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Authors: Albert Cossery

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Goyen’s translation of
Laziness in the Fertile Valley
has been in a deep sleep for sixty years. At various intervals, the idea of rousing it was debated, but editors feared it had gone musty. In Cairo in early 2011, I had brought a few of Albert Cossery’s books with me. Egypt was in a state of euphoria: by overthrowing Hosni Mubarak’s thirty-year dictatorship, it had done what had seemed impossible. Reading his novels amid the exhilaration of the uprising, Cossery seemed irrelevant or, happily, wrong. Yet not long after, following the elections that installed the Muslim Brotherhood in power, the new rulers began to instate their vision for Egypt’s future. They granted themselves sweeping powers, restricted civil liberties, and imprisoned dissenters, in the midst of economic crisis and electrical blackouts. They called their plan — unsurprisingly — the
Nahda,
or Awakening Project. But after the Egyptian army stepped in to depose the new president, it was against Mukhtar’s statue of the Awakening that his supporters turned their anger. They spray-painted slogans and papered the failed leader’s portrait over the faces of the peasant and the sphinx. In the military’s attempt to disperse the demonstrators at the foot of the Awakening and elsewhere, over a thousand people were killed.

In an early short story, Cossery had imagined a battle between the city’s streetlights and the moon. “The street was deserted,” he wrote. “He saw only the poor street lamp, which was trying to show some signs of life in spite of the intense light of the moon. It looked like a human being, a humble person crushed down by the luxury and power of a tyrannical force against which it could do nothing. In this drama of the street, the moon personified the privileged minority in this world, and under its brilliance the poor street lamps died in their thousands.” Rather than imagining the moon as a benevolent orb, friend of lovers and poets, shining above the streetlamp — that artificial, politicized star — the moon is the despotic elite. And yet what remains if we, the lazy ones, have an enemy even in the moon?

We could shut our eyes against the lights. Sleep is refusal, a protest, a weapon. “I am always indignant,” said Cossery to an interviewer. “About what?” “Everything that I see.” In his first novel,
The House of Certain Death
, the young Cossery had ended on a note of high prophecy: “The future is full of outcries; the future is full of revolt. How to confine this swelling river that will submerge entire cities?” And yet, by his last novel,
The Colors of Infamy
, published in 1999, he writes of the hero, a charming pickpocket, “Ossama’s objective was not to have a bank account (the most dishonorable thing of all), but merely to survive in a society ruled by crooks, without waiting for the revolution, which was hypothetical and continually being put off until tomorrow.” The future is full of revolution; the revolution is forever in the future. The two possibilities cancel each other out, and what are we left with? Cossery’s philosophy of idleness emerges as a
via negativa
, a political mysticism of its own. All that’s left is to dive into the annihilating sweetness.

By the time he wrote
The Colors of Infamy
, Albert Cossery had lost his voice. Forced to undergo a laryngectomy after years of smoking, he could only hiss. Yet he preserved his routine as ever. He escaped the hospital to go to a café, wearing the ward pajamas. Pushed in a wheelchair by a beautiful blonde, he was as striking a sight as ever. In place of speaking, Cossery would write on notecards in a shaky yet elegant hand, a mischievous look in his eyes. “The loss of my voice gives me relief because I don’t have to respond to imbeciles.” “To look at pretty girls, there is no need to speak.” “I have nothing in common with the world.” “I am nothing except what is contained in my books.” “Read them, and you will know who I am. All I have to say is in my books.” In 2008, Cossery was made a Chevalier in the Légion d’honneur by President Sarkozy. He refused to accept.

Tawfiq al-Hakim’s three-hundred-year-old saints, having found they cannot live in this new world, retreat back into their cave. As they lay dying, delirious, they wonder whether it was all a dream. And whose dream was it — time’s dream, or their own? “Time is dreaming us,” one says to the other. “We dream Time,” the other replies. “Didn’t we live three hundred years in one night? I’m tired from the dream.” Time it stopped. On June 22, 2008, at ninety-four, Albert Cossery died in the room at the Hotel Louisiane where he had resided for sixty years.

“Men are asleep,” he wrote. “Time takes on a new dignity, relieved of men and their eternal wrangles.” The moon continues to do as it pleases: ostentation one night, austerity a few weeks later. But the sun, sinking its heavy head into the horizon every evening, is on our side.

ANNA DELLA SUBIN

This novel was first published in France in 1948, as
Fainéants dans la vallée fertile
, and is currently published under the Joëlle Losfeld imprint at Editions Gallimard.

All rights reserved. Except for brief passages quoted in a newspaper, magazine, radio, television, or website review, no part of this book may be reproduced in any form or by any means, electronic, or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the Publisher.

First published by New Directions as
The Lazy Ones
in 1949.
Reissued as a New Directions Paperbook (
NDP
1265) in 2013.
Design by Erik Rieselbach

Library of Congress Cataloging-in-Publication Data

Cossery, Albert, 1913–2008.

[Fainéants dans la vallée fertile. English]

Laziness in the fertile valley / Albert Cossery ; Translated from the French by
William Goyen.

pages cm

ISBN 978-0-811-21993-8 (e-book)

I. Goyen, William, translator. II. Title.

PQ2605.O725F313 2013

843'.914—dc23 2013027463

New Directions Books are published for James Laughlin
by New Directions Publishing Corporation
80 Eighth Avenue, New York 10011

ALSO BY ALBERT COSSERY
AVAILABLE FROM NEW DIRECTIONS