{"id":40427,"date":"2022-06-27T14:12:10","date_gmt":"2022-06-27T12:12:10","guid":{"rendered":"https:\/\/charleroi-pourlapalestine.be\/?p=40427"},"modified":"2022-06-27T14:37:26","modified_gmt":"2022-06-27T12:37:26","slug":"ecrire-notre-propre-histoire-note-de-lecture-de-the-stone-house-de-yara-hawari","status":"publish","type":"post","link":"https:\/\/charleroi-pourlapalestine.be\/index.php\/2022\/06\/27\/ecrire-notre-propre-histoire-note-de-lecture-de-the-stone-house-de-yara-hawari\/","title":{"rendered":"\u00c9crire notre propre histoire : note de lecture d’une nouvelle de Yara Hawari"},"content":{"rendered":"

Haidar Eid commente le livre de Yara Hawari \u00ab\u00a0The Stone House\u00a0\u00bb<\/em><\/p>\n

\"\"

B\u00e2timents d\u00e9peupl\u00e9s dans le village de Lifta, \u00e0 l’ouest de J\u00e9rusalem, le 6 mars 2022. Le village de Lifta, qui se trouve juste \u00e0 l’ext\u00e9rieur de J\u00e9rusalem, est abandonn\u00e9 depuis que l’arm\u00e9e isra\u00e9lienne a chass\u00e9 les derniers de ses habitants palestiniens en 1948. Photo : Wajed Nobani\/APA Images<\/p><\/div>\n

 <\/p>\n

Haidar Eid<\/strong><\/a>, 16\/6\/2022<\/p>\n

\u00ab\u00a0The Stone House\u00a0\u00bb<\/em><\/a> de Yara Hawari<\/strong> est l’histoire d’un traumatisme palestinien sans fin, enracin\u00e9 dans la Nakba.<\/strong> Mais c’est aussi un t\u00e9moignage de fermet\u00e9, de r\u00e9sistance et, j’ose le dire, d’espoir.<\/p>\n

\"\"<\/p>\n

 <\/p>\n

Il se trouve que je donnais mes derniers cours de critique litt\u00e9raire, o\u00f9 je discutais avec mes \u00e9tudiants de termes litt\u00e9raires tels que le r\u00e9alisme et la question de savoir si la litt\u00e9rature peut le transcender et aller \u00ab\u00a0au-del\u00e0 du r\u00e9alisme\u00a0\u00bb<\/em> , pour ainsi dire, lorsque j’ai commenc\u00e9 \u00e0 lire la \u00ab\u00a0novella\u00a0\u00bb <\/em>[roman court] de Yara Hawari,<\/strong> The Stone House<\/em>. Mais s’agit-il d’une novella, c’est-\u00e0-dire d’un genre litt\u00e9raire qui fictionnalise la r\u00e9alit\u00e9 ? Il est rare que je finisse de lire une fiction d’une traite, mais ce livre \u00e9tait une exception.<\/p>\n

Dans mon autre cours sur le genre, nous lisons des textes palestiniens et sud-africains, de Ghassan Kanafani<\/strong> et Njabulo Ndebele<\/strong>, o\u00f9 nous discutons de l’histoire du point de vue du colonis\u00e9 et de la mani\u00e8re dont elle offre une alternative \u00e0 l’histoire officielle, c’est-\u00e0-dire \u00e0 la version plus dominante du colonisateur. Nous comparons ensuite l’histoire de la Palestine<\/strong> et de l’Afrique du Sud<\/strong> et concluons que l’apartheid et le sionisme ont tous deux cr\u00e9\u00e9 un r\u00e9cit historique dominant qui cherche \u00e0 \u00e9liminer tous les autres r\u00e9cits.<\/p>\n

C’est pourquoi j’ai trouv\u00e9 la (non-)fiction de Yara \u00e9tonnante ! \u00c9crit\/narr\u00e9 du point de vue de trois \u00ab\u00a0personnages\u00a0\u00bb<\/em> repr\u00e9sentant trois g\u00e9n\u00e9rations de Palestiniens des ann\u00e9es 1920 et 1930, puis de 1948 (la g\u00e9n\u00e9ration de la Nakba<\/strong>) et enfin de 1968, apr\u00e8s la Naksa<\/strong>, lorsque toute la Palestine historique est tomb\u00e9e aux mains des troupes sionistes. Le centre de la nouvelle, \u00e9tant une histoire palestinienne, est bien s\u00fbr la Nakba et son impact sur le p\u00e8re, la grand-m\u00e8re et l’arri\u00e8re-grand-m\u00e8re de Yara<\/strong>, racont\u00e9e sur un ton m\u00e9lancolique. En fait, \u00e9tant moi-m\u00eame Palestinien, je dirais certainement que c’est l’histoire de ma propre famille qui m’a \u00e9t\u00e9 racont\u00e9e par ma m\u00e8re et ma grand-m\u00e8re sous la forme de hekaya<\/strong><\/em>, de contes, notre forme d’histoire orale qui a maintenu notre r\u00e9cit en vie malgr\u00e9 toutes les tentatives des puissances plus h\u00e9g\u00e9moniques de l’effacer. Dans la nouvelle de Yara<\/strong>, elle est parfois racont\u00e9e de mani\u00e8re directe, et parfois sous forme de flux de conscience, personnel et collectif.<\/p>\n

