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ISTUDY
Technical Communication
Technical Communication: A Design-Centric Approach is a compre-
hensive textbook for introductory courses in technical communica-
tion and professional writing.

Technical Communication takes a design approach to foundational

and emergent technical communication skills such as document
design, job applications and interviews, workplace collaboration,
and report writing, providing students with practical guidance on
matters of ethics, style, and problem-solving in a range of profes-
sional and organizational contexts.

Tis is a core textbook suitable for undergraduate courses in tech-

nical and professional communication.

Te book is supplemented by an innovative website featuring inter-

active simulations of various real-world technical communication
challenges. Visit https://microcore.byu.edu/

Jon Balzotti is an associate professor in the English department at

Brigham Young University, Provo, UT, where he teaches courses in
technical communication, proposal writing, and style. His research
interests include professional communication pedagogy, workplace
genres, and digital learning environments.
Technical Communication
A Design-Centric Approach

Jon Balzotti
First published 2022
by Routledge
605 Tird Avenue, New York, NY 10158
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 Taylor & Francis
Te right of Jon Balzotti to be identifed as author of this work has been asserted in
accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafer invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identifcation and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Balzotti, Jon, author.
Title: Technical communication : a design-centric approach / Jon Balzotti.
Description: Second edition. | New York, NY : Routledge, 2021. | Includes bibliographical
references and index.
Identifers: LCCN 2021014633 (print) | LCCN 2021014634 (ebook) |
ISBN 9780367438302 (hbk) | ISBN 9780367438234 (pbk) | ISBN 9781003006060 (ebk)
Subjects: LCSH: Communication of technical information.
Classifcation: LCC T10.5 .B344 2021 (print) | LCC T10.5 (ebook) | DDC 601/.4—dc23
LC record available at https://lccn.loc.gov/2021014633
LC ebook record available at https://lccn.loc.gov/2021014634
ISBN: 978-0-367-43830-2 (hbk)
ISBN: 978-0-367-43823-4 (pbk)
ISBN: 978-1-003-00606-0 (ebk)
DOI: 10.4324/9781003006060
Typeset in Minion Pro and Acumin Pro
by Chelsea Ames
Access the companion website: https://microcore.byu.edu/
Publisher’s note
Tis book has been prepared from camera-ready copy provided by the author.
Contents
Part I: Establishing a Framework

Chapter 1: What Is Technical Communication?

Te Basics � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 6

Chapter 2: Design-Centric Communication

Introduction to Design Tinking� � � � � � � � � � � � �12
Empathize � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �14
Defne � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �23
Ideate � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �26
Prototype � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �28
Test � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �31

Chapter 3: Style
What Is Style? � � � � � � � � � � � � � � � � � � � � � � � � � � �36
Plain Style� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �38
Persuasive Style � � � � � � � � � � � � � � � � � � � � � � � � � �72
Intercultural Communication � � � � � � � � � � � � � � �80

Chapter 4: Document Design

What Is Document Design?� � � � � � � � � � � � � � � � �93
Five Principles of Design � � � � � � � � � � � � � � � � � � �94
Color � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �108
Design-Centric Tinking � � � � � � � � � � � � � � � � � �114

[v]
ContEnts

Chapter 5: Ethics
Legality � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �122
Honesty� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �124
Confdentiality � � � � � � � � � � � � � � � � � � � � � � � � � �124
Quality � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �126
Professionalism� � � � � � � � � � � � � � � � � � � � � � � � � �127
Fairness� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �128
Objectivity � � � � � � � � � � � � � � � � � � � � � � � � � � � � �130

Part II: Mastering technical Genres

Chapter 6: Activity Reports

What an Activity Report Is � � � � � � � � � � � � � � � �137
How to Write an Activity Report � � � � � � � � � � �140
Design-Centric Tinking � � � � � � � � � � � � � � � � � �149

Chapter 7: Analytical Reports

What an Analytical Report Is � � � � � � � � � � � � � �156
How to Write an Analytical Report � � � � � � � � �158
Literature Reviews � � � � � � � � � � � � � � � � � � � � � � �170
Design-Centric Tinking � � � � � � � � � � � � � � � � � �190

[ vi ]
 ContEnts

Chapter 8: Proposals
What Is a Proposal? � � � � � � � � � � � � � � � � � � � � � � �196
How to Write a Proposal � � � � � � � � � � � � � � � � � � �197
Design-Centric Tinking � � � � � � � � � � � � � � � � � � �212

Chapter 9: Oral Presentations

Why Give an Oral Presentation? � � � � � � � � � � � �221
How to Give an Oral Presentation � � � � � � � � � � �224
Design-Centric Tinking � � � � � � � � � � � � � � � � � � �240

Chapter 10: Resumes, Cover Letters, & Interviews

Resumes, Cover Letters, & Interviews � � � � � � � �249
How to Write a Resume� � � � � � � � � � � � � � � � � � � �250
How to Write a Cover Letter� � � � � � � � � � � � � � � �260
How to Navigate an Interview � � � � � � � � � � � � � �267
Design-Centric Tinking � � � � � � � � � � � � � � � � � � �272

Chapter 11: Instructions

What Are Instructions? � � � � � � � � � � � � � � � � � � � �277
How to Write Instructions� � � � � � � � � � � � � � � � � �280
Design-Centric Tinking � � � � � � � � � � � � � � � � � � �297

[ vii ]
ContEnts

Chapter 12: Data Visualization

What Is Data Visualization?� � � � � � � � � � � � � � �305
How to Use Data Visualization � � � � � � � � � � � �313
Ethics of Data Visualization � � � � � � � � � � � � � � �316
Design-Centric Tinking � � � � � � � � � � � � � � � � � �317

Chapter 13: Technical Defnitions

What are Technical Defnitions?� � � � � � � � � � � �321
How to Write a Technical Defnition � � � � � � � �322
Design-Centric Tinking � � � � � � � � � � � � � � � � � �329

Chapter 14: Technical Descriptions

What Are Technical Descriptions?� � � � � � � � � � � 334
How to Write a Technical Description � � � � � � � 338
Design-Centric Tinking � � � � � � � � � � � � � � � � � � 351

Appendix A: Punctuation Guide

Comma � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �357
Colon � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �360
Semicolon � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �362
Hyphen � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �363
Em Dash � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �365
En Dash � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �367
Apostrophe � � � � � � � � � � � � � � � � � � � � � � � � � � � � �369
Quotation Marks � � � � � � � � � � � � � � � � � � � � � � � �370
Asterisk � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �372

[ viii ]
 ContEnts

Parentheses � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 374
Brackets � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 375
Ellipsis� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 377
Period � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 379
Exclamation Point � � � � � � � � � � � � � � � � � � � � � � � 380
Question Mark � � � � � � � � � � � � � � � � � � � � � � � � � � 382
Ampersand � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 383
Slash � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 385

Appendix B: Student Exercises

Transitional Words and Phrases � � � � � � � � � � � � 388
Parallelism � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 390
Active and Passive Voice � � � � � � � � � � � � � � � � � � 392
Verbosity� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 393
Strong Sentence Structure � � � � � � � � � � � � � � � � � 396
Imperative Mood � � � � � � � � � � � � � � � � � � � � � � � � 399
Purpose Statements � � � � � � � � � � � � � � � � � � � � � � 401
Precise Language � � � � � � � � � � � � � � � � � � � � � � � � 402
Titles and Subject Lines � � � � � � � � � � � � � � � � � � � 403
Natural Diction and Tone � � � � � � � � � � � � � � � � � 406

