So that you doubt our origins even more

we offer you bodies for salvation-of-mankind factories

without ablutions

of bodies tranquil on the sand the placement offices


tan-hided bodies

            tubercular history

                        we others dogs traitors

we others with paleolithic brains squinty eyes thermonuclear livers

bodies with wooden tablets where it’s written

that underdevelopment is our congenital disease

then sir

               then ma’am

                                    then thank you

without forgetting our endless procession of yellow teeth

                                                     and the haze

                                 our blood

half blood half tree

bodies fed on locusts and camel piss

we are not

even epileptic

                          in the caves of your Platos

or Scheherazade’s stories

not in your statistics about different cultures

     diseases

curable with a mouthful of little ruin

                                                                                    not

in your balance sheets your frenetic reports on the great

inhuman certainties 

or medals

or jade cities against

                                    our repression

                                                our purulent stigmata

our matrices barking in the wind

not in your treaties on the biology of petrified man


even though we have

                                    our fratricidal wars

                                                             and though

we dream of planets

of alleys of arched suns at the center of the earth

(we know mental alienation and speak

of dead civilizations sacked)

and we grant you

at the foot of heroin ramparts

tetanus

wars of the stomach and of jackals

to satisfy your calculating mind about

the Rome and Vietnam files

your necrophagous pilgrims’ eyeglasses on the ramparts

of Marrakech

our rumors of a demented caravan-eating crowd

our shantytowns sun on sun and djinns

with matches

the bogeymen of our brotherhoods—ah, with oranges

and siba rifles

ah ma’am me set up not steal not me sir have

a good year good health—

tiny women with little green stars

on their foreheads

the whole pernicious legend of our diaphragms

all the agony of blood in a vertigo of phony mosques

and revolt

our bodies

                  saddled with

                                       tornadoes

                   to conjure your bodies section hibernation

of a little neurosis of sand ourselves

without kasbahs or idioms not Mediterranean insanity

not

memorizing

rerooting in memory

                        that cave

                                                 that shithole

                                                                   that death

running the alleys feet and arms tattooed chewing gum

toothbrushes

with heaps of phosphate factories heaps of books heaps of king

and never-ending conversation

                                               in heaps

of artificial dens for drinking tea beautifully earned

sesame sticks

and to your health the colorful

crowd that changes course but not weapon

and that will change your rattraps

            all along

old unconditional murder that would have given us

a whole paradise of whims stacked

on our spines for the price of a revolver but then

                                                            heaps of medinas

full of poppies to the point of making

our bones the vestiges of peerless cities

the bird

the bird

and the bird thieves

barbarian

               the bird as our peregrinations from one tree to another

to the tree of violence that passes

through our bodies

and your teats mistresses of blood your breasts

we don’t love the covertly snickering city the bloodsucking

city or its nomadic eras

and the nicknames of the sun

this fucked up sun that never stops whirling

and that we’ll

chase away with stones

we others

with kettledrums on serpents’ nests to

fraternize with blood

recover memory in an orgasm of moons

like the calm camels who hit us on the chest

with their spurting blood

(bleed camel from your delirious neck

we want

tankards of frothy blood

clots as big as a fist to make

trips hailing the desert turned fish

keep bleeding camel bleed bleed

projects for roses

as long as the roses have Dadès dusks

in this blood we want

the eye

            the sword

in this blood to knead the wind’s nape

assault its breasts and pursue

the crowd all the way to its windpipe

keep bleeding camel bleed bleed) 


we’ll still grant you

conspiracies in plain sight of our sex

and to complete your catalogue of superstitions

hands

cut off

                  dislocated

streets beheaded where we pressed

all possible humanities against our terrorist breasts


streets

            filled with the bellows of heifers flogged with writing

Pour que vous doubtiez encore plus de nos origins

nous vous proposons des corps pour les usines-

salut-de-l’humanité

sans ablutions

des corps tranquilles sur le sable les bureaux de

placements

des corps tannés

                        l’histoire tuberculeuse

                            nous autres les chiens les perfides

nous autres au cerveau paléolithique les yeux bigles

le foie thermonucléaire

des corps avec des tablettes en bois où il est écrit

que le sous-developpement est notre maladie congénitale

            puis monsieur

                                    puis madame

                                                            puis merci

sans oublier notre interminable procession de dents

jaunes

et les vappes

notre sang moitié sang moitié arbre

des corps nourris de sauterelles et de pisse de

chamelle

nous ne sommes pas

                        même épileptiques

                                    dans les grottes de vos Platon

ni dans les contes de Shahrazade

pas dans vos statistiques sur la culture des peuples

      les maladies

guérissables par bouchée de petite ruine

                                                            pas

dans vos bilans vos rapports frénétiques sur les

     grandes et inhumaines certitudes

ni les médailles

ni les cites de jade contre

                           nos refoulements

                                                nos stigmates purulents

nos matrices aboyant sous le vent

pas dans vos traités sur la biologie de l’homme

      pétrifié

bien que nous ayons

                                nos guerres fratricides

                                                                   et que

                                                nous rêvions de planets

de ruelles d’arcades de soleils au centre de la terre

(nous connaissons l’aliénation mentale et parlons de

civilisations crevées mises à sac)

