Le Parcellaire

Le Parcellaire Content : La Bastide de Sérou, rue d’Arize - Foix - 14 July
La Tour Lafont - Pamiers -18 July
Giant chestnut trees - Le Temps des Cerises - The wild Boar - Land Parcel 234-235, 21 July
Faydit de Brouzenac - 22 July
Mr de la Bastide
Apple-trees, Notre Dame de Sabart, Land Parcel 20, 8 August
Mr l’Escoussière, Land Parcels 228, 229, 242, 251, 9 August
Mimine at Eychenat
From one mill to another ...
Mélanie of the Goats, 11th August
The Knight of the ferruginous waters, Baron of Alzen
The black bicycle
Land Parcels 169, 172,12 August - The Arize / Mr Fallacy
Land Parcels 229, 234, 228, 13 August – Mr L’Escoussière / Norbert Casteret
Land Parcels 58, 78, 79, 14 August - Pompeia Primilla
Parcels 52, 54 - Carrier Pigeons
Land Parcel 640, 15 August - The Land Parcel of God
The Colonel Bravadida
Honoré d’Urfé - L’Astrée - Bathylle - Leda - Mr L’Escoussière - 26 July, Land Parcel 88
Xanthippe and Socrates - The Pear-trees - Land Parcel 85 bis, 27 July
The Fountain-basin-wash house - Land Parcel 1002, 28 July
The Garum - La Balmo - Land Parcel 998
Pierre Bayle - Toulouse Lautrec - Yvette Guilbert - Wednesday 30 July, Land Parcels 1017/1018
Abbé Breuil - Father Teilhard de Chardin - Prehistory - Elohin, Jahwe, God of Pity - Land Parcel 104, 1 August
A miner’s pick - 2 August
The Wild Boar - 2 August
Mr Fallacy - Land Parcels 87, 88, 89, 3 August
La Madelon - La Der-des-Ders (1914-1918) - Mr Limebrick - Massat - 4 August
The Farrier - Land Parcel 1002, 5 August
The Blacksmith - Mr Irjava-scriptter - Pepi’Stieni- Land Parcel 87, 7 August
The Mill of Malarnaud
Festos de Fouix (Festival of Foix), 8 September

The Blacksmith - Mr Irjava-scriptter - Pepi’Stieni- Land Parcel 87, 7 August


            Mr Irjava-scriptter, the blacksmith, accompanied by a kind blond bitch, comes to drink a glass of fresh water at the fountain (official pretext) and asks me without ceremony whether it is true that the builder from Ninive will redo the roof : he himself who had him work for him, finds that this man’s tariffs are much on the high side and that he has found a far more reasonable artisan from Toulouse, who will rerender the façade for him. The conversation quickly turns to the subject which grips him entirely : agriculture is a hard trade and one which cannot be improvized. Shall I find a tenant easily to keep the property going or do I have in mind to take care of everything myself ?  “In any case, that’s less easy than holding a pen”, he lets out to me half mocking, half concerned. It seems to me, again, that I hear the harsh voice of this REFAS sword-carrier from the Aude accusing me, in the image of any buffoon  (ô  Jean Gabin !) of not giving a damn about the future of the small agriculturers of our regions and whom I had allowed myself, in return, to ask - in the language of my ancestors -  how many of his own he had resting in the little cemetery where my family, my grand-family and my great-grand-family have been lying for “milo nau-cent jaoupos” , as on occasion my grandmother Marie remarked, who did not always care for the niceties of counting procedures, quite the opposite to her brother Pepi ‘Stieni, a railwayman, counting and recounting, like his white sheep in former times, the black panting locomotives (with a weakness for the 801 !) leaving for Saint-Couserans via the gradient of the magnificent Viaduct of Vernajoul and the tunnels of Cadarcet (“quai d’Orsay !”, in the words of Mr Pitchfork) for whose passage Marie de Sarbos,  who had not known school,  ritually lit a candle.

            The countryside depopulates and repopulates, the city-dwellers come back into the phantom-villages,  the bisons reoccupy the plains,  the Indians dash forward from their “tepees”, bows and arrows in hand. One rediscovers artisanship, one makes the mills of former times turn, one opens small shops, one revives collapsed ovens in order to bake there the new bread, one reactivates the language of our fathers and their faith unadulterated and one sings in the grooves like any Emma Calvé who encouraged her brothers at the plough, knowing how helpful the voice is, supremely troubling the hearts of fashionable society, if not that of the Devil of Rennes-le-Château.*

*Cf : Les Saltimbanques, Operetta by Louis Ganne (1862 - 1923), created in Paris at the Gaîté Lyrique 30 December 1899

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