Appendix C: Supplementary Examples

Resumes and Cover Letters � � � � � � � � � � � � � � � � 410
Reports � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 414
Proposals� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 418
Instructions� � � � � � � � � � � � � � � � � � � � � � � � � � � � � 431
Technical Descriptions� � � � � � � � � � � � � � � � � � � � 448
Literature Review� � � � � � � � � � � � � � � � � � � � � � � � 449

[ ix ]
ContEnts

Acknowledgments
Associate Designer/Editor
Chelsea Ames

Contributors/Editors:
Lindsey Tanner
Matthew Baker
Lila Rice
Rebecca Cazanave

[x]
Preface
T echnical writing is a contemporary, relevant, and critical skill
for every employee today. Writing is most efective when it is both
well-written and adaptive, namely adaptive to your reader. Tink of
your reader as, above all, your end user. Te highest quality of writ-
ing is that in which you plan, brainstorm, compose, and revise with
your end users' needs in mind. Tose needs will determine your
writing style, your content, your choice of visuals, and your overall
document design, each of which may have important ethical and
legal entailments for you and the company for which you work.

Efective technical writers must learn to employ informed and

fexible processes for writing and speaking, including fnding or
creating ideas about which to write, collecting evidence and essen-
tial data, planning and drafing, editing and proofreading, and de-
signing or presenting a message meant for specifc end users. All of
these tasks require technical writers to analyze diferent aspects of
audience, their writing purpose, and context to convey information
clearly and efciently. If you can do this successfully, your commu-
nication skills will create previously unforeseen opportunities.

Te most efcient approach to the end goal of impressive technical

writing is through the lens of design thinking. Te design-centric
approach is applicable not only in design scenarios, but also when
creating a piece of technical writing.

[ xi ]
PrEFACE

Troughout this book, you’ll learn the communication structures

(or genres) typically used by technical writers in science and en-
gineering and about the processes that produce them, as well as
their organizational and stylistic conventions. In addition, you'll be
learning these techniques along with the useful viewpoint of design
thinking. Tis will ensure that you consider the end user and their
needs at all times from the beginning.

Starting with empathy is emblematic of the design-centered

thinking process, and it shows. Te result is an end product that
has thoughtfully met your end user's needs. At the same time, it's
equally important that technical writers learn to write in a correct,
clear, and direct style that allows readers to comprehend and use
technical information. Combining these two infuences will make
you a standout writer, as long as you are also able to read your own
work critically, without ego, and always willing to improve.

Tis book will aid you in developing the skills and attitude neces-
sary to become a professional technical writer and communicator.
Tese are the essentials—let’s master them together.

[ xii ]
Part I:
Establishing
a Framework
It’s important to understand a few establishing principles that will
frame how you approach any writing task. Te purpose of Part I is
to provide you with a context of what technical writing is, intro-
duce a design-centric model that will guide your writing process,
and provide instruction on principles of style, document design,
and ethics.
PArt I

Mastering these fve areas will prepare you to succeed in drafing

any technical document. As you move throughout the book and
learn more about specifc technical genres, you may want to refer
back to sections in Part I to better guide your progress and remind
yourself of what you have learned.

It’s important to note that efective writing isn’t a talent that some
people possess and others don’t. Learning and practicing frame-
works for writing and speaking will enable anyone to write and
communicate efectively. Te job of this textbook is to teach you
those frameworks—the practice is up to you.

Writing skills are highly sought-afer in the technical workplace.

People enjoy working with colleagues who are able to clearly com-
municate and do so in a respectful manner. Communication skills
help provide value to clients, resolve confict, and get work done
right the frst time.

Recent graduates who pursue technical and scientifc careers are

ofen surprised by the amount of writing required during their
day-to-day tasks. In fact, you’ll likely fnd that you spend between
25 and 40 percent of your workday using and creating technical
documents. Given the importance of these tasks in the technical
workplace, employers highly value technical writing skills.

[2]
 EstAblIshInG A FrAMEwork

https://images.app.goo.gl/JfSmFf5thHTNWtX58

[3]
PArt I

Approximately 50 percent of all employers take writing skills into

account during the hiring process. Many employers complain that
communication skills in general are lacking in college graduates
and those entering the workforce.

For example, the members of the American Institute of Aeronautics

(AIAA) ranked oral communication as the number one skill that
new hires needed to improve. Technical writing was number three.

According to the U.S. Bureau of Labor Statistics (BLS), while some

employers anticipate ofering short-term, job-specifc training to
technical communicators, having the basic skills and ability to
apply them in a variety of circumstances is a prerequisite to earning
many positions in today’s workplace.

If you have profcient technical writing skills you’ll have more suc-
cess both in starting a career and in succeeding in it than one who
chooses to forego developing such skills.

According to the BLS, job opportunities for those with good tech-
nical writing skills will continue to be plentiful. Taking time now
to hone your writing and overall communication skills is an invest-
ment in your professional success.

As you practice your technical writing skills, you’ll fnd that they
will help you become an invaluable employee in any organization.

[4]
 1
CHAPTER

What Is
Technical
Communication?
ChAPtEr 1

The Basics
In very practical terms, technical communication is used every day
by professionals and consumers to solve problems in the workplace.
Te motive of technical communication is to employ words and
images to help readers, not writers, accomplish their goals which
might include helping employees learn something important for
their job, perform a task on the job, or make critical decisions that
impact the long-term security of the company.

Whatever the goal, technical communication should be accessible,

clear, and easily understood so readers can accomplish whatev-
er they need by using the message you create. Now let’s lay some
groundwork by discussing the basics of technical communication.

Of course, to communicate, you must start with something you

want to express—information that is directed to someone, and for
our purposes we call that someone the “end user.”

Users in the domain of technical communication are the rhetorical

audience who need our documents for some particular workplace
purpose. Tey are the ones that we want to empathize with and
plan our writing around in order to give it the strongest efect.

For instance, say you are tasked with writing an internal-proposal

for your team’s latest brainstorm session. Te end user might be
your immediate supervisor, or even the board of directors at your

[6]
 tEChnICAl CoMMunICAtIon

company. Your end users in this scenario are the decision-makers:

the ones that will read your writing and determine whether or not
to spend resources on the new project.

While the example of a proposal is a particular genre of technical

writing, we should expand our defnition of technical communi-
cation to include presentations, reports, descriptions, instructions,
audiovisual forms, numerical communications, etc.

For instance, in a presentation, the technical communicator would

be considering the way a presentation looks and how the design of
their communication can help the user stay engaged and how the
design might also communicate credibility (or lack thereof).

It’s important to keep in mind that technical communication can

be used in a variety of forms and that elements of document design
can infuence whether an end user will read and understand the
message or whether the document appears confusing or frustrating.

Now we need to focus in on technical writing as a vital category

within technical communication, with a functional defnition of its
own. Technical writing can be defned as the delivery of practical,
scientifc, or mechanical information in a way that is clear, accu-
rate, and easily accessible for a specifc group of people. As we said
above, we defne those people as users, since the kind of writing
we’re talking about is used routinely by people to solve problems in
daily life.

