{"id":20170,"date":"2018-01-29T16:06:53","date_gmt":"2018-01-29T15:06:53","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=20170"},"modified":"2022-11-09T12:09:04","modified_gmt":"2022-11-09T11:09:04","slug":"rene-philoctete-haiti","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/rene-philoctete-haiti\/","title":{"rendered":"Ren\u00e9 PHILOCT\u00c8TE &#8211; Haiti"},"content":{"rendered":"<p><a href=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2018\/01\/Rene-Philoctete-Haiti-Ecrivain.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-19664\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2018\/01\/Rene-Philoctete-Haiti-Ecrivain-150x150.jpg\" alt=\"Ren\u00e9 Philoct\u00e8te, Haiti, writer\" width=\"150\" height=\"150\" \/><\/a><br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nRen\u00e9 Philoct\u00e8te was born in 1932 in Haiti, died in 1995. He co-founded the literary movement &#8216;Spiralisme&#8217; in the sixties with Jean-Claude Fignol\u00e9 and Frank\u00e9tienne. Poet, he also writes plays.<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nNovels : &#8216;Le Huiti\u00e8me Jour&#8217;, \u00c9d. de l&#8217;an 2000, Ha\u00efti 1973 ; &#8216;Le Peuple des terres m\u00eal\u00e9es Deschamps&#8217;, Ha\u00efti 1989 ; &#8216;Une saison de cigales&#8217;, \u00c9d. Conjonction, Ha\u00efti 1993 ; &#8216;Entre les Saints des Saints&#8217;, \u00c9d. Le Temps des Cerises, Paris 2017.<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nCollections of Poesy : &#8216;Saison des hommes&#8217;, Port-au-Prince 1960 ; &#8216;Margha&#8217;, illustrations de Luckner Lazard, Port-au-Prince, \u00c9d. Art Graphique Presse, 1961 ; &#8216;Les Tambours du soleil&#8217; Port-au-Prince, \u00c9d. Imprimerie des Antilles, 1962 (Mis en sc\u00e8ne par Faubert Bolivar, 1999 \u00e0 Port-au-Prince) ; &#8216;Promesse&#8217; Port-au-Prince 1963 ; &#8216;Et caetera&#8217; Port-au-Prince 1967 et Port-au-Prince, \u00c9d. Atelier Fardin 1974 ; &#8216;Ces \u00eeles qui marchent&#8217; Port-au-Prince,  \u00c9d. Spirale, 1969; et  Port-au-Prince, \u00c9ditions M\u00e9moire 1992 ; &#8216;Margha, Les tambours du soleil&#8217; et &#8216;Ces \u00eeles qui marchent&#8217;, r\u00e9imprim\u00e9s en facsimile avec des po\u00e9sies de Ren\u00e9 Depestre, Roger Dorsinville et Roland Morisseau) \u00c9d. Nendeln:Kraus Reprint, 1970 ; &#8216;Herbes folles&#8217; Port-au-Prince 1982 ; &#8216;Ping-Pong politique&#8217; Port-au-Prince 1987 ; &#8216;Cara\u00efbe&#8217; Port-au-Prince 1982 et Port-au-Prince \u00c9ditions M\u00e9moire, 1995 ; &#8216;Anthologie po\u00e9tique&#8217; \u00c9dition \u00e9tablie et pr\u00e9sent\u00e9e par Lyonel Trouillot, Paris \u00c9d. Actes Sud 2003.<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nShort Stories : &#8216;Il faut d\u00e8s fois que les dieux meurent&#8217; (\u00ab La petite s\u0153ur aux cheveux corbeaux \u00bb, \u00ab Les fianc\u00e9s du Maquis de Ch\u00e2teau \u00bb, \u00ab Les alouettes du miroir \u00bb, \u00ab Fleurs de qu\u00e9nepiers et mariage d&#8217;enfants \u00bb, \u00ab Le Pr\u00e9sident et les ballons stupides \u00bb, \u00ab Il faut d\u00e8s fois que les dieux meurent \u00bb) Port-au-Prince 1992 ;<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nThetre : &#8216;Rose morte&#8217; Port-au-Prince 1962 (texte mim\u00e9ographi\u00e9) ; &#8216;Boukman, ou le rejet\u00e9 des enfers. Port-au-Prince 1963 (texte mim\u00e9ographi\u00e9) ; &#8216;Escargots&#8217; Port-au-Prince 1965 (texte mim\u00e9ographi\u00e9) ; &#8216;Monsieur de Vastey&#8217; Port-au-Prince \u00c9ditions Fardin, 1975.<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nIn English : &#8216;Massacre River&#8217; translated into English by Linda Coverdale, published by New Directions 2005 (preface by Edwidge Danticat and introduction by Lyonel Trouillot).<\/p>\n<p style=\"text-align: center\">***<\/p>\n<h1><em>\u00a0\u00a0<\/em><br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nWalking Islands<\/h1>\n<p>[published in RN06 in December 1992,<br \/>\noriginal text in French by Publisher Spirale, Port-au-Prince 1969, translated in English by John Taylor]<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\n1 \u2013<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nO my land of my gransmother of my first loves my last<br \/>\nstaggering in the arms of the beach<br \/>\nas if you had had one glass too m<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nany of your<br \/>\nvagabond sky<br \/>\ntake me into your bed!