Exercice 26: « Toy » de Mabi David, traduit de lâanglais original
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Exercice 26: « Toy » de Mabi David, traduit de lâanglais original

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Exercice 25: « Scheherazade » de Richard Siken, traduit de lâanglais original
An Excerpt from "Love Me Tender"
I donât see why love between mothers and sons should not be exactly like other loves. Why we cannot cease to love. Why we cannot fall apart. I donât see why we cannot lose care, once and for allâ about loveâ a faux kind of love, of all forms of love, even this one, why we must absolutely love each other, in families and elsewhere, when we tell stories with no end to ourselves or to each other. I wonder who invented it, when it happened, if itâs a kind of fad, a neurosis, a delirium, which are economic interests, political springs. I wonder what theyâre hiding from us, what we want with this grand story of love. I look at others and I only see lies and madness. When did we stop with love? Why couldnât we? I must know. Iâm asking myself this question.
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Exercise 24: An English translation of a snippet from Constance Debré's Love Me Tender, translated from the original French.
Reckless
Your little girlfriend Doesnât want it tonight Because sheâs too frigid So you go see me Because you know Iâm Out of control
Iâll be gentle, Iâll suck liquorice I can be rough, Iâll take a beating How you consider me slip In my indifference: Iâm reckless
All men know it They know the way And they have the key For them itâs not a big deal After all Iâm nothing But someone out of control
So donât be afraid See me in fifteen minutes And youâll be satisfied You know weâre friends The moment you donât forget To reign me in.
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Exercise 23: An English translation of Jacques Duval's song "Déréglée", translated from the original French.
Archive of Longing Vol. 2
NoÂč fearÂČ. NoÂł shameâŽ.
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Âč The space the place in which you face / abysmal as in unyielding / the birds in migration in the field
ÂČ [âŠ] spit it out from the abstract blob in your mind to your throat, to give you the illusion that it is now out there.
Âł Your face in the shape / of a voice, unlocked / the hammer the timpani the sound / the prayer spat / the shape of your mouth
⎠In offering myself nude, I feel the need to apologize for being seen.
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Exercise 22:Â Weave something out of the words based on todayâs Co-Star prompt. Each footnote was extracted from an archive of notes with the highlighted word appearing in the same paragraph.

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Archive of Longing vol. 1
GoÂč outsideÂČ andÂł look⎠forâ” theâ¶ moonâ·.
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Âč I didnât expect him to be gentle.
ÂČ I believe that underneath this muck there is something pure. I believe that the veil can be lifted.
Âł Love has three crime scenesâ
⎠There are images better left behind.
â” I think of love as defiance against tradition, of love as a devotion to questions.
â¶ Who wouldâve known that spring and cotton could be fertile as soil?
â· What else can be seen in a dark room aside from the dark?
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Exercise 21: Create a loose story out of the words based on today's Co-Star prompt. Each footnote was extracted from an archive of notes with the highlighted word appearing in the same paragraph.
Ăthique de Travail
S'asseoir dehors l'aprĂšs-midi et voir les arbres grandir ou sâallonger sur le lit trĂšs tĂŽt et pas se lever; tous les deux sont bons. Le fini est en train de faire; je nâai pas besoin de faire.
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20e Exercice: Une traduction de William Bronk, "Work Ethic", traduit de l'original anglais.
Naa Koây Mga Nakita
Naa koây nakita nga naglingkod sa kalo sa usa ka tawo luspad siya gakurog naa siyaây ginahulat⊠di na importante kung unsa⊠ang giyera⊠ang katapusan sa kalibutan... imposible para sa iya mulihok o musturya ug ang usa pa naaây usa nga gapangita sa iyang kalo nga nangluspad pud ug siya pud, gakurog ug nagahisgot sa iyang kaugalingon nga way kahumanan: akong kalo⊠akong kalo⊠nga gapugong na kahilakon. Naa koây nakita nga gabasa ug balita naa koây nakita nga gasaludo sa bandila naa koây nakita nga nakasuot og puro itom naa siyaây orasan usa ka orasan nga naaây kadena usa ka pitaka usa ka marka na gipasidunggan ug usa ka antipara. Naa koây nakita nga ginabira iyang anak sa kamot ug gashagit⊠naa koây nakita nga naaây iro naa koây nakita nga naaây espada sa iyang sungkod naa koây nakita nga gahilak naa koây nakita nga nisulod sa simbahan naa koây nakita nga nibiyaâŠ
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Exercise 19:Â Tula ni Jacques Prevert, ngalan "J'en ai vu plusieurs...", gihubad gikan sa orihinal na Pranses.
