The mouse doesn’t try to escape. She could. She cannot. She is spellbound. She can’t leave the cat alone. The cat could let the mouse go. The cat lets go. Savours a moment of boredom. Lights a cigarette. Or a cigarillo. So this is how it is, thinks the mouse. Is it a game? The mouse stops moving. She reflects. In her linden robe, one might imagine an oak or arbutus tree. She looks more and more like a dead leaf. She grows bigger. Her four warm centimetres fill the frame.
Where is she, the cat asks. I don’t know either, I say. The game was
endless, I was enjoying myself. We felt fear, we felt desire, for the heart it was a test of endurance, there was no malice, we thought we would die, maybe we did—is she under some foliage, waiting for the postman to tell her what to do? By dint of running, of fleeing, of hiding, she has become extraordinary. Humanity, in sum. Her tail is like a strand of thread
And she was waiting for the postman. Condemned? Or saved, given back to the light, to the forest’s generosity, to the Ocean’s gift? Or saved for another day?
She was waiting for the verdict.
It wasn’t ‘the postman’ she was waiting for, it was:
life or its refusal
the battle’s outcome. The battle unfolded like all battles on the other continent
the Letter
the Transfusion
the last minute.
He had said I’ll call you in five minutes. And ever since she’s been waiting for the fifth minute. The first four minutes ticked by according to the rhythm of her watch and since then she’s been waiting for the fifth. Or was it the fifth minute whose seconds were growing slower and slower? Or time wandered off at the beginning of the fifth minute, and History seemed to be stopped in the middle of a chapter, like a lazy river
she was waiting for the postman to come and fix it
Around the clock you could count on the postman
To deliver the paper meals that nourished the box
But he didn’t tell, his words were sealed
Give, the postman didn’t do that,
He promised, he passed on the secrets, but only in passing
Tragedy’s understudy
The one who comes and knows not and for naught
The cruel, ignorant, innocent messiah
A traveller from distant lands, who comes in passing, who passes on
For a hundred years the same postman
Understudy for permanence in the absence of permanence
His name? Postman.
Almost the same since the days of the stable
Considerable had begun in 1298, in response to a need of Marco Polo’s
Always dressed in the same practical outfit, all that has changed is
His mount,
Nowadays the postman came on a motorbike,
Hers at least, her personal courier; and it is now in the postman story, after sixty long years of waiting, that the first change occurred: she no longer heard the postman cross the invisible distance, finished the buzz of wings stirring space some two kilometres from the House, vroom-vrooming like an earthbound airplane, the long thread of the wait was cut, henceforth the delivery person came without warning the way a carp rises silently through the water’s thicknesses, the bike’s lips are sealed
thus, much of the postman panoply no longer exists, I thought,
never again will I hear him crossing the earth; there are still such things as letters but the species is endangered, I’ll try to disappear before it does, I tell myself, there’s still the word post, and its countless relays and riders still travel the roads of my mental post office. Horses die in the end, but the letters mailed from London in 1588 continue to arrive from across continents at the House that is my beacon over the ocean of lands
[The mouse doesn’t try to escape.]
Hélène Cixous’s book Rêvoir is set during France’s first Covid lockdown. The narrator has taken refuge in the country, in ‘the House.’ Small events – the postman’s daily visit, the ‘Death of a mouse’ — unfold momentously: “It wasn’t ‘the postman’ she was waiting for, it was: life or its refusal…the battle’s outcome.”
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“[The mouse doesn’t try to escape.]” from RÊVOIR: by Hélène Cixous.
Published by Seagull Books in October 6, 2024.
English Copyright © 2025 by Beverley Bie Brahic.
All rights reserved.
Reproduced by Poetry Daily with permission.
Hélène Cixous was born in Oran, Algeria, and is emeritus professor of literature at the Université Paris VIII, where she founded and directed the Centre de recherches en études féminines. She is the author of more than seventy works of fiction, plays, and collections of critical essays; recent titles in English translation include So Close, Zero’s Neighbour: Sam Beckett, Hemlock, and Philippines.
Leslie Roth
Beverley Bie Brahic is a Canadian poet and translator who lives in France. Apple Thieves, her fifth collection, appeared from Carcanet (UK) in 2024. White Sheets (CB editions) was a finalist for the 2013 Forward Prize. She has translated Hélène Cixous, Yves Bonnefoy, Francis Ponge, Guillaume Apollinaire (The Little Auto, winner of the 2013 Scott Moncrieff Translation Prize), Charles Baudelaire and Giacomo Leopardi.
A genre-defying account of confinement and its literary echoes through history.
As the pandemic sweeps through Paris in March 2020, the writer HC faces a choice: stay in Paris or flee to the countryside? The weight of historical responses bears down on her—those of her ancestors and Jewish writers during moments of persecution.
Still uncertain, she flees to the country at the last moment, with her cats and her daughter, with her diaries and notebooks. What will she do here? Write? What will she write about? Can she write about the experience of being confined? She will write about her cats; every day she will observe their lives and take notes about how they cope with being housebound, and later, in the spring, with the outdoors.
Thucydides, Defoe, Camus, Kafka—she will compare her experiences with those of others who have been confined by malady or persecution. She will write of her mother, who fled impending disaster on many occasions and always kept a suitcase ready.
She too will endure. The important thing is to have a good death, surrounded by those she loves, not locked down in a hospital.
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