Mahmoud<\/strong>, le p\u00e8re de Yara, se voit consacrer le premier chapitre pour nous faire part de l’impact direct de la Nakba sur sa vie, m\u00eame s’il est n\u00e9 quelques ann\u00e9es apr\u00e8s. Mahmoud est un citoyen palestinien de seconde classe en Isra\u00ebl, vivant sous le coup des lois racistes d’Isra\u00ebl, un \u00ab\u00a0absent pr\u00e9sent\u00a0\u00bb,<\/em> un rappel constant du p\u00e9ch\u00e9 originel d’Isra\u00ebl, \u00e0 savoir le nettoyage ethnique de la Palestine, et il doit en payer le prix fort.<\/p>\n

Le deuxi\u00e8me chapitre est racont\u00e9 par sa m\u00e8re, Dheeba,<\/strong> une femme b\u00e9douine courageuse et \u00e9loquente, mari\u00e9e \u00e0 un fellah (agriculteur\/paysan) et qui doit faire face \u00e0 ce fait en plus d’\u00eatre Palestinienne. Bien que Dheeba soit analphab\u00e8te, le social et le politique sont abord\u00e9s de mani\u00e8re fascinante \u00e0 travers sa conscience.<\/p>\n

Le troisi\u00e8me chapitre est consacr\u00e9 \u00e0 Hamda<\/strong>, l’arri\u00e8re-grand-m\u00e8re de Yara, qui nous ram\u00e8ne au d\u00e9but du si\u00e8cle, lorsque la Palestine \u00e9tait d’abord sous occupation ottomane, puis sous le colonialisme britannique, na\u00efvement bien accueilli par les Palestiniens sur la base d’une fausse promesse de libert\u00e9.<\/p>\n

Ce qui relie les trois personnages, et le reste du peuple palestinien, c’est la Nakba. Edward Said<\/strong><\/a> l’a tr\u00e8s bien exprim\u00e9 dans After the Last Sky,<\/em><\/strong> o\u00f9 il voit une ligne entre la vie personnelle de chaque Palestinien et la Nakba. Le th\u00e8me de presque tous les \u00e9crits de Ghassan Kanafani<\/strong><\/a> tourne autour de cet \u00e9v\u00e9nement horrible. La plupart des po\u00e8mes de Mahmoud Darwish<\/strong><\/a> portent sur l’identit\u00e9 palestinienne apr\u00e8s la Nakba. Et Handala<\/strong> de Naji Al Ali<\/a><\/strong> est le fils de la Nakba. Le livre de Yara ne fait pas exception.<\/p>\n

… [Mahmoud] a d\u00e9couvert que les r\u00e9cits de la Catastrophe<\/strong> se posaient lourdement et douloureusement dans son esprit. Il pouvait les imaginer de mani\u00e8re tr\u00e8s vive, avec angoisse, comme s’il s’agissait de ses propres souvenirs. Ils \u00e9clipsaient le pr\u00e9sent et brouillaient les distinctions dans le temps et entre les g\u00e9n\u00e9rations.<\/p><\/blockquote>\n

Comme si Yara d\u00e9crivait mes propres sentiments !<\/p>\n

C’est l’histoire de hekayas<\/strong><\/em> personnelles, d’un traumatisme sans fin, dont le centre est la Nakba. Mais en m\u00eame temps, c’est une exposition de Sumud\/r\u00e9sistance<\/strong>, muqawama\/r\u00e9sistance<\/strong>, Thaakera\/m\u00e9moire<\/strong>, Hawiyya\/identit\u00e9<\/strong> et… j’ose dire, d’ESPOIR !<\/p>\n

C’est pourquoi j’ai d\u00e9cid\u00e9 de conclure cette note par une citation de Patrice Lumumba<\/strong>, le premier Premier ministre d\u00e9mocratiquement \u00e9lu de la R\u00e9publique d\u00e9mocratique du Congo. :<\/p>\n

\u00ab Un jour, l\u2019histoire aura son mot \u00e0 dire, mais ce ne sera pas l’histoire qu’on enseigne \u00e0 l\u2019ONU, \u00e0 Washington, Paris ou Bruxelles [ou Tel Aviv], mais l’histoire qu\u2019on enseignera dans le pays lib\u00e9r\u00e9 du colonialisme et de ses marionnettes.<\/p>\n

L’Afrique [la Palestine] \u00e9crira sa propre histoire et ce sera une histoire de gloire et de dignit\u00e9 \u00bb.<\/p><\/blockquote>\n

\u00b0\u00b0\u00b0\u00b0\u00b0<\/p>\n

Publi\u00e9 le 16 juin 2022 sur Mondoweiss<\/a>
\nTraduction : Fausto Giudice, Tlaxcala<\/a><\/p>\n

\"\"Haidar Eid<\/strong> <\/a>est \u00e9crivain et professeur de litt\u00e9rature postcoloniale \u00e0 l\u2019universit\u00e9 Al-Aqsa \u00e0 Gaza<\/strong>, apr\u00e8s avoir enseign\u00e9 dans plusieurs universit\u00e9s \u00e0 l\u2019\u00e9tranger. V\u00e9t\u00e9ran dans le mouvement des droits nationaux palestiniens, c\u2019est un commentateur politique ind\u00e9pendant, auteur de nombreux articles sur la situation en Palestine.<\/p>\n","protected":false},"excerpt":{"rendered":"

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