himself out at the foot of a thorn bush. He’s always wearing his long homespun robe, frayed at the sleeves and at the hem, and the long white cloth that he wraps around his head and neck. He is long and thin like a vine, with lovely brown hands and ivory-colored fingernails, and feet made for running. But it’s his face that Lalla likes most of all because it doesn’t resemble any of the people who live here in the Project. It’s a very thin, smooth face, a rounded forehead and very straight eyebrows, and large dark eyes that are the color of metal. His hair is short, almost frizzy, and he doesn’t have a mustache or a beard. Yet he seems strong and sure of himself, with a very direct way of looking at you, fearlessly examining you, and he knows how to laugh when he wants to, with a laughter that rings out and makes you happy right away.
Today Lalla finds him easily because he isn’t hiding. He’s simply sitting on a large rock, staring straight ahead in the direction of the herd of goats. He’s not moving. The wind lightly flares his brown tunic away from his body, lifts the end of his white turban. Lalla walks over to him without calling out because she knows he heard her coming. The Hartani has a sharp ear, he can hear the leap of a hare on the far end of a hill and he will point out planes in the sky to Lalla long before she has detected the sound of their motors.
When she’s very near to him, the Hartani stands up and turns around. The sun shines on his black face. He smiles and his teeth also shine in the light. Even though he’s younger than Lalla, he’s just as tall as she is. He’s holding a small blade with no handle in his left hand.
“What are you doing with that knife?” Lalla asks.
Feeling tired from her long walk, she sits down on the rock. He remains standing in front of her, balancing on one leg. Then all of a sudden he leaps backward and starts running over the rocky hill. A few minutes later he brings back a handful of reeds that he cut in the swamps. Smiling, he shows them to Lalla. He’s panting a little, like a dog who has run too fast.
“They’re lovely,” says Lalla. “Are they for making music?”
She doesn’t really ask that. She murmurs the words, making gestures with her hands. Every time she speaks, the Hartani stands still and looks at her intently because he’s trying to understand.
Lalla might be the only person he understands and she the only one who understands him. When she says “music,” the Hartani jumps up and down, holding out his long arms as if he were going to dance. He whistles between his teeth so loudly that the goats and their buck startle on the slope of the hill.
Then he takes a few of the cut reeds and joins them between his hands. He blows into them, and it makes a strange, slightly husky music, like the call of nighthawks in the dark, a sad sort of music, like the chant of Chleuh shepherds.
The Hartani plays for a moment without catching his breath. Then he holds out the reeds to Lalla, and she plays in turn, while the young shepherd stands still, his dark eyes bright with pleasure. They continue playing like that, taking turns blowing into the reed tubes of diVerent lengths, and the sad music seems to be stemming from the land, drenched in white light, from the holes of the underground caves, from the sky itself in which the slow wind is stirring.
From time to time they stop, breathless, and the young boy bursts out with his ringing laughter, and Lalla starts laughing too, without knowing why.
Then they walk across the fields of rocks, and the Hartani takes Lalla’s hand, because there are so many sharp rocks that she doesn’t know about between the tufts of brush. They jump over the little drystone walls, zigzagging through the thorn bushes. The Hartani shows Lalla everything there is in the fields of stones and on the slopes of the hills. He knows all the hiding places better than anyone: those of the praying mantises and of leaf
Today Lalla finds him easily because he isn’t hiding. He’s simply sitting on a large rock, staring straight ahead in the direction of the herd of goats. He’s not moving. The wind lightly flares his brown tunic away from his body, lifts the end of his white turban. Lalla walks over to him without calling out because she knows he heard her coming. The Hartani has a sharp ear, he can hear the leap of a hare on the far end of a hill and he will point out planes in the sky to Lalla long before she has detected the sound of their motors.
When she’s very near to him, the Hartani stands up and turns around. The sun shines on his black face. He smiles and his teeth also shine in the light. Even though he’s younger than Lalla, he’s just as tall as she is. He’s holding a small blade with no handle in his left hand.
“What are you doing with that knife?” Lalla asks.
Feeling tired from her long walk, she sits down on the rock. He remains standing in front of her, balancing on one leg. Then all of a sudden he leaps backward and starts running over the rocky hill. A few minutes later he brings back a handful of reeds that he cut in the swamps. Smiling, he shows them to Lalla. He’s panting a little, like a dog who has run too fast.
“They’re lovely,” says Lalla. “Are they for making music?”
She doesn’t really ask that. She murmurs the words, making gestures with her hands. Every time she speaks, the Hartani stands still and looks at her intently because he’s trying to understand.
Lalla might be the only person he understands and she the only one who understands him. When she says “music,” the Hartani jumps up and down, holding out his long arms as if he were going to dance. He whistles between his teeth so loudly that the goats and their buck startle on the slope of the hill.
Then he takes a few of the cut reeds and joins them between his hands. He blows into them, and it makes a strange, slightly husky music, like the call of nighthawks in the dark, a sad sort of music, like the chant of Chleuh shepherds.
The Hartani plays for a moment without catching his breath. Then he holds out the reeds to Lalla, and she plays in turn, while the young shepherd stands still, his dark eyes bright with pleasure. They continue playing like that, taking turns blowing into the reed tubes of diVerent lengths, and the sad music seems to be stemming from the land, drenched in white light, from the holes of the underground caves, from the sky itself in which the slow wind is stirring.
From time to time they stop, breathless, and the young boy bursts out with his ringing laughter, and Lalla starts laughing too, without knowing why.
Then they walk across the fields of rocks, and the Hartani takes Lalla’s hand, because there are so many sharp rocks that she doesn’t know about between the tufts of brush. They jump over the little drystone walls, zigzagging through the thorn bushes. The Hartani shows Lalla everything there is in the fields of stones and on the slopes of the hills. He knows all the hiding places better than anyone: those of the praying mantises and of leaf
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