The Silence of the Spirits. Wilfried N'Sondé

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      FOREWORD

       “The Silence of the Spirits: From Civil Conflict to the War of Identities”

      Meeting is only the beginning of separation.

      Japanese Buddhist proverb

Following Le cœur des enfants léopards (2007), published in the Global African Voices series as The Heart of the Leopard Children in 2016, The Silence of the Spirits, initially published in French as Le silence des esprits in 2010, is Wilfried N’Sondé’s second novel. Born in Brazzaville in the Republic of the Congo, N’Sondé grew up in France. His work examines various facets of the postcolonial condition, the tenuous relationship between Africa and Europe, the post-migratory experience, and the challenges of belonging and integration. However, the pioneering spirit of his work stands out when he turns his attention to the multiple ways in which individuals negotiate identities and relationships in France, a country that has attempted to foreclose the colonial past without fully thinking it through or for that matter finding a path to addressing this historical legacy and its multicultural realities. As N’Sondé has claimed, the result has been the inevitable introduction of “questionable criteria in order to divide and categorize, driving us gradually further away from the essence of being and magic of words.”¹ This unwillingness to consider how the past ultimately continues to shape the future has introduced an awkward silence, one that is “not silence as in secret,” as Srilata Ravi has shown, “but silence as in language, . . . and as such becomes the shared space where cosmopolitanism as intelligence, curiosity and a challenge can operate. As both reason and affect, N’Sondé’s silence as communion is a metaphor for the practice of conversation, one that does not define itself as failed or completed. Cosmopolitanism as conversation does not end—hence it poses the challenge of continued engagement.”²

Even though the French Republic remains “one and indivisible” as enshrined in the first constitution of 1791, a principle that underscores the commitment to protecting the rights of all citizens regardless of ethnicity, religion, or other social associations, the fact remains that the equality of citizens simply does not exist. To this end, N’Sondé’s own background has always meant, even though in principle this should not be a factor, that, “depending on the context,” as Myriam Louviot has observed, “the author is considered either African or French, a spokesperson of sorts on issues of diversity.”³ Not surprisingly, N’Sondé has himself repeatedly commented on this question: “What is the point of me getting hoarse from explaining who I am or who I would like to be? There is nothing I can do. My thoughts are being kept in check. My words have no meaning. They believe they have summarized my ideas intelligently by reducing me to a series of nostalgic and exotic images, filled with a mixture of compassion and guilt, all well-intentioned. A romantic sketch, inherited from colonial haze and archaic prejudices.”⁴ How then has a novel such as The Silence of the Spirits been able to simultaneously explore such complex twenty-first-century issues while also advancing the conversation in meaningful ways?

After a long day at a Paris hospital where she works as a nurse’s aid, Christelle finally heads home on the regional commuter train. Daydreaming, dozing off, this young French woman’s focus eventually settles on the passenger facing her, a young man named Clovis Nzila. He is clearly distressed, out of place, and the reader learns that he is in fact a former African child soldier who has ended up in France as a sans-papiers, an illegal, undocumented migrant. As French psychoanalyst Charles Baudoin once wrote, “Nothing predisposes to fear like the conviction that we shall be afraid, and, above all, the conviction that we shall be afraid in certain specific conditions.”⁵ Somewhat unexpectedly then, Christelle reaches out to him, and these two passengers who otherwise might never have met find themselves on the same train, in a space in which time is temporarily interrupted, suspended long enough for a metaphorical and physical journey of discovery toward the other to begin.

      On the surface, they have little in common, but N’Sondé gradually discloses information about them that will provide the coordinates of their relationship, the circumstances in which discovery and openness to the other becomes conceivable. “Like mine,” Nzila realizes, “her heart had been broken during her childhood, a nightmare that haunts her and works on her behind her veil of oblivion even to this day. The shadows of her stepfather’s hands and gaze on her bare thighs. All the years of feeling defiled. A bitter wound in her stomach, a hideous scar covering the memory of it all.” We learn that, now living alone in a small apartment, she was molested as a child and was later the victim of domestic abuse at the hands of an alcoholic husband. As for Nzila, “Every day, I kept a low profile in Paris, walking with my head down and staring at my feet to avoid looking in front of me. I’d forgotten all about the dream, which risked ending up in bureaucracy, a file with some numbers stamped on it. I was running away, heading nowhere, to avoid being detained, enclosed behind bars, with wrists and ankles handcuffed, accused of having tried everything, defied every unimaginable danger, flirted with death a thousand times, suffered everyone’s contempt, and all I wanted was simply to live!” A shared history of violence brings them together, but their hybridity threatens the social order, the monolithism of a society in which difference has no place, yet in which those very differences structure and define social relations. In her professional environment, Christelle “was about making others happy,” and rather than be governed by fear, her impulse is instead to humanize those whose paths (it is worth noting that in Kikongo, for example, nzila means a passage, a path СКАЧАТЬ