[7]
ChAPtEr 1

Technical communication is also the way important information

is shared and passed on in scientifc or engineering sites and work-
places. Although there are a lot of types of technical writing, they're
all tied together by a defnition that includes the everyday goals of
the end user. Te defnitions below are not mutually exclusive, but
important to take into account as features and goals of good techni-
cal writing.

Technical writing should:

• Transmit what may be detailed and complex information as

quickly and clearly as possible. Although the material may be
difcult, your goal is to pass it on to your end user in a succinct
and efective manner. Communicate with appropriate complex-
ity, using the right vocabulary, for the user and situation. You
must know who your users are and what they need the infor-
mation for.

• Use standardized forms, called genres, that follow expected

and familiar conventions. In this way, technical users can un-
derstand more information on the frst read and avoid slogging
through an unfamiliar format. It’s the mark of a professional
to learn how to communicate in the genre of the community
you’re trying to inform or persuade. Anticipate what your end
user expects and communicate according to those expectations
through problem-solving and critical thinking.

[8]
 tEChnICAl CoMMunICAtIon

• Be objective. Objectivity is required in most instances of tech-

nical writing because the information is what’s important, not
the opinion of the writer. Being objective signals that the focus
is on facts, not feelings. Objectivity can assist in presenting a
message clearly, without imposing barriers that opinion or bias
can create, such as emotion-based disagreements or responses.

Even though technical writing requires objectivity and the human

element isn’t always present in the writing itself, the technical writer
should be conscious that her or his end user is made up of real peo-
ple with real problems.

Burying meaning in difcult jargon or convoluted phrasing (some-

times called “legalese,” “academese,” or any other “-ese” depending
on the audience) will frustrate the user’s goal of getting quickly to
the pertinent information they need. Rather, the meaning should be
clear and accessible so information is useful and comprehensible.

Attention to the conventions of technical writing, appropriate com-

plexity, proper objectivity, and consideration of the circumstances
and needs of readers will result in superior technical writing.

Technical writing isn’t just one kind of writing. You’ll have to

make choices and alter your style, the information you include, the
complexity of the information, and your tone (as well as a host of
other elements) depending on the writing situation. Tese elements
determine the genre of your communication.

[9]
ChAPtEr 1

Te genres (standardized forms) of technical writing can vary

greatly. Genre in technical writing is a kind of language. It’s the
mark of a professional to learn how to communicate in the genre
of the community you’re trying to inform or persuade. Your genre
and end user are critical elements to consider when creating a piece
of technical writing. It requires studying multiple examples of the
genre and lots of practice. In Part II you will learn how to master
the many diferent kinds of technical genres that you will encounter
in the workplace.

Attention to these aspects of technical writing will help insure your

eforts are successful. However, the very best technical writing is
aware of its user on a level that surpasses the ordinary. Writing
stands out when the end user has been taken into account before-
hand. We will discuss using empathy and the other steps of design
thinking in Chapter 2. When you successfully master the needs of
your user, your potential with a particular piece of writing increases
exponentially. Te goal is to be as user accessible (and efcient) as
possible.

Most novice writers focus on the end results of efective writing, but
experienced writers start with asking questions. Te purpose of the
next chapter is to help you fnd the right questions to ask to make
sure you write and design documents that help users. To aid you
in this process, this text uses the design-centric model to improve
your technical writing and communication skills.

[ 10 ]
 2
CHAPTER

Design-Centric
Communication
Chapter outline

I. Introduction to Design thinking

II. Empathize
III. Define
IV. Ideate
V. Prototype
VI. test
ChAPtEr 2

Introduction to Design Thinking

Most novice writers think of the writing process as just one thing:
writing. However, working professionals know that there’s a lot
more to writing than just sitting down and typing. Tis chapter is
about a writing process that draws heavily from design thinking to
create user-centered documents.

Design thinking is a creative strategy used by professionals who

thoughtfully consider how the products they create will be used by
real people. Tese products can range from scientifc inventions
to simple workplace practices like fling, but they all aim to solve
real-world issues.

https://images.app.goo.gl/nLY6uudU69ioVWCQ8

[ 12 ]
 DEsIGn-CEntrIC CoMMunICAtIon

Design-centric thinking originated in creative theory and grew

to encompass a way of thinking and approaching the world. Te
design-centered approach is composed of the following steps:
Empathize, Define, Ideate, Prototype, and Test. Te steps of the
design-centric approach are just as helpful when they are translated
into your writing process.

Adding writing vernacular to the fve design-centered steps might

look something like the following:
1. Empathize with your intended user.
2. Defne the purpose behind what you are writing.
3. Ideate and brainstorm your ideas.
4. Prototype and draf your message.
5. Test and revise your work.

Making use of design-thinking steps in the writing process provides

us with a way to empower our thinking before, during, and afer
the creation of a piece of technical writing. It is a strong base from
which to improve and fne-tune your writing process.

Te most impactful part of the design-centric approach is its spe-

cial focus on the user’s needs from the very beginning. Taking em-
pathy into account and thinking about your purpose and message
increases the strength and efectiveness of your writing.

Tese fve steps are not linear; you can move forward or backward
through them in any order during your writing process. In the de-

[ 13 ]
ChAPtEr 2

sign world, these steps connect you to your user’s needs, determine
your direction, help you execute your intention, and review your
work. Tey also facilitate thinking outside of any “box” and coming
up with new ideas and ingenious work-arounds.

At frst, it may be frustrating to incorporate so many elements into

your writing process, but you’ll improve with practice. Te diferent
elements of the design-centered approach may overlap; questions
like, “What is my end user’s background knowledge on this sub-
ject?” could pertain to both “empathize” and “defne,” but knowing
where the elements difer—to be sure you’re asking all the neces-
sary questions—will set you apart as an extremely efective techni-
cal communicator.

Empathize
Te frst step in design-centric thinking is empathy. In our mod-
ern digital world of faceless communication, it can be difcult to
imagine fesh and blood humans at the other end. When you send
an email it goes…where? Cultivating an awareness of the person at
the other end—engaging with our capacity to empathize—is how
professional writers “psych out” the reader.

When solving a customer issue, for example, a design team won’t

fall back on statistical data or imaginary consumers, but instead
will look for real consumers and use observations and survey data
to understand them. A team might begin by studying consumer
habits, all the while working to better understand who the consum-
ers are and what they need.

[ 14 ]
 DEsIGn-CEntrIC CoMMunICAtIon

https://images.app.goo.gl/NZqoZvNWyDPUPbu66
Understanding end user needs will be the frst important step in
your writing process to craf efective technical documents. In writ-
ing, we call this an ability to empathize with your reader. But how is
it done?

Everyone has the ability to utilize empathy, but like anything else in
this book it must be cultivated through deliberate practice.

Te frst step is to start asking questions about users. You must culti-
vate curiosity and imagination to do it. Writers and communicators
with empathy have learned the art of listening hard, doing all they can
to understand the emotional and workplace needs of their reader.

Te ability to impart emotion from yourself to your reader is a crit-

ical skill for designers, and writers. If you can communicate with
your audience in this way, the intended efect of your communica-
tion is bolstered by your connection.

[ 15 ]
ChAPtEr 2

Although empathy may seem like an abstract concept that can be

difcult to pin down, it is known as the ability to be acutely aware
of another person. It is seeing and sensing a person, and consid-
ering that person’s needs within one’s own mind. When we write
we may unintentionally focus inward, leading to self-centeredness.
But we want our writing to be for the reader (user), not the writer,
and that requires transferring attention to the end user as soon as
possible.