<br \/>\nfor if I have to listen to you telling me your stories<br \/>\nfunny with Malice<br \/>\nit has to be in your body<br \/>\no my land<br \/>\nthat I feel your heat intoxicating me like a dawn!<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nThe old men say : &#8220;come the water is ready with sagebrush with rosemary with rum. At the spring with seven heads the signs were traced and the breeze sang : &#8220;the land will be soft with the flesh of the moon favorable to your return. But no more of this land oh! swear it on the head of the angels no more of this land your steps o you who come from afar will not leave!&#8221;<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\n3 \u2013<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nThe language of the frontiers is a loud one&#8230;<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nI know the lost voices of the seamen of my country O<br \/>\nmy town hopping on the hills of the Monts<br \/>\nCartaches you come back to me as surf as sea gulls as shipwrecks<br \/>\nMy town si&#8217;mbi your dives into the palaces between two waters.<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nI say for you o my country my love never too strong<br \/>\nmore vertiginous than sea in rejoicing<br \/>\nwild like a mountain wood fire<br \/>\nmy love for islander prisoner of the fierce beaches<br \/>\nwhich take you by the waist my fairy with spring-water eyes<br \/>\nhook to your hair noisy birds<br \/>\no my country in the step of travelling shores<br \/>\nmy country with pure water wings<br \/>\nI say for you my love smelling of wedding dress<br \/>\nardent as a Sunday of organ-playing<br \/>\nwhich takes you by the waist my fairy with dawn-like laughter<br \/>\nasks to harness the land to your victory<br \/>\nand sculpts gigantic gardens in your tow<br \/>\nwhere flamming climates beat about :<br \/>\nMartinique<br \/>\nInague<br \/>\nAntigue<br \/>\nLike a grand phosphorous ballet<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\n5 \u2013<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nChild I had my bouts of delirium<br \/>\nAnd I took an exquisite delight in putting things in their places :<br \/>\nbridges between the red clouds at the high houses of my town<br \/>\nI wanted everything to be movement and to carry me away in a kind of carnaval The quays were familiar to me which drew me very far away over the ocean I rediscover in my distant childhood<br \/>\nthis voracious desire to knock down the seas which surround me<br \/>\nAh these storms the wedged smell of the vetivers the orations of the grand sister at the porcelaine Virgin&#8217;s feet&#8230; In this country of my childhood.<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nI&#8217;ve always been certain that an island moves absolutely I made mine budge Heavy as a castle Sometimes it flew On its white wings<br \/>\nbeaches ran where naked children played with big green balls, happy heads full of popular melodies, of hasty laughs<br \/>\nWhole nights I followed it I gave it the steps of a migrating people<br \/>\nO peregrine people! Horizons! Vertigo!<br \/>\nSometimes it was a wounded bird Scarlet branches and grains of blood!<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\nRen\u00e9 Philoct\u00e8te<br \/>\nPublisher Spirale, Port-au-Prince 1969<br \/>\n<em>\u00a0\u00a0<\/em><\/p>\n<p style=\"text-align: center\"><em>\u00a0\u00a0<\/em>***<br \/>\n<em>\u00a0\u00a0<\/em><br \/>\n<em>\u00a0\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ren\u00e9 Philoct\u00e8te was born in 1932 in Haiti, died in 1995. He co-founded the literary movement &#8216;Spiralisme&#8217; in the sixties with Jean-Claude Fignol\u00e9 and Frank\u00e9tienne. Poet, he also writes plays.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[250,64],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/20170"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=20170"}],"version-history":[{"count":1,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/20170\/revisions"}],"predecessor-version":[{"id":22552,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/20170\/revisions\/22552"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=20170"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=20170"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=20170"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}