an even deeper hole in the social security and to put the brakes on Gallic social mobility?”

  Roger the French-Ivorian understood that I didn’t appreciate his tone of voice and ordered two Pelforts to win me back.

  “Listen, my friend, you must be realistic here! Forget about sitting down and writing every day, there are much smarter people for that, and you can see them on the telly, they know how to talk, and when they talk there is a subject, there is a verb and there is an object. This is what they were born to do, they were brought up with it, but when it comes to us negroes, well then writing is not our thing. With us it is the oral traditions of our ancestors, we are tales from the bush and forest, the adventures of Leuk-the-Hare told to children around a fire crackling to the beat of the tom-tom. Our problem it is that we did not invent the printing press or the ballpoint pen, and we will always sit at the back of the classroom fantasising about how to write the history of the dark continent with our spears. Do you understand what I am saying? Plus we have got a funny accent, you can hear it even when we write, and this people do not like. And another thing, you need real life experience to write. What real life experience have you got, eh? Nothing! Zero! Now take me, I would have no end of things to write about because I am mixed-race, I am lighter-skinned than you are, and this gives me an important edge. My only reason for not writing a single line until now is lack of time. But I will make up for it when I am retired with a nice house in the countryside, and the whole world will recognise my work for the masterpiece that it is!”

  He downed his glass of Pelfort in one and then, after a moment’s silence, he asked:

  “Since you say you are a writer, have you at least got a white sheep in these stories of yours?”

  I told Roger the French-Ivorian I didn’t like sheep and that I had never seen any that colour.

  “You mean there aren’t any sheep in your district, over there in the Congo?”

  “Well yes, you will find some among the traders in Trois-Cents, but their sheep aren’t even white, they are all black, with patches sometimes, and you can’t go telling credible stories with sheep like that. And another thing, the traders chop them up and sell them as kebabs at night in the streets.”

  “Fine, all right then, but in these stories of yours, have you at least got a sea and an old man who goes fishing with a young boy?”

  I said no because the sea frightens me especially since, like a lot of people in our country, I went to see Jaws and had to leave The Rex before the end of the film.

  Roger the French-Ivorian signalled to Willy for two more Pelforts.

  “Fine, all right then,” he went on, “but in these stories of yours, have you at least got an old man who reads love stories in the middle of the bush?”

  “Oh no, and anyway how would we get love stories to the heart of the bush? Back home it would be mission impossible, our interior is closed off. There is only one road that goes there, and it dates back to colonial times.”

  “You have been independent for nearly half a century and you’re telling me there’s only one road? What the hell have you been doing in all that time? You’ve got to stop blaming those settlers for everything! The Whites cleared off and they left you everything including colonial homes, electricity, a railway, drinking water, a river, an Atlantic Ocean, a seaport, Nivaquine, antiseptic and a town centre!”

  “It’s nothing to do with me, it’s our governments who are to blame. If they had at least resurfaced the road the settlers left us, then today your old man could be sent his love stories. But let me tell you, that colonial road is a scandal …”

  “What is the matter, eh? Why is it a scandal? Are you against the settlers or what? I say we owe the settlers respect! Me, I’ve had enough of people talking through their hats when those settlers conscientiously got on with their job of delivering us from the darkness and bringing us civilisation. Did they have to do all that, eh? You do realise that they worked like lunatics? There were mosquitoes, devils, sorcerers, cannibals and green mambas, there was sleeping sickness, yellow fever, blue fever, orange fever, rainbow fever and goodness knows what else. There were all these ills over our ebony lands, our ghostly Africa, to the point that even Tintin ended up having to come over in person on our behalf. So far be it from me to harbour a grudge against the settlers. You do accept that Tintin went to your Congo, don’t you? And did that Tintin ask himself a thousand and one questions? Didn’t he come with his friends, a captain with a beard who insults everybody and a small dog with more intelligence than you or I put together, eh? And if he managed to get there, well then, in these stories of yours, you can include some love stories to that old man along the colonial road!”

  “Yes, but that road’s too dangerous, especially during the rains.”

  “What’s the problem?”

  “It never stops raining back home, and when it rains it is a thousand times worse than the Flood …”

  After one round of silence and two gulps of beer, Roger the French-Ivorian, annoyed that I’ve always got an answer for everything, slammed his fist down on the table:

  “I’m just trying to help you out here! Writing’s no joke, you do understand that, eh? It’s up to the people who the write stories to invent situations, not me. So fire up your imagination, help that old man who’s bored rigid out there in the bush to get hold of some love stories!”

  When I didn’t answer, he capitulated:

  “Fine, all right then, I’m getting worked up for nothing, I’m sorry, perhaps I’m asking you something impossible. The thing is, I’m trying to work out how difficult this is. But in these stories of yours, have you at least got a young Japanese compulsive liar who tells her analyst she can’t hear music any more, by which I mean she can no longer experience pleasure?”

  It was my turn to get annoyed:

  “Oh no, oh no you don’t, I’m not going all the way to Japan for a story about a compulsive liar who can’t get her kicks!”

  “Have you got it in for the Japanese, or what?”

  “Not at all, but why not go to Haiti too while we’re at it, and
talk about voodoo, eh? What’s got into you? Are you some kind of sex maniac? Have you ever pleasured a woman?”

  “Shhh! There’s no need to shout like that and insult me, everyone can hear you in the bar, and that won’t do. A writer should be discreet, he should observe his surroundings so he can describe them in minute detail … But in these stories of yours, have you at least got a drunkard who goes to the land of the dead to find his palm wine supplier who accidentally died at the foot of a palm tree?”

  I said no because I’ve never set foot in the land of the dead and have no intention of doing so, not for anything in the world, especially since it’s even further away than Japan and Haiti.

  “Yes, but you’re only telling a story, so just imagine you’re going there. That’s not so difficult, is it?”

  “I won’t go there. Some places are asking for trouble, and stories about people who go to the land of the dead are not my kind of thing.”

  “Fine, all right then, but in these stories of yours have you at least got a great love that takes place in the time of cholera between a poor telegrapher and a young schoolgirl who will end up marrying a doctor later on?”

  “What is a telegrapher?” I asked, playing innocent.

  “I can see we’re not out of the woods yet! We’re going to have to work on your vocabulary … But in these stories of yours, have you at least got a crime of passion involving an artist who murders a woman he met at an exhibition, even though she admired one of his paintings?”

  “Don’t talk to me about art!”

  “Really? You don’t like art but you call yourself a writer?”

  “Modern art gets up my nose. Back home, I saw a reproduction of a painting at the French Cultural Centre, it was called Les Demoiselles d’Avignon, and it was ugly as a bulldog’s face.”

  “So you don’t understand the first thing about painting, which is a major handicap … But in these stories of yours, have you at least got a character with a drum, somebody who from the age of three doesn’t want to grow up, a character who will be interned in a mental hospital later on and who will tell their life story to their keeper through the peep-hole, eh? Now, I’m only saying all this to help you out a bit because you don’t have a clue where you are going or who else has gone before you. It would help if the keeper in the mental hospital had an artistic streak, he might tie knots, for example, which he would show to the patient, do you see where I’m going, eh?”