Empathetic writing starts by asking questions. Writers want to

know as much as they can before they work to inform or persuade
readers. In this way, writers who engage in empathy are demon-
strating their curiosity about their readers.

https://images.app.goo.gl/i7zRdLTYoQHuqanf7

[ 16 ]
 DEsIGn-CEntrIC CoMMunICAtIon

We want our professional writing to predict desires and anticipate

problems; in short, we want to produce communication that re-
sponds to the needs of our user.

In the rest of this chapter you will learn how and when to apply
empathy to your writing, especially as a design-centered thinker, to
predict desires and produce superior professional communication.

Getting to know your user is a key part of the step to empathize.

Te needs of your user determine many of your choices as you
communicate technical information. You can expect your docu-
ments to be read by four types of end users:

Primary readers: Tese readers are your intended end users.

Generally, the information you provide will allow them to make
decisions or take action, so you must understand why they want to
receive your technical communication and what they’ll do with it.
Tese readers may have any level of technical expertise.

Secondary readers: Tese readers may not be your intended users,

but they’ll ofen read your documents and advise primary readers
in how they should approach your communication. Tey’re usually
experts in their feld and will know what to look for, good or bad, in
your communication.

Tertiary readers: As the name suggests, these are third-party read-

ers who are unassociated with you as the creator of a document, or
with the primary users of the document. Tese individuals search
for problems in your technical writing. Tey can be journalists,

[ 17 ]
ChAPtEr 2

https://images.app.goo.gl/Ancmh3xyH2WKbZ5q9
activists, auditors, or competitors of your primary readers. Tey
ofen are motivated to protect themselves or others from inaccurate
information, incomplete logic, or unethical practices that could
occur in documents they examine.

Gatekeepers: Tese readers review technical communication be-

fore it reaches the primary readers. Tey could be individuals who
advocate for you or for another party. Typically, your own supervi-
sor will act as gatekeeper, but other administrators or lawyers from
your organization may need to approve your documents as well.
Gatekeepers’ interests lie in protecting you and your organization
from ethical or legal problems, as well as ensuring that the informa-
tion communicated is accurate and efective.

[ 18 ]
 DEsIGn-CEntrIC CoMMunICAtIon

Being curious about rather than afraid of who your readers will be
is perhaps the best way to develop empathy and understanding.
You begin by asking important questions: what do potential readers
care about? What do they expect from this document? Why do they
need this document? What problem(s) does this document need to
solve for them? Where and when might they use this document?

Once you’ve posed these questions, it’s time to listen carefully to

what your readers have to say. Ofen, people will answer questions
you didn’t think to ask as they explain their needs and circumstanc-
es, but they can expect that you, as a professional, will incorporate
everything they say into a better document. Keep asking questions
until you have a solid sense of why readers might need your piece
of communication.

If you don’t have direct access to your end user, as mentioned at

the start of this chapter, you must learn to use your imagination
and place yourself in your readers’ shoes. Try to answer each of the
above questions as if you were the end user yourself. You may need
to do some research about situations and needs generally, even if
you can’t get specifc details. Getting a sense of user needs requires
time, but it’s time well spent.

Te specifc groups and sub-groups that your intended users belong

to will determine the more specifc levels of your writing. All of us
belong to multiple groups at any point in time. You may be an engi-
neer, but you are also, perhaps, a son, a member of your local

[ 19 ]
ChAPtEr 2

recreational baseball team, and a citizen of the United States. You

will be infuenced diferently based on which role you are operating
within.

Te same principle applies to your intended readership when you

write something. Are you writing to white collar employees as a
whole, or to attorneys specifcally? Do you mean to speak more to
conservative or moderate Americans?

Consider that, “to really understand somebody else, we have to

attempt to understand where that person is coming from. Tis is a
broader view of empathy that requires us to attend to diferences
not only in positions but in personal histories, cultural contexts,

https://images.app.goo.gl/pw7YBwsZYJvzmaARA

[ 20 ]
 DEsIGn-CEntrIC CoMMunICAtIon

and individual preferences” (Leake). Who exactly are the people

you are writing for? Tis is what you must determine.
Is this a beginner you are dealing with, or do they already have
some background? Are you writing to a general audience or a
group in particular?

You might determine such things as: what professional role is your
reader in? What is their background? What is their world view?
Level of education?

You can move on from their descriptors, to the ways in which they
may be approaching your writing: what are they looking for and/or
anticipating?

Consider it from their angle: how will they view your topic and
approach you as author? Why will they be picking it up or pulling it
up on their computer and what could they expect to fnd there?

Each of these and more are important considerations as you focus

in on your end user. Knowing more specifcally who you anticipate
them to be will make writing with empathy much easier.

Identifying exactly who your user is will add an extra measure of

specifcity and control. When you are in the mind frame to engage
with that user, your writing will form to ft the purpose, and this
specifcity will be obvious to readers.

[ 21 ]
ChAPtEr 2

You engage empathy when you fne-tune to your users and think
through these types of points in your pre-writing patterns.
Unfortunately, unlike in design thinking, professional writers rarely
have a pool of end users that they can interview, although it’s rec-
ommended that a professional writer glean as much information as
possible from external stakeholders. Te best alternative is to build
an outline around user needs.

For example, say a writer is composing an instruction manual for

technicians who perform repairs on industrial machinery. Te
writer needs to create an outline of who these technicians are and
how they’ll use the manual on the job. Tis outline should be writ-
ten down so that the writer can refer back to it while he or she is
drafing. Doing so will ensure that the writer stays on topic and can
remember the end user’s needs while writing.

You can utilize empathy by simply learning more about those you
hope to create a product for. If you know all there is to know about
who you’re writing for, you are going to care more about the end
product.

We must have meaning behind what we are doing to care about it.
In what ways will our eforts inform or afect them for the better?
If we know this, we will naturally fnd ourselves putting in more
efort.

[ 22 ]
 DEsIGn-CEntrIC CoMMunICAtIon

Logically and mentally connecting with the person or group that

we’re doing something for will immediately increase our efciency
and output.

https://images.app.goo.gl/7fmjNkLeCwkbRbt5
Define
Defne is the next step in the design-centric process. Tis is when
you gather the information you have found and proceed with it. It
is when you determine what the “so what?” will be of the research
you gather.

In the design world, this step focuses on the problem you’re trying
to solve. Te key is to defne it as a specifc challenge that needs a
solution. You want it to be something along the lines of a statement
that clearly lays out the intended situation to be fxed. Lay out the
problem in the simplest terms to efectively narrow in on the aim of
the fnal product.

[ 23 ]
ChAPtEr 2

Your problem statement should not be too narrow, since doing this
limits potential approaches and ideas. If you fear being too broad
or too narrow, err on the side of being too broad when defning the
document’s purpose. You can increase in specifcity as you move
forward with your writing, but it is more difcult to try and expand
your ideas afer establishing prior parameters.

Do well in this second defne step in order to keep the remainder of

your project on track. With a well-defned and established problem
to solve, your focus will remain clear on what is required to accom-
plish it.

