The Yale Anthology of Twentieth-Century French Poetry

Marie Étienne 1938–

menton, france

É

tienne spent part of her adolescence in Vietnam and Africa. After mov-

ing to Paris, she became assistant to the poet Antoine Vitez, a job she

held for ten years. Many of her works are dedicated to him. Étienne has

also served on the board of the reviews Action poétique and La Quinzaine lit-

téraire. She is currently a member of the Poetry Committee of the Centre na-

tional du livre. Principal works: La Longe, 1981; Lettres d’Idumée, 1982; Katana: La

Clef du sabre, 1993; Anatolie, 1997; Roi de cent cavaliers, 2002.

Nightmares

First of all. The House has remained in its old spot, he goes in search of it,
recognizes the neighborhood but night has fallen while he’s been following the
streets parallel to the Sea, those which go West. Since he’s found nothing he goes
in the opposite direction, that is, the streets parallel to the Palace, those which go
South. But meanwhile, preoccupied by how to go about it, he forgets what he’s
looking for or what he’s looking for has disappeared, has shifted shapes, or the
night is really too black: the House is nowhere to be found.
Except once. He discovers it with a party in full swing, unknown people and
former friends mill around and smile. The garden on the other hand is deserted,
near the pond a rickety signboard bears his name.
—You see, one of the guests remarks to Cook, you aren’t forgotten.
Second of all. He’s getting ready for a trip. All that counts is leaving. Unfortu-
nately, his suitcases surround him on the station platform like barriers to prevent
it. Several possibilities present themselves.
He arrives late. From far o√, all that can be seen of the train is its smoke while
on the platform his own silhouette is one more barrier.
He’s on time. How should he go about it? The weight stymies him. The train
starts o√. Without him.
He gets on happily. All the suitcases around him are his children. Too bad too
bad! He’s gotten on the wrong train, he’s gotten on the end of the train, in short,
the right train leaves. Without him.
He gets on happily at the head of the train. The train starts o√, but his
peculiar neighbor spreads himself out over the seat. Leaving his luggage there.
Cook wanders, relaxed, towards the rear of the train. The landscape distracts him