One might think the operation is finished when a perfect shine comes to life under the soft brush. But the same insistent hand covers the glossy surface again with polish, rubs it, dulls it, makes the cream penetrate the heart of the leather, and then brings forth, under the same brush, a double and really definitive gloss sprung from the depths of the leather. The wonders achieved in this way are then exhibited to the connoisseurs. In order to appreciate such pleasures of the boulevard, you ought to see the masquerade of youth taking place every evening on the main arteries of the city.
Between the ages of sixteen and twenty the young people of Oran “Society” borrow their models of elegance from American films and put on their fancy dress before going out to dinner. With wavy, oiled hair protruding from under a felt hat slanted over the left ear and peaked over the right eye, the neck encircled by a collar big enough to accommodate the straggling hair, the microscopic knot of the necktie kept in place by a regulation pin, with thigh-length coat and waist close to the hips, with light-colored and noticeably short trousers, with dazzlingly shiny triple-soled shoes, every evening those youths make the sidewalks ring with their metal-tipped soles. In all things they are bent on imitating the bearing, forthrightness, and superiority of Mr. Clark Gable. For this reason the local carpers commonly nickname those youths, by favor of a casual pronunciation, “Clarques.”
At any rate, the main boulevards of Oran are invaded late in the afternoon by an army of attractive adolescents who go to the greatest trouble to look like a bad lot. Inasmuch as the girls of Oran feel traditionally engaged to these softhearted gangsters, they likewise flaunt the make-up and elegance of popular American actresses. Consequently, the same wits call them “Marlenes.” Thus on the evening boulevards when the sound of birds rises skyward from the palm trees, dozens of Clarques and Marlenes meet, eye and size up one another, happy to be alive and to cut a figure, indulging for an hour in the intoxication of perfect existences.
There can then be witnessed, the jealous say, the meetings of the American Commission. But in these words lies the bitterness of those over thirty who have no connection with such diversions. They fail to appreciate those daily congresses of youth and romance. These are, in truth, the parliaments of birds that are met in Hindu literature. But no one on the boulevards of Oran debates the problem of being or worries about the way to perfection. There remains nothing but flappings of wings, plumed struttings, coquettish and victorious graces, a great burst of carefree song that disappears with the night.
From here I can hear Klestakov: “I shall soon have to be concerned with something lofty.” Alas, he is quite capable of it! If he were urged, he would people this desert within a few years. But for the moment a somewhat secret soul must liberate itself in this facile city with its parade of painted girls unable, nevertheless, to simulate emotion, feigning coyness so badly that the pretense is immediately obvious.
Be concerned with something lofty! Just see: Santa-Cruz cut out of the rock, the mountains, the flat sea, the violent wind and the sun, the great cranes of the harbor, the trains, the hangars, the quays, and the huge ramps climbing up the city’s rock, and in the city itself these diversions and this boredom, this hubbub and this solitude. Perhaps, indeed, all this is not sufficiently lofty. But the great value of such overpopulated islands is that in them the heart strips bare. Silence is no longer possible except in noisy cities.
From Amsterdam Descartes writes to the aged Guez de Balzac: “I go out walking every day amid the confusion of a great crowd, with as much freedom and tranquillity as you could do on your garden paths.” [2]
Chapter II, The Desert in Oran
Obliged to live facing a wonderful landscape, the people of Oran have overcome this fearful ordeal by covering their city with very ugly constructions. One expects to find a city open to the sea, washed and refreshed by the evening breeze. And aside from the Spanish quarter,[3] one finds a walled town that turns its back to the sea, that has been built up by turning back on itself like a snail. Oran is a great circular yellow wall covered over with a leaden sky.
In the beginning you wander in the labyrinth, seeking the sea like the sign of Ariadne. But you turn round and round in pale and oppressive streets, and eventually the Minotaur devours the people of Oran: the Minotaur is boredom. For some time the citizens of Oran have given up wandering. They have accepted being eaten.
It is impossible to know what stone is without coming to Oran. In that dustiest of cities, the pebble is king. It is so much appreciated that shopkeepers exhibit it in their show windows to hold papers in place or even for mere display. Piles of them are set up along the streets, doubtless for the eyes’ delight, since a year later the pile is still there. Whatever elsewhere derives its poetry from the vegetable kingdom here takes on a stone face.
The hundred or so trees that can be found in the business section have been carefully covered with dust. They are petrified plants whose branches give off an acrid, dusty smell. In Algiers the Arab cemeteries have a well-known mellowness. In Oran, above the Ras-el-Ain ravine, facing the sea this time, flat against the blue sky, are fields of chalky, friable pebbles in which the sun blinds with its fires. Amid these bare bones of the earth a purple geranium, from time to time, contributes its life and fresh blood to the landscape.
The whole city has solidified in a stony matrix. Seen from Les Planteurs, the depth of the cliffs surrounding it is so great that the landscape becomes unreal, so mineral it is. Man is outlawed from it. So much heavy beauty seems to come from another world.
If the desert can be defined as a soulless place where the sky alone is king, then Oran is awaiting her prophets. All around and above the city the brutal nature of Africa is indeed clad in her burning charms. She bursts the unfortunate stage setting with which she is covered; she shrieks forth between all the houses and over all the roofs. If one climbs one of the roads up the mountain of Santa-Cruz, the first thing to be visible is the scattered colored cubes of Oran.
But a little higher and already the jagged cliffs that surround the plateau crouch in the sea like red beasts. Still a little higher and a great vortex of sun and wind sweeps over, airs out, and obscures the untidy city scattered in disorder all over a rocky landscape. The opposition here is between magnificent human anarchy and the permanence of an unchanging sea.
This is enough to make a staggering scent of life rise toward the mountainside road.
There is something implacable about the desert. The mineral sky of Oran, her streets and trees in their coating of dust— everything contributes to creating this dense and impassible universe in which the heart and mind are never distracted from themselves, nor from their sole object, which is man. I am speaking here of difficult places of retreat. Books are written on Florence or Athens.
Those cities have formed so many European minds that they must have a meaning. They have the means of moving to tears or of uplifting. They quiet a certain spiritual hunger whose bread is memory. But can one be moved by a city where nothing attracts the mind, where the very ugliness is anonymous, where the past is reduced to nothing? Emptiness, boredom, an indifferent sky, what are the charms of such places? Doubtless solitude and, perhaps, the human creature.
For a certain race of men, wherever the human creature is beautiful is a bitter native land. Oran is one of its thousand capitals.
Chapter III, Sports
The Central Sporting Club, on rue du Fondouk in Oran, is giving an evening of boxing which it insists will be appreciated by real enthusiasts. Interpreted, this means that the boxers on the bill are far from being stars, that some of them are entering the ring for the first time, and that consequently you can count, if not on the skill, at least on the courage of the opponents. A native having thrilled me with the firm promise that “blood would flow,” I find myself that evening among the real enthusiasts.
Apparently the latter never insist on comfort. To be sure, a ring has been set up at the back of a sort of whitewashed garage, covered with corrugated iron and violently lighted. Folding chairs have been lined up in a square around the ropes. These are the “honor rings.” Most of the length of the hall has been filled with seats, and behind them opens a large free space called “lounge” by reason of the