Hopefully you are taking from your prior step, incorporating what
you have learned from looking at your end user. Utilizing that to

[ 24 ]
 DEsIGn-CEntrIC CoMMunICAtIon

inform your end goal is the entire point of the frst empathizing
step. If you keep your purpose focused on the user, your project will
remain user-oriented throughout.

Take a look at everything you gathered in the empathize stage. Find

a way to consolidate it—visually, if possible. Combine and synthe-
size the information into one problem to be tackled.

You might ask a series of questions in order to determine your

statement aim. For instance, you could use the classic “Who, what,
where, and why” questions. Who is this for? What is the purpose?
Where does this apply? Why should this project be taken on?

In writing terms then, the goal in the defne step is to determine

your purpose for writing. What is your mission and hope with this
piece? How might you see yourself reaching the purpose that you
hope your writing addresses to your user? What is the hole you’re
trying to fll with your writing? Try to bring your thoughts together
thus far, to make your path forward clear. If you can determine this,
you will be well on your way.

Tis step is part of the process inherent in design-centric thinking

to frst understand. You cannot write about something without frst
understanding where you want to end up.

[ 25 ]
ChAPtEr 2

Ideate
Te next step in this design-centric model has to do with explo-
ration and looking for many possible solutions to meet your end
user’s particular needs. Don’t be afraid to consider radically difer-
ent solutions for your writing problem, even if they seem to con-
fict with each other. Ernest Hemingway once said that he chose to
“write drunk” but “edit sober,” the sentiment being that one should
try and create unhindered but revise with care.

Along those same lines, you should test the boundaries of your
writing: imagine ideas without assuming they need to obey certain
rules. Let yourself be free to imagine or conceive of something new.
Te concept design thinkers seem to live by is no idea is too stupid
to be tested and follows the principle that even simple ideas can
develop into powerful solutions to problems when allowed to grow.

Just sitting in a room and waiting for someone to propose an idea

is not going to do the job. Tere needs to be a direction for ideas to
emerge: the purpose and/or problem that was laid out in the defne
step. If you haven’t done this yet, you will need to back up and cre-
ate it or you will not know what your ideas are moving toward.

Te ideate step is where all the brainstorming happens! Stir them

all up—crazy ideas, bad ones, worthwhile ones, half-hearted ones.
No idea is unacceptable right now! You can always parse things
down later to your best material. Writers need to be willing to try

[ 26 ]
 DEsIGn-CEntrIC CoMMunICAtIon

https://images.app.goo.gl/t7QYDpQkofGUASLu9

any strategy and throw out ideas that don’t work for their readers,
even if they’ve invested signifcant time and energy into a single
strategy.

Use some kind of tool to organize and channel what you are com-
ing up with. Tere are many methods with which you might inspire
and urge creativity and idea generation. A wall, a dry erase board, a
spreadsheet, a quick-write exercise, etc. Te possibilities are endless
in order to rouse your brain.

Some methods will work better for you or your team than others.
You will need to have some sort of format or method, however, in
order for your ideation process to go smoothly.

What is going to create a comfortable environment and help people

to share? You are going to achieve more and/or better feedback if all

[ 27 ]
ChAPtEr 2

parties involved are not afraid to speak up and share the thoughts
they are having. If the people in attendance are not familiar with
one another, you might even do some work beforehand in the form
of activities or other technique, in order to get people more com-
fortable with one another.

Te point behind this is to create a space where the next big idea
can be found. Tis won’t happen if people don’t feel as if they can
share diferent, big, or out-there ideas. Te more brains the better
on this, so recruit people if you need more thoughts fowing to your
project.

Now to take what has been thought of and whittle it down to the
best choice(s). Tis can also be done in numerous ways; pick the
most efective for you.

Prototype
We now come to the fourth step, where we make our frst versions
and fesh out an actual shadow of what we want to create. Te goal
of this stage is to work out as many kinks as possible before a prod-
uct is released or produced. If we can fnd the issues now, we’ll be
in much better shape than if we were to make critical mistakes in a
real-life version.

Prototyping allows you to test these things out. Te most efective

prototype will be one that answers the questions your team has.

[ 28 ]
 DEsIGn-CEntrIC CoMMunICAtIon

Know what you are hoping to fnd out in these “beta tests.”
Te key to this step, frankly, is for the writer to fail. For design
thinkers, that means they construct their best ideas out of cheap
materials: plywood, popsicle sticks, Elmer’s Glue, and so on. For
writers, we call this process creating, or materializing, a rough draf.

[ 29 ]
ChAPtEr 2

Never assume that your frst draf will be your fnal draf. Mizrahi
explains: “A frst draf is one of several stabs you’ll take at this work.
. . . Your goal at this stage of the writing process for both short
and longer documents is to put something down on paper (or the
screen) that you will revise later. It’s a waste of your valuable time to
labor over any individual word or sentence as you write your draf;
the word or sentence may be eliminated by the fnal version.”

Te whole point of drafing is experimentation, and the more

variants you attempt, the more duds you can eliminate from your
writing. Similar to the principle of building several prototypes,
writers can experiment with syntactic approaches to an idea with-
out limiting themselves by worrying about failure.

For example, I may fnd that an alphabetical approach doesn’t work

for repair technicians. Tey may get frustrated by an organization
that doesn’t read as intuitive, which may make them angry and
careless as they attempt to make repairs. If you fnd that an idea
that you thought would work actually makes life more difcult for
your users, you have a duty to revise until you have a draf that
helps rather than hinders them.

Starting on a frst draf can be hard: initiating frst steps and start-
ing up your writing process. But in some ways this is the most im-
portant stage, because you can’t create a second, improved version
without putting the frst one down.

[ 30 ]
 DEsIGn-CEntrIC CoMMunICAtIon

Just as with testing a version on an app, each new iteration of your

writing will increase in quality. Sometimes drafing or prototyping
itself gives you new or reformed ideas for your direction. Tis is all
part of the process.

Test
Testing is connecting our prototype step with our initial project aim
and comparing notes. Did our prototype meet our needs and our
design aim? What might need to be changed or added?

[ 31 ]
ChAPtEr 2

Te best thing to do is run it by users and get their reactions and

feedback. Again, the “users” in writing scenarios are our readers/in-
tended audience. Running it by them is to have people proofread or
review your writing, for feedback and any errors they may see. Tis
stage might send you back to the prototype stage to try again, or
even back to the ideate or defne stage if your approach gets really
shaken up by new ideas and feedback from users.

In an app test situation, you are getting people to try the app and
point out any faws, their opinion, and ask questions of them in
order to learn what kind of experience they are having with it. You
want to get any negative feedback now so that changes are in your
hands before you send it out.

As a writer, do the same thing. Let test users have the “product” you
have created, learning where you can improve and what they would
suggest you tweak. If anything is not clear about their feedback,
make sure to ask questions to ensure you know everything you
need to about their experience as users.

By bringing your best ideas to life and testing them with potential
end users, you’ll learn quickly how to improve. Ofen, users may
think they know what they want until they’re confronted with it. In
the design world, when given a prototype that meets their specifca-
tions, users ofen discover new problems or issues with their initial
concerns. Do you see how this might apply to writing?

