behind dark glasses.
Serial killers.
Papa Doc was the only star.
Tupac, the young leader who looks so much like Hector,
has conquered the Foreign Woman.
Tonight their savage kiss
on a reed mat on the floor
will drive all the warriors crazy
under the Cité ramparts.
Now Tupac is making political speeches.
He moves through Cité Soleil in a car.
Thinking heâs a real leader.
A loud voice and an itchy trigger finger.
Suddenly he becomes lucid and
sees himself for what he is: a loser.
Facing the camera.
Sitting in the shadows.
Tupac: âIf I stop, Iâm a dead man.
If I go on, Iâm a dead man.â
I feel my nephew shiver as if
he were facing the same choice.
This is a city where the killers
all want to die young.
Tupac falls at the height of his glory
in the dust of Cité Soleil.
Like his brother Bily.
Both killed by a frail young man
who suddenly stepped from the shadows.
The girl leaves with the TV crew.
On the cassette thereâs blood, sex and tears.
Everything the viewer wants.
Roll the credits.
An Emerging Writer
My nephew wants to be a famous writer.
The influence of the rock-star culture.
His father is a poet who gets death threats.
His uncle, a novelist living in exile.
He has to choose between death and exile.
For his grandfather it was death in exile.
Before you begin
you have time to think about fame
because once you write the first sentence
youâre up against
this anonymous archer
whose real target is your ego.
Later on.
In a comfortable armchair.
By the fireside.
Fame will come.
Too late.
The hope then will be
for a day without suffering.
The worst stupidity, it seems,
is to compare one era
to the next.
One manâs time
to anotherâs.
Individual times
are parallel lines
that never touch.
In the little room, my nephew and I
look without seeing each other.
We try to understand
who the other is.
On the narrow shelf I notice
some Carter Brown novels that once belonged to me.
To write a novel, I tell my nephew
with a sly smile,
what you really need is a good pair of buttocks
because itâs a job
like the seamstressâs
where you spend a lot of time sitting down.
You also need a cookâs talents.
Take a large kettle of boiling water,
add some vegetables
and a raw piece of meat.
Youâll put in the salt and spices later
before lowering the heat.
All the flavors will blend into one.
The reader can sit down to the feast.
Itâs like a womanâs job,
my nephew points out, worried.
Itâs true you have to be able to change
into a woman, a plant or a stone.
All three realms are necessary.
Watching the vein in his temple beat that way, I know heâs thinking fast. But you havenât explained the most important thing to me. What would that be? Itâs not just the story, itâs how you tell it. Then what? You have to tell me how to do it. You donât want to write something personal? Of course. No one can tell you how to be original. There must be tricks that can help. Itâs always better if you discover them yourself. But Iâll waste time. Thatâs the point: time doesnât exist in this job. I feel like Iâm all alone. And lost. What good is having an uncle whoâs a writer if he tells you he canât help you out? At least you know that much. A lot of young writers think they canât write because they arenât part of a network. Maybe I donât know how to write. You canât say that if you havenât spent at least a dozen years trying to find out. What do you mean? A dozen years to find out I canât write? Well, believe me, thatâs a conservative figure. So what good is the experience then? I canât tell you any more than that, Dany.
My sisterâs son is called Dany.
We didnât know you were going to come back, my sister told me.
The exile loses his spot.
He goes and gets himself a glass of juice, then heâs