The Executioner: A Testimony in the Memory of Stone
My soul is tied up to an old column.
I recall, in the slumber of the night,
its stone history.
I run my hand over the fossilisation of time
on its cold body.
My hand collides with its protrusions.
These are letters I don’t read,
mute because of their shackles.
And this is the sound of birds that landed in a tree
and stared at a horizon that could not fly
after they were used to kiss its cloud
and touch the water of crops in its kingdom.
If only this cyanosed master
didn’t make its branches blighted,
didn’t smash its roses with his stick
and didn’t order the serf gang
to take colours from every lily
to plant their blood in the ground
and chronicle their demise
or write the biographies of those who were arrogant
from the beginning of the old era:
Oh stone, that
never destabilised history
nor listened to
kings’ cunning!
Oh cruel one, yes,
that blasts water that God willed
that these fields
desire its drops!
Would you whisper what hurt you?
Or be crueler than tyranny!
Would you speak out about their injustice
and about their salt that they threw into the eye
of this sun?
Could you count on fingers
or over the walls of strongholds
how many carnations they captured,
how many immature ears of wheat they burned,
how many folk songs they erased
from the heart of that who loved the country
but never visited its gardens,
how many gazes they drove away,
how many eyelids they forced their lashes
to resign,
how many winters they aborted and how many springs,
how many clouds they tied up:
“Go wherever you want,
for your tax will always return to me,”
and to my child whom I taught
to rob children of their dreams
and to my possessions of this land’s gold dust:
its sea, its ink, its wheat, its tillage, its plain, its hill,
its cold, its heat, its breeze, its sirocco, its death, its resurrection,
its east, its west, its silence, its loudness, its sleep and its wake!
I am king in everything
and I own everything.
I am the history teacher and I am the country
and its executioner
so always listen to me!
Oh executioner,
who wanders in his eternal sin!
Oh, you, who sees darkness
and dissipates at dawn its sublime source!
Oh, you, who were removed from our pages
like a curse that eyes refuse to see its letters!
Oh, you, who polluted the rains of the fields with coercion!
Oh, you, who terrified the children’s dream
and confused our time
and marked the seasons’ times with fear!
Here our hearts have aimed their sparks at you
and torrential rains threw you with hailstones!
So leave, accompanied with our screams and neighs
and the wailing of thousands of bereaved people!
Leave, stained with the blood of the fields’ roses
you executed!
Leave! History will spit you out
like a bitterness in the throat that is difficult to swallow
or a fly that mistakenly landed!
Leave! The country and its people will curse you
and clouds frown as you pass by
and the country’s children would scream when you appear:
This is who dimmed the stars
and threw ashes upon the country.
This is the one who stole the light
and water was contaminated with his poison.
This is who used to call himself
our Sultan,
but in the history book he is the country’s executioner.
الجلاّد …..شهادة في ذاكرة الحجر
موثوقة الرّوح إلى سارية قديمة
أستعيد في هجعة اللّيل
تاريخها الحجريّ
أتحسّس انحفار الوقت
في جسدها البارد
تصطدم يدي بنتوءاتها
هذي حروف لست أقرؤها،
خرساء من أصفاد ها
وذا صوت أطيار وقفت على شجر
ورنت إلى أفق تعذّرأن يطير
كانت تقبّل غيمه
وتمسّ ماء الزرع في ملكوته
لو أنّ هذا السيّد المزرقّ
لم يعتل أغصانها
ولم يهشّم وردها بعصاته
ولم يشر لعصابة الأقنانْ
أن يأخذوا الألوان من كلّ زنبقة
كي يزرعوا في الأرض من دمهم،
ويؤرّخوا لزوالهم
أو يكتبوا سير الذين تغطرسوا
من أوّل العهد القديمْ:
يا أيّها الحجر الذي
لم يرض يوما
أن يقلب التاريخْ
أو ينصت إلى
مكر الملوكْ