[ 32 ]
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of Le Harem
entr'ouvert
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Le Harem entr'ouvert

Author: A. R. de Lens

Release date: July 24, 2022 [eBook #68602]

Language: French

Original publication: France: Calmann Lévy, 1919

Credits: Laurent Vogel and the Online Distributed Proofreading

Team at https://www.pgdp.net (This file was produced
from images generously made available by the
Bibliothèque nationale de France (BnF/Gallica))

*** START OF THE PROJECT GUTENBERG EBOOK LE HAREM

ENTR'OUVERT ***
 A.-R. DE LENS

LE
HAREM ENTR’OUVERT

PARIS
CALMANN-LÉVY, ÉDITEURS
3, RUE AUBER, 3

Droits de traduction et de reproduction réservés pour tous les pays.

Copyright, 1919, by Calmann-Lévy.

LE HAREM ENTR’OUVERT
 PREMIÈRE PARTIE

MŒURS TUNISIENNES

A Chedlïa meurtt Tahar

ben Abd el Malek el Trabelsi,
ma servante,
humble et précieuse collaboratrice,
Ce livre qu’elle ne lira pas.

I
LA MAISON DU CAÏD MANSOUR

Le caïd Mansour prend le café avec mon mari. Ils sont accroupis
tous deux sur le divan, à la mode arabe, et fument en devisant.
Le caïd Mansour est un personnage digne et conscient de sa
haute importance. Il est toujours vêtu avec la plus grande recherche.
Ses burnous sont en fine laine de Mâteur et ses gebbas aux teintes
pâmées : fleur de pêcher, gris tourterelle, mauve de crépuscule,
éparpillent autour de lui mille tendres reflets de soie.
 Quand il entre, la pièce se parfume d’essences subtiles : ambre,
jasmin ou rose.
Le caïd Mansour a des manières exquises et fières. Il me
témoigne une déférence infinie, sachant qu’il convient de traiter les
Européennes avec plus d’égards et de respect que leurs époux.
— Le salut, Si Mansour !
— Le salut sur toi. Comment vas-tu ?
— Comment va ta maison [1] ?
[1] On ne parle jamais ouvertement à un Arabe des
femmes de sa famille.

— Grâce à Dieu ! Ma maison est en parfaite santé et soupire

après ta venue. Ne l’honoreras-tu pas bientôt d’une visite ?
— Avec plaisir, Si Mansour. Dis-lui que j’irai la voir
prochainement.
C’est une grande et noble maison que celle du caïd. Si Mansour
a épousé, il y a une dizaine d’années, la princesse Bederen’nour
(Lune éclatante) et son frère Si Chédli a pour femme Lella Zenouba,
fille du ministre de la plume [2] .
[2] Deuxième ministre du bey.