Gikan sa âJe ne suis pas sortie de ma nuitâ
Enero
Pirme siya galibog sa iyang kwarto ug sa akong opisina. Pagkabukas niya sa purtahan, naa siyay mabatyagan na mali. Kahuman, iyang hinayon og sira ang purtahan. Makita nako ang pagsaka sa huwiranan, na daw abi niya na walay tao sa likod sa purtahan.
Ginatago niya iyang labhanon sa iyang unlan. Karong gabii, gahuna ko sa iyang mga labhanon nga punog dugo nga iyang ginasuksok sa ubang labhanon sa attic hangtod sa adlaw sa paglaba. Halos 70 anyos na ko, nagatan-aw kaniya, naikag. Ug karon, punog tae ang iyang labhanon.
Karong gabii samtang gatrabaho ko, nadunggan nakog misaka ang iyang tingog, kalma, na murag naa sa teatro, sa sala, abay nako. Gasturya siya sa usa ka bata nga wala sa kwarto: âGabii na, anak. Kailangan na nimo muuli sa inyo.â Nihagikgik siyag katawa sa sobrag kalipay. Napabutang ko sa akong mga kamot sa akong mata, na daw nalunod sa kaulaw. Wala mi sa teatro, ari lang ang akong mama nga gasturya sa iyang kaugalingon.
Naa koy nakit-an na sulat na iyang gisugdan: âPauline, langga, dili ko makatakas sa kaduloman.â Karon, wala na siya gasulat. Murag sulat kini sa usa ka babae nga di na nako kaila. Nahitabo pa ni adtong niaging bulan.
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Exercise 18: Snippet gikan sa "Je ne suis pas sortie de ma nuit" ni Annie Ernaux, gihubad gikan sa orihinal na Pranses.
Exercise 17: Writing prompt, paired with an image.

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Some Notes on Reading in French
To read in French, armed with a limited vocabulary, is to cruise the language, to caress it, without really getting into the matter of its flesh. What used to be hard becomes easy, which is to say that the glue that makes the words cohereâ the grammarâ becomes the only thing I understand. While practicing, I trip over grammatical mistakes. In practice, I cling onto these grammatical structures.
I see the branches but not the leaves. I cruise the waves without the waterâs embrace. It is walking in a dark room while knowing the layout of the furniture. It is caressing my loverâs skin without her body with me in the room.
Practical Practices
If my lover forgets to wake me with a kiss, what should I worry about?
In great pain, what would the body learn that it doesn't already know?
What does the heart learn that it has not already understood about regret?
What do trees enjoy when it is the same wind that passes through their heads every day?
What could two dogs do that would go unnoticed by others?
What does the worker wash her face with to hide from the sun?
How many dogs from different families were suspicious of each other?
What is discovered about silence after the fire truck has passed?
What does the heart learn that it already understands?
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Exercise 16: A poem composed of phrases gleaned from an AI-question generator, after Cyril Wong's Practical Aim.
A Note on Translations
Translating French to English is relatively harder than the other way around. Itâs like munching on something inchoate and gnawing it into something palatable. The French have a lot of unnecessary words in English, an excess of letters that need not be uttered. Although by way of poetic license, I can make the poem more beautiful as I manipulate its literal translations into something that flows better. To paraphrase Rilke, itâs like feeling the raindrops with a coat on, only that the one under the rain must find pleasure in the gentle pricks of the raindrops on their covered shoulders.
I unmask the poem and give it another mask. Both masks are made of the same material, one made to be a certified copy of the other, yet the copy in itself holds as much weight as the original.
An Excerpt from "La Plus SecrÚte Mémoire des Hommes"
âBut I want you, yes. This wasnât only about your body or desire.â
â So what was it about, then? She rushed towards me, like a tornado.
