The patience of a true enthusiast is unlimited. The fight announced for nine o’clock has not even begun at nine thirty and no one has protested. The spring weather is warm and the smell of a humanity in shirt sleeves is exciting. Lively discussion goes on among the periodic explosions of lemon-soda corks and the tireless lament of the Corsican singer. A few late arrivals are wedged into the audience when a spotlight throws a blinding light onto the ring. The fights of the young hopefuls begin.
The young hopefuls, or beginners, who are fighting for the fun of it, are always eager to prove this by massacring each other at the earliest opportunity, in defiance of technique. They were never able to last more than three rounds. The hero of the evening in this regard is young “Kid Airplane,” who in regular life sells lottery tickets on cafe terraces. His opponent, indeed, hurtled awkwardly out of the ring at the beginning of the second round after contact with a fist wielded like a propeller.
The crowd got somewhat excited, but this is still an act of courtesy. Gravely it breathes in the hallowed air of the embrocation. It watches these series of slow rites and unregulated sacrifices, made even more authentic by the propitiatory designs, on the white wall, of the fighters’ shadows. These are the deliberate ceremonial prologues of a savage religion. The trance will not come until later.
And it so happens that the loudspeaker announces Amar, “the tough Oranese who has never disarmed,” against Perez, “the slugger from Algiers.” An uninitiate would misinterpret the yelling that greets the introduction of the boxers in the ring. He would imagine some sensational combat in which the boxers were to settle a personal quarrel known to the public. To tell the truth, it is a quarrel they are going to settle. But it is the one that for the past hundred years has mortally separated Algiers and Oran. Back in history, these two North African cities would have already bled each other white as Pisa and Florence did in happier times.
Their rivalry is all the stronger just because it probably has no basis. Having every reason to like each other, they loathe each other proportionately. The Oranese accuse the citizens of Algiers of “sham.” The people of Algiers imply that the Oranese are rustic. These are bloodier insults than they might seem because they are metaphysical. And unable to lay siege to each other, Oran and Algiers meet, compete, and insult each other on the field of sports, statistics, and public works.
Thus a page of history is unfolding in the ring. And the tough Oranese, backed by a thousand yelling voices, is defending against Perez a way of life and the pride of a province. Truth forces me to admit that Amar is not conducting his discussion well. His
argument has a flaw: he lacks reach. The slugger from Algiers, on the contrary, has the required reach in his argument. It lands persuasively between his contradictor’s eyes. The Oranese bleeds magnificently amid the vociferations of a wild audience. Despite the repeated encouragements of the gallery and of my neighbor, despite the dauntless shouts of “Kill him!”, “Floor him!”, the insidious “Below the belt,”
“Oh, the referee missed that one!”, the optimistic “He’s pooped,” “He can’t take any more,” nevertheless the man from Algiers is proclaimed the winner on points amid interminable catcalls. My neighbor, who is inclined to talk of sportsmanship, applauds ostensibly, while slipping to me in a voice made faint by so many shouts: “So that he won’t be able to say back there that we of Oran are savages.”
But throughout the audience, fights not included on the program have already broken out. Chairs are brandished, the police clear a path, excitement is at its height. In order to calm these good people and contribute to the return of silence, the “management,” without losing a moment, commissions the loudspeaker to boom out “Sambre-et-Meuse.” For a few minutes the audience has a really warlike look. Confused clusters of com-batants and voluntary referees sway in the grip of policemen; the gallery exults and calls for the rest of the program with wild cries, cock-a-doodle-doo’s, and mocking catcalls drowned in the irresistible flood from the military band.
But the announcement or the big fight is enough to restore calm. This takes place suddenly, without flourishes, just as actors leave the stage once the play is finished. With the greatest unconcern, hats are dusted off, chairs are put back in place, and without transition all faces assume the kindly expression of the respectable member of the audience who has paid for his ticket to a family concert.
The last fight pits a French champion of the Navy against an Oran boxer. This time the difference in reach is to the advantage of the latter. But his superiorities, during the first rounds, do not stir the crowd. They are sleeping off the effects of their first excitement; they are sobering up.
They are still short of breath. If they applaud, there is no passion in it. They hiss without animosity. The audience is divided into two camps, as is appropriate in the interest of fairness. But each individual’s choice obeys that indifference that follows on great expenditures of energy.
If the Frenchman holds his own, if the Oranese forgets that one doesn’t lead with the head, the boxer is bent under a volley of hisses, but immediately pulled upright again by a burst of applause. Not until the seventh round does sport rise to the surface again, at the same time that the real enthusiasts begin to emerge from their fatigue. The Frenchman, to tell the truth, has touched the mat and, eager to win back points, has hurled himself on his opponent.
“What did I tell you?” said my neighbor; “it’s going to be a fight to the finish.” Indeed, it is a fight to the finish. Covered with sweat under the pitiless light, both boxers open their guard, close their eyes as they hit, shove with shoulders and knees, swap their blood, and snort with rage. As one man, the audience has stood up and punctuates the efforts of its two heroes.
It receives the blows, returns them, echoes them in a thousand hollow, panting voices. The same ones who had chosen their favorite in indifference cling to their choice through obstinacy and defend it passionately. Every ten seconds a shout from my neighbor pierces my right ear: “Go to it, gob; come on, Navy!” while another man in front of us shouts to the Oranese: “Anda! hombre!”
The man and the gob go to it, and together with them, in this temple of whitewash, iron, and cement, an audience completely given over to gods with cauliflower ears. Every blow that gives a dull sound on the shining pectorals echoes in vast vibrations in the very body of the crowd, which, with the boxers, is making its last effort.
In such an atmosphere a draw is badly received. Indeed, it runs counter to a quite Manichean tendency in the audience. There is good and there is evil, the winner and the loser. One must be either right or wrong. The conclusion of this impeccable logic is immediately provided by two thousand energetic lungs accusing the judges of being sold, or bought. But the gob has walked over and embraced his rival in the ring, drinking in his fraternal sweat. This is enough to make the audience, reversing its view, burst out in sudden applause. My neighbor is right: they are not savages.
The crowd pouring out, under a sky full of silence and stars, has just fought the most exhausting fight. It keeps quiet and disappears furtively, without any energy left for post mortems. There is good and there is evil; that religion is merciless. The band of faithful is now no more than a group of black-and-white shadows disappearing into the night. For force and violence are solitary gods. They contribute nothing to memory. On the contrary, they distribute their miracles by the handful in the present.
They are made for this race without past which celebrates its communions around the prize ring. These are rather difficult rites but ones that simplify everything. Good and evil, winner and loser. At Corinth two temples stood side by side, the temple of Violence and the temple of Necessity.
Chapter IV, Monuments
For many reasons due as much to economics as to metaphysics, it may be said that the Oranese style, if there is one, forcefully and clearly appears in the extraordinary edifice called the Maison du Colon. Oran hardly lacks monuments. The city has its quota of imperial marshals, ministers, and local benefactors. They are found on dusty little squares, resigned to rain and sun, they too converted to stone and boredom. But, in any case, they represent contributions from the outside. In that happy barbary they are the regrettable marks of civilization.
Oran, on the other hand, has raised up her altars and rostra to her own honor.
In the very heart of the mercantile city, having to construct a common home for the innumerable agricultural organizations that keep this country alive, the people of Oran conceived the idea of building solidly a convincing image of their virtues: the Maison du Colon. To judge from the edifice, those