Ces dames me traitent en amie, et réclament toujours ma

présence, précieuse distraction dans leur vie monotone. Et rarement
je sors de chez elles, sans être suivie du grand nègre de Si
Mansour, vêtu d’écarlate et portant un présent. Tantôt un bouquet
tout rond où les fleurs fraîches, montées sur de longues tiges d’alfa,
sont rehaussées de pistils en papier doré. Tantôt un plat rempli de
pâtisseries arabes : backléouas luisants de miel, crottes de gazelle
en sucre parfumé, morves du bey, makroudhs farcis de dattes,
vertes samsahs aux pistaches.
Il y a plus d’un mois que je n’ai vu mes nobles amies, malgré
leurs insistances à ma dernière visite. J’irai demain.
 Et que vais-je apporter qui leur plaise et alimente un peu notre
conversation ?
L’autre fois je les ai ravies avec un vieux stock de catalogues des
grands magasins. Pendant des journées entières, elles se sont
passionnées pour les modes du Bon Marché d’il y a deux ou trois
ans. Et Lella Zenouba m’a même chargée d’une commande : une
écharpe de plumes dont elle meurt d’envie.
Ah ! voici qui les intéressera fort : un petit stéréoscope portatif et
toutes les vues tunisiennes prises par mon frère durant son séjour
ici.
La maison de Si Mansour n’est pas très éloignée de la mienne.
Elle occupe, comme toute demeure d’importance où il convient
d’être tranquillement chez soi, loin de la rue, une impasse entière
aux arcades gracieuses. Les premiers bâtiments sont les communs
et les écuries du caïd. Puis vient la maison, — le palais serait plus
juste — de Si Mansour.
Bien entendu, les grands murs blancs ne trahissent la richesse
intérieure que par leurs dimensions, et seule la porte, énorme,
massive, en bois sculpté, dans son encadrement de marbre rose,
atteste l’importance seigneuriale du logis.
Elle s’ouvre sur un vestibule revêtu de faïences et garni de
divans où siègent en permanence les gardiens du lieu, un Marocain
au profil d’ascète, et le nègre vêtu d’écarlate. Ils me connaissent et
me laissent passer sans difficulté. Je heurte le marteau de bronze à
la petite porte du fond.
— Qui est là ? — crie une voix, de l’intérieur.
Et, suivant la formule, je réponds :
— Ouvre !
Cela suffit. Du reste, en le cas présent, mon accent me dénonce.
Une grosse négresse entrebâille la porte en ayant soin de se cacher
derrière le battant, afin de ne point être vue des serviteurs mâles.
Je traverse le joli patio à colonnes, au-dessus duquel se découpe
un carré de ciel très bleu, et je suis introduite dans un grand salon,
tout en longueur, aux parois luisantes de faïences polychromes. Au
centre se creuse le « divan » entouré de sofas abondamment
pourvus de coussins. Les murs ont sept ou huit mètres de haut, et
des lustres étincelants, en cristal de Venise, tombent des voûtes
ciselées. Il fait presque frais dans ce salon, bien que dehors la
chaleur soit lourde, et l’on y voit à peine, après l’éblouissement du
patio. Mais les yeux se font vite à l’ombre douce qui atténue les mille
couleurs et les dorures d’une décoration orientale.
Pas plus dans cette pièce que dans toute autre du logis, il n’y a
d’ouverture sur l’impasse ; de grandes fenêtres aux grilles en fer
forgé donnent sur le patio.
Ces dames se font attendre longtemps. C’est leur habitude, car
elles rehaussent leur parure chaque fois que je viens. Mabrouka, la
négresse, me tient compagnie.
Mabrouka est une amie de Chedlïa, ma servante ; elle va
souvent la voir et lui conter les faits et gestes de ses maîtres.
Parfois, comme aujourd’hui, ses confidences indiscrètes débordent
jusqu’à moi.
— Par Allah ! tu arrives en un triste moment. Si Chédli n’est
encore pas rentré cette nuit, et Lella Zenouba a pleuré jusqu’au
matin en l’attendant. Sans doute était-il auprès de cette danseuse
française pour laquelle il fait des folies…
Chacun sait que Si Chédli s’est acoquiné avec une petite
chanteuse du Palmarium, perverse et prétentieuse, qui lui fait payer
cher des faveurs à la portée de tous.
Le caïd Mansour, malgré son chapelet, son air digne et ses
hautes fonctions, est aussi libertin que son frère, et les aventures de
ces deux nobles personnages défrayent la conversation de bien des
harems.
A la rigueur, cela se comprend du caïd Mansour, dont la femme
est laide et n’est plus très jeune, car voici déjà dix ans qu’il l’épousa
dans sa fleur. Et l’on se souvient de sa déconvenue le jour des
noces, — si grande qu’il ne put la dissimuler, — en dévoilant son
épouse que le fard et les bijoux n’arrivaient pas à rendre belle.
 Toute autre eût été répudiée sur l’heure et ramenée à son père
avant la consommation du mariage. Mais, on ne répudie point une
princesse ! une fille de sang beylical ! Et le caïd Mansour a gardé sa
femme et son dépit.
Oui, cela se conçoit que Si Mansour cherche au dehors des
compensations. Jadis il eût pris d’autres épouses ; mais maintenant
cela ne se fait plus guère chez les citadins, outre qu’il serait peu
séant de donner une rivale à la petite-fille d’un bey. Et certes, ce
n’est point une joie pour les yeux de se poser toujours sur la laide et
chevaline princesse Bederen’nour.
Mais, que Si Chédli délaisse la gracieuse Lella Zenouba, au
corps d’ambre et aux yeux de génisse, pour des Françaises de
mauvaise vie, — par le Prophète ! — voilà ce qu’on ne peut
comprendre !
C’est que Si Mansour et Si Chédli ont du sang brûlant dans les
veines et du vice jusqu’à la racine des cheveux, en dignes fils de Si
Abd el Latif, favori de Si Sadok bey, tous deux aujourd’hui dans la
miséricorde d’Allah !
C’est à leur père, un ancien esclave, beau comme la lumière du
matin, devenu tout-puissant auprès de son illustre maître, grâce à
des complaisances… païennes, qu’ils doivent leur grosse fortune,
leurs palais de Tunis, de Rhadès et de Gamart, ainsi que cette
frénésie qui les pousse aux pires excès.
Ne raconte-t-on pas que Si Abd el Latif mettait à mal toutes les
femmes de son milieu, et allait jusqu’à faire garder par les soldats du
bey les portes des hammams, les soirs où certaines dames
particulièrement nobles et belles s’y étaient rendues, afin de
satisfaire ses désirs en toute tranquillité. Et nul n’osait se plaindre ni
résister à un si puissant personnage, capable de vous faire pendre
dans la cour du Bardo, sur un signe de son petit doigt.
L’occupation française a enrayé tout cela, et pareilles fantaisies
ne sont plus à la portée de Si Mansour et de Si Chédli, ses fils. Mais,
par Allah ! il reste bien moyen de s’arranger, et l’on a en outre,
aujourd’hui, la ressource des actrices du Palmarium, du Casino de la
Goulette, et des cocottes françaises ou italiennes qui circulent le soir
sur le boulevard de la Marine.
Et les femmes, toujours trahies, toujours délaissées, éternelles
prisonnières dans leurs palais de faïence, se morfondent des nuits
entières en l’attente du mari pour qui elles se sont parées en vain.
Tout cela, je le connais par les confidences de la négresse
Mabrouka, les récits de Chedlïa, les racontars de harems et de
terrasses où tout se sait. Mais mes nobles amies ne m’en disent
jamais rien, dans leur souci de dignité vis-à-vis d’une Européenne.
Justement les voici qui s’avancent à travers le patio, de leur
démarche nonchalante et balancée, et le soleil fait un instant luire
les ors de leurs parures.
La princesse Bederen’nour, pauvre « Lune éclatante », semble
plus olivâtre que jamais dans son costume de soie mauve, au large
pantalon bouffant.
Lella Zenouba, malgré ses soucis, est adorable et
resplendissante. Ses beaux cheveux, noirs de henné, tombent en
boucles sur ses épaules, retenus au front par un rang de perles et
une plaque d’or incrustée d’émeraudes ; de grandes boucles
d’oreilles anciennes jettent des lueurs vertes le long de son cou, et
ses doigts scintillent de bagues aux pierreries énormes. Elle porte un
pantalon de satin noir brodé d’or et une gebba de tulle noir pailleté,
sous laquelle transparaît, par éclairs, le splendide et lourd boléro
d’or des jeunes épouses. Dans un ovale très fin, très pur, elle a les
traits d’un dessin parfait : un front étroit et poli, un petit nez droit, une
bouche éclatante et bien arquée et de grands yeux noirs, des yeux
immenses cernés de kohol, au regard doucement bestial. Une étoile
en vérité ! à côté de cette prétentieuse Éliane d’Avricourt, caprice de
Si Chédli.
Toutes deux, la princesse Bederen’nour et Lella Zenouba, ont les
joues peintes, les lèvres rougies au carmin, les doigts et les cheveux
passés au henné, et, barrant le front, d’épais sourcils noirs
hardiment tracés. Elles répandent un violent parfum de jasmin.
Auprès d’elles, on se croirait dans une serre pleine de fleurs.
 Elles ont une distinction de race, une politesse raffinée, et ne
savent ni lire ni écrire. Toute leur instruction consiste en quelques
sourates du Coran, apprises par cœur, sans les comprendre.
La princesse Bederen’nour semble intelligente, et la petite Lella
Zenouba, parfois, a de subtiles reparties. Mais elles n’ont rien vu et