que nous vous accordions

au pied des murailles et murailles d’héroïne

les tétanos

les guerres d’estomac et de chacal

pour satisfaire votre esprit calculé sur les dossiers

de Rome et du Viet-Nam

vos lunettes de pèlerins nécrophages sur les remparts

de Marrakech

nos rumeurs de foule démente mangeuse de caravanes

nos bidonvilles soleil sur soleil et djinns avec des

         allumettes

les épouvantails de nos fraternités – ah avec des

         oranges des fusils de siba

ah moi madame arrange vole pas moi monsieur

         bonne année bonne santé –

de toutes petites femmes avec de petites étoiles

         vertes sur le front

toute la légende pernicieuse de nos diaphragmes

toutes les affres du sang dans un vertige de mosquées-

bidon et le fronds

nos corps

              affublés

                           de tornades

            pour conjurer vos corps tronçon hibernation

d’une petite névrose de sable nous-mêmes

sans kasbah ni idiomes pas méditerranée-démence

pas

      mémoriser

réenraciner la mémoire

                                    cette grotte

                                                cette chiotte

                                                                cette mort

courant les ruelles pieds et bras tatoués chewingum

         brosses à dents

avec des tas d’usines de phosphate des tas de livres

         des tas de roi et ça n’en finit pas de converser

dans

         des tas d’antres artificiels pour boire un thé

magnifiquement mérité brindilles sésame

et

    à ta santé la foule

bariolée qui changes de cap mais pas de lance

et qui changeras tout le long

    de tes pièges à rats

vieux meurtre inconditionnel qui nous aurais donné

contre un revolver tout un paradis de lubies

empilé sur nos échines mais alors

                                                    des tas de médinas

     pleines de coquelicots jusqu’à faire de nos ossements

     des vestiges de cités incomparables

l’oiseau

l’oiseau

et les voleurs d’oiseaux

barbare

            l’oiseau comme nos pérégrinations d’un arbre

l’autre jusqu’à l’arbre de violence qui nous passe

par le corps

et vos mamelles maîtresses du sang vos mamelles

nous n’aimons pas la ville riant sous cape la ville

sangsue non plus ses ères de nomadismes et les

sobriquets du soleil

ce malfoutu soleil qui n’en finit pas de tournoyer

et qu’on

chassera à coups de pierre

nous autres

                  de timbales sur des nids de serpents pour

fraterniser avec le sang

recouvrer la mémoire dans un orgasme de lunes

commes ces chameaux tranquilles qui nous envoient

      leur saignées sur la poitrine

(saigne chameau de ton cou délirant

nous voulons

des chopes de sang qui écume

des caillots gros comme le poing accomplir

des voyages hélant le désert devenu poisson

saigne encore chameau saigne saigne

des cités pour les roses

tandis que les roses ont des crépuscules de Dadès

nous voulons dans ce sang

l’œil

     l’épée

dans ce sang pétrir la nuque du vent

violenter des seins et poursuivre

la foule jusque dans ta trachée artère

saigne chameau encore encore) 


nous vous accorderons encore

des conspirations à la barbe de notre sexe

et pour compléter votre catalogue de superstitions

des mains

coupées

            désarticulées

des rues tête tranchée où nous avons pressé

toutes les humanités possibles contre nos poitrines

      terroristes

des rues

           pleines de cris de génisses flagellées d’écritures

Translator's Note

This piece of Nissabouri’s, taken from his 1975 book The Thousand and Second Night, is in many ways representative of his writing during this pivotal era in Moroccan history. A dystopic vision of a country still in the throes of cultural decolonization and nation-building, these poems deliver an onslaught of language and images that leave the reader occasionally bewildered and frequently speechless. In La poésie marocaine de l’Indépendence à nos jours (2005), an anthology that traverses the last fifty years of Moroccan poetry, Nissabouri’s contemporary, Abdellatif Laâbi, writes that the Moroccan poets of the ‘60s and ‘70s had a “zeal for twisting the neck of the unsayable, for blowing up language to better breathe the missing word, rebellious and free, into the body of their culture.” Nissabouri’s poems fall very much into this vein. As a result, working with his poetry is perhaps both the most challenging and the most rewarding translation I have ever undertaken. Nissabouri’s work explodes across the page, questioning genre by breaking with traditional French forms and defying linguistic imperialism with long, syntactically complex sentences that include mid-phrase or mid-sentence erasures and insist that the reader work to pull sense from them.

This poem, “Mannaboula,” is no exception. In translating Nissabouri, I do my best to maintain his exploded form, occasionally adjusting it to better suit the poem’s rhythm in English. The pagination in the original book often determines the original line breaks (lines frequently end with a bifurcated word), and this gives me some freedom to rearrange. In other areas, I’ve chosen to play up the right margin of the work, allowing the lines to develop right to left as they would in Arabic, one of Morocco’s native tongues. After all, intertextuality is another major component of Nissabouri’s work, and it’s often seen as an intertwining of languages as well as stories. In order to maintain some of the Arabic in his poetry, I chose to keep the reference to “siba rifles” [“rifles of rebellion”] as well as the title, apparently an older dialectal word whose meaning remains a mystery. One meaning for the Arabic root “نبل” (n-b-l) is “to be noble/highborn”; the title, then—which in that case would mean “Highborn”—may refer to the poem’s sarcastic echo of European stereotypes of Moroccans. Kept in Arabic, though, even without a sure definition or translation, the title introduces the poem with some of the plosives that prove to be key sonic elements in the poem’s vitality. Leaving the title in Arabic also heightens the sense of alienation that is important throughout The Thousand and Second Night. For Moroccan artists attempting to find themselves again after the Independence, this sense of strangeness is only natural.


Addie Leak

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