ياأيها القاسي نعمْ
ومفجّر الماء الذي شاء الاله
أن تشتهي قطراته
هذي الحقول،
هلاّ همست بما ألمت
أو فلتكنْ أقسى من الجبروتْ،
هلاّ جهرت بظلمهم
وبمن رموْا من ملحهم في عين هذي
الشمس
هلاّ عددت على الأصابع
أو فوق جدران المعاقلْ
كم من قرنفلة سبوْا
كم من سنابل أحرقوا في حلمها
كم من مواويل محوا
في قلب من كان على بال البلاد
ولم يزر جنّاتها؟
كم من عيون شرّدوا
كم من جفون أجبروا أهدابها
أن تستقيل…
كم من شتاء أجهضوا كم من ربيعْ
كم من سحاب أوثقوا
“سيري يتها الغمامه
فخراجك أبدا إليْ”
وإلى طفلي الذي علّمته
أن يسرق الأطفال من أحلامهم
وإلى، ماملكت يدي من تبر هذي الأرض
من بحرها من حبرها من قمحها من حرثها من سهلها من تلّها من بردها من قيظها من نفحها من لفحها من موتها من بعثها من شرقها من غربها من صمتها من جهرها من
نومها من صحوها …
ملك أنا في كل شيء
وكل شيء أملكه
وأنا، معلّم التاريخ وأنا البلاد
وأنا جلاّدها
فلتنصتوا أبدا إليْ…
يا أيها الجلاّد …
يا أيّها المتجندل في غيّه الأبدي
يا مبصر الظلماء
ومبدّدا في الفجر،
منبعه السّنيْ
يا أيّها المخلوع من صفحاتنا
كشتيمة تأبى العيون حروفها
وملوّثا بالقهر أمطار الحقول
يا مفزعا حلُم الصّغار
ومربكا ميقاتنا
وموقّعا بالخوف ميقات الفصول
ها قد رمتك قلوبنا بشرارها
ورمتك بالأحجار أمطار السيولْ
فارحل مشيّعا بصراخنا وصهيلنا
وعويل الاف الثّكالى
وارحل ملوّثا بدماء من أعدمت
من ورد الحقول
ارحل سيبصقك التاريخ،
كمرارة في الحلق يعسر بلعها
وذبابة حطّت على وجه الخطا
ارحل ستلعنك البلاد بأهلها
ويكشّر الغيم بوجهك إمّا مررت
ويصيح أطفال البلاد إذا ظهرت
هذا الذي طمس النجوم
ورمى الرّماد على البلاد
هذا الذي سرق الضياء
وتلوّثت كل المياه بسمّه
هذا الذي كان يسمّي نفسه
سلطاننا
لكنّه في دفتر التاريخ جلاّد البلادْ
Translator’s Statement
This poem was written at the time of the Arab revolutions to express contempt with the injustices of the Tunisian ruler.
Faouzia Aloui, a prominent figure of the contemporary Tunisian literary and cultural scene is famous for her politics-laden writing, which has been argued by many to be both semantically profound and vivid and, at the same time, bold and subversive.
In this poem, she describes the ruler and his wrongdoings. It operates as a denunciation or a critique to Tunisian dictatorship. Having recourse to vivid imagery and rich diction, Aloui draws the reader into a poetry of denunciation and dissent without losing the poetic sap.
This latter element is challenging in the translation process. I hope I have done justice to Aloui’s poem, as I tried my best to be faithful to the spirit of denunciation and, at the same time, let the translated poem get easily into the reader’s heart.
Faouzia Aloui is a Tunisian poet and fiction writer. She was born in Kasserine in 1957. She holds a BA in Arabic language from the Ecole Normale Supérieure de Tunis (ENS) in 1981 and an MA in Arabic literature from the Faculty of Arts and Human Sciences of Sousse in 2009. Her poems and short stories have been published in numerous Tunisian and Arabic literary magazines in print and online. She is the author of several short story collections, including Ali and the Foal of Wind (1995), The Dye (1999), Fire in the Utopian City (2001), and The Ceramic Bird (2003), as well as five poetry collections titled, respectively, A Flying Isthmus (1997), The Sacrifice of Absence (2009), Free (2013), Indifference(2017), and The Autumn Mistress (2018).
Ali Znaidi (b.1977) lives in Redeyef, a mining town in southwest Tunisia. He is the author of several chapbooks, the latest of which is Against Darkness (Pen & Anvil Press, 2018). His translations into English have appeared in The Lifted Brow, InTranslation: a web-exclusive section of The Brooklyn Rail, International Poetry Review, Lunch Ticket, Columbia Journal Online, Samovar Magazine, Exchanges, Long River Review, Barricade: A Journal of Antifascism & Translation, MAYDAY Magazine and elsewhere. For more, visit aliznaidi.blogspot.com or follow him on X (formerly Twitter): @AliZnaidi.