â You never assume what you think. You always talk of nuance, of complexity. You believe it is that, to be intelligent, to be mature, to have oneâs thoughts? On the gravest of subjects, even of the most ordinary ones, your thoughts are permanently balanced. You want. And the second after, you no longer want. You believe and doubt the same sentence. A life of maybeâs! Is that what you want? One never knows what you think. The world for you is a fine line of a ridge between two abysses. In the beginning, on this night, when I saw that you did not come, I wanted you for that; I was disappointed because I had wanted and you uttered equally this want. But in thinking about it, itâs your general attitude toward the world or before the world that you are frustrated. What do you care about? To what desire do you submit? To what are you faithful? Even in the debates on The Labyrinth of the Inhuman, you seem indifferent, like if we saw ourselves ignited, only then would you be interested. But how about you, where is your fire?
I want you to cross things and people like how ghosts travel through walls. We stick to you at a time when you also seem attached. But one night, you left; when we woke up, your place beside us is cold and we donât know why nor where you left for. We only know that you will not come back. People are not attempts, not laboratory experimentsâ I am not a fucking laboratory rat, Diegane. People are not literary subjects that are always available, not sentences to be knitted in your soul with a wry smile. Do you know that Musimbwa has more than you? You are alike in many ways, but he knows how to see people. He is on earth, with us. He fucks when he must fuck, drinks when he must drink, comforts when he can, unafraid of yielding, of deception. That is a man. That is the best a writer can be. He is warm. You, you are cold. Blind to the people, to the world. You believe yourself to be a writer. The man in you is dead. Do you understand?
--
Exercise 15: An excerpt from Mohamed Mbougar Sarr's La plus secrÚte mémoire des hommes, translated from the original French.
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Exercise 14: A writing prompt based on Dorianne Laux's Late October.

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The Little Prince, ch. 1
When I was 6 years old, I saw, one time, a magnificent image, in a book about the Virgin Forest called âLived Historiesâ. It showed a boa constrictor that ate a wildcat. Here is a copy of the drawing.
It says in the book: Boa constrictors take their prey whole, without chewing. Afterwards, they cannot move anymore and will sleep for 6 months for them to digest it.
So I reflected a lot on the adventures of the jungle and I, in turn, with a crayon, did my first drawing. My drawing number 1. It was like this:
I showed my masterpiece to important people and I asked them if my drawing made them afraid.
They responded: Why would a hat scare us?
My drawing did not illustrate a hat. It illustrated a boa constrictor that ate an elephant. So I drew the interior of the boa constrictor, so the important people would understand. They always need explanations. My drawing number 2 was like this:
The important people advised me to set aside the drawings of boa constrictors, both interior or exterior, and rather interest myself with geography, history, calculus, and grammar. It was thus, at the age of 6, I abandoned a magnificent career in painting. I have been discouraged by the failure of my first and second drawings. The important people never understood anything by themselves, and itâs tiring for the children to always and always give them explanations.
So I have chosen another career and I learned how to drive airplanes. I flew a little around the world. And geographyâ itâs exact, it served me a lot. I have learned how to recognize, at first glance, la Chine de lâArizona. Itâs very useful, if one gets lost in the middle of the night.
Thus, I have had, my whole life, a pile of contacts with a heap of serious people. I lived in a lot of places of important people. I saw them very close. That hadnât improve my opinion much.
When I met someone who seemed serious, I tested her by showing her drawing number 1 which I have always kept. I wanted to know if she really was comprehensive. But always, she answered me: Itâs a hat. So I stopped talking to her about boa constrictors, not even the Virgin Forest, nor the stars. I put myself in their shoes. I talked to them about bridge, golf, politics, and neckties. And the important people were very happy to know a man who was also reasonable.
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Exercise 13: An English translation of the first chapter of The Little Prince by Antoine de Saint-Exupery, translated from the original French.
La bougie que tu portes repoussera les ombres pour un instant mais tu dois te souvenir ta bougie n'est pas la fin de la morosité c'est plutÎt un simple outil pour éclairer ton chemin à travers les temps sombres devant toi.
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12e Exercice: Une traduction d'un tweet de Plague Poems, de l'original anglais vers le français.