ne connaissent rien. Elles ont passé de la maison paternelle à celle
de l’époux en toute ignorance du monde environnant. Elles ne
savent pas ce qu’est une rue, une place, un jardin, le grand ciel libre.
L’été, elles s’en vont à Rhadès ou à Gamart, en d’autres palais
pareillement clos et luxueux. Seuls, la plainte assourdie des vagues
et le goût salé de l’air peuvent leur dénoncer l’inconnu sans limites,
qu’elles ne se figurent pas.
On les emmène de Tunis la nuit, en des carrosses bien fermés,
où elles ont peur, car c’est une impression terrible pour des femmes
de se sentir ainsi hors de chez soi. Et elles ne retrouvent leur
assurance qu’à l’abri des grands murs farouches et protecteurs.
Elles ne reçoivent aucune visite, à part moi, et n’en font jamais.
Les dames arabes ne sauraient sans scandale sortir de chez elles,
comme ces femmes du peuple qui courent d’une maison à l’autre
pour colporter les nouvelles. Et pourtant elles savent ce qui se
passe : intrigues, maladies, chagrins, disputes, dans les grands
harems, car leurs servantes les tiennent au courant de toutes
choses.
En de rares circonstances, elles traversent la ville, dans leur
voiture aux volets de bois soigneusement clos, pour la mort d’un
proche parent, l’accouchement d’une sœur, ou, réjouissance
suprême, les fêtes d’un mariage. Mais des mois, et parfois des
années s’écoulent sans qu’il leur arrive de quitter ainsi la maison
conjugale.
Cet été, elles n’iront point comme d’habitude à Rhadès où l’air
est plus frais. La mère du caïd Mansour et de Si Chédli étant morte
l’an passé, il leur faut, par cette privation, porter son deuil, et aussi
renoncer pendant quelques mois encore aux broderies et aux petits
ouvrages dont elles occupent généralement les longues journées.
 Du reste, leurs époux forment pendant ce temps le projet d’aller à
Paris, et de goûter à toutes les délices montmartroises.
La princesse Bederen’nour et Lella Zenouba trouvent très naturel
de se morfondre si sévèrement pour la perte d’une belle-mère
despotique et méchante, tandis que leurs maris s’amusent. Mais ce
qu’elles ne peuvent admettre, malgré l’habitude et la généralité du
fait, c’est, à cause de créatures indignes, d’être délaissées, et
surtout ruinées !…
Car, il n’y a pas à s’y tromper, malgré les palais de faïence et de
marbre, les étoffes brodées d’or, les perles et les diamants, c’est
bien la ruine sinistre qui plane au-dessus de la maison du caïd
Mansour, et l’ombre de ses ailes angoisse les nobles prisonnières.
La grosse fortune de Si Abd el Latif est déjà fortement entamée,
et, chaque jour, Si Mansour et Si Chédli y font de nouvelles brèches.
Il y a un an, Si Mansour a vendu au Juif Haïm Boudboul, pour
quelques milliers de francs, ses oliveraies de Nabeul, qui en valaient
plus de cent mille, afin de payer à sa maîtresse, la danseuse arabe
Leïla, un collier dont elle avait envie. Récemment encore, tout à sa
nouvelle passion, la petite Rose Printemps, il vient de céder à perte
ses cultures d’El Arousa. Et Si Chédli, follement prodigue pour
Éliane d’Avricourt, imitant l’exemple de son aîné, vend et
hypothèque ses biens avec entrain.
Cela peut durer ainsi huit ou dix ans peut-être, mais ensuite ?
Et voilà les soucis qui creusent si profondément sous le fard les
traits de la princesse Bederen’nour et cernent les beaux yeux
enfantins de Lella Zenouba.
Mais elles rient devant moi, sachant dissimuler ce qu’il convient,
et aussi du plaisir réel de me voir qui rompt l’ennui de leurs longues
journées inactives. Quelques servantes curieuses se sont jointes à
Mabrouka, et debout, non loin du divan où nous sommes installées,
écoutent et prennent part familièrement à la conversation.
Ne vivent-elles pas dans l’intimité de ces dames, initiées à leurs
intrigues, à leurs chagrins, toujours prêtes à duper leurs maîtres, à
les suivre, à les épier, pour le compte des épouses prisonnières et
inquiètes ?
Ne partagent-elles pas avec leurs maîtresses les restes du
repas, après que Si Mansour et Si Chédli se sont restaurés ? N’ont-
elles pas la clé de leurs plus dangereux secrets, qu’elles ne
trahiraient pas devant la mort, liées par cette sorte de franc-
maçonnerie qui unit toutes les musulmanes contre les maris ?…
L’une d’elles apporte le café dans de petits calices en porcelaine
rose. La conversation languit entre mes amies et moi, car, depuis ma
dernière visite, leur vie s’est écoulée uniforme, goutte à goutte,
comme cette eau qui tombe régulièrement de la vasque de marbre
dans le bassin, au milieu du patio.
Et mes occupations à moi, elles ne les comprendraient pas.
Alors j’appelle à mon aide le petit stéréoscope, emporté à cette
intention.
— Vous allez voir…
Mais déjà Lella Zenouba s’est enfuie peureuse, et la princesse
Bederen’nour affolée se cache le visage.
— Non ! non ! ne nous photographie pas ! C’est impossible !…
une petite-fille de Si M’hamed bey !… Une fille du ministre de la
plume !…
Je rassure mes défiantes amies :
Cet appareil n’est point « une machine à portraits ». Sur la tête de
ma mère ! Mais qu’elles regardent plutôt…
Timidement la princesse Bederen’nour risque un œil, puis deux.
— O Allah ! qu’est ceci ?
— La rue du Pacha, tout simplement ; la rue même où vous
demeurez.
— Par mon Maître ! que c’est curieux !
— Et voici la grande mosquée de l’olivier, le souk des parfums,
celui des étoffes, le Dar el Bey…
— Oh ! Oh ! que d’hommes !
 La princesse Bederen’nour et Lella Zenouba se passionnent.
— Ceci est un champ d’oliviers, et ceci… vous reconnaissez ?…
— Par le Prophète ! Si Mansour et Si Chédli ! Mais…
La voix de la princesse s’altère et ses sourcils se froncent
imperceptiblement.
— Quelle est donc cette femme arabe auprès d’eux ?… sans
doute cette danseuse Leïla ?… une courtisane seule à pu consentir
à se dévoiler devant des hommes et à se faire portraiturer avec
eux…
— Non, non ! Vous n’y êtes pas. Pensez-vous que j’admettrais
chez moi une… dame de la rue du Persan ? car cette photographie
a été prise dans ma propre maison. Regardez bien.
— Ah ! Ah ! mais c’est toi !… Par la tête de Si Ahmed el Tijani !
c’est toi même en musulmane ! — s’écrient mes amies tout à fait
déridées et joyeuses.
Le stéréoscope passe de main en main parmi les servantes. Puis
de nouveau on examine les rues tunisiennes, la place Bab-Souika,
la rue Halfaouine, grouillantes d’Arabes…
— O Allah ! que je serais malheureuse s’il fallait me trouver dans
cette foule ! — s’exclame Lella Zenouba.
— Et quelle honte ! — ajoute la princesse.
Car mes nobles amies ne regrettent ni leur réclusion, ni la
sévérité de leur existence. Loin de là ! Elles se font une gloire de leur
mystérieuse inviolabilité, de la rigueur avec laquelle elles suivent
leurs vieilles coutumes.
C’est le souci des traditions qui dénote leur rang et les élève bien
au-dessus des femmes vulgaires.
Lors de mes premières visites, je leur avais demandé naïvement
si elles ne souffraient pas de vivre toujours enfermées.
— Par le Prophète de Dieu ! mais si l’on voulait nous forcer à
sortir, nous pleurerions pour rentrer !
 Et ce sont elles-mêmes qui m’ont fait remarquer avec orgueil que
leur demeure n’avait point d’ouverture sur l’impasse, et que leur
voiture était close par des volets en bois, et non par ces rideaux
qu’un souffle peut soulever, et que les femmes de la petite
bourgeoisie écartent curieusement du doigt, au risque d’être
entr’aperçues, dans l’ombre, par un passant.
L’intérêt du stéréoscope épuisé, je me lève pour partir, mais ces
dames me retiennent avec insistance.
— Oh ! reste encore un peu. Qu’as-tu tant à faire ? Il y a si
longtemps que nous ne t’avions vue !
— Et je veux te montrer cette écharpe de plumes, commandée
par toi, et qui est arrivée avant-hier, — ajoute Lella Zenouba. —
Montons à ma chambre.
Nous traversons le patio plein de lumière et prenons un escalier
de marbre blanc. Puis des vestibules et des couloirs, et des
chambres, et encore un petit patio, et d’autres pièces à l’infini,
toujours pavées de marbre et revêtues de faïences. La maison du
caïd Mansour, vaste et peuplée comme toutes les demeures arabes,
abrite soixante personnes, maîtres, enfants et serviteurs. Voici enfin
la chambre de Lella Zenouba, que je connais bien, avec son divan,
ses lustres, son plafond peint et sculpté, ses énormes lits anciens à
colonnes, dont les frontons d’or se découpent sur fonds de miroirs.
Ils sont luxueusement garnis de courtines et de coussins en satin
brodé, et occupent chacun une extrémité de la pièce. « Car l’aube ne
doit point surprendre l’homme dans le lit de son épouse. » Et je
retrouve, hélas ! aux deux côtés de la porte, les armoires à glace
Louis XVI, compléments indispensables, depuis ces dernières
années, de toute chambre arabe qui se respecte. Lella Zenouba en
tire l’écharpe de léger marabout blanc et la jette sur ses épaules.
— N’est-ce pas qu’elle est jolie ?
— Sans doute, mais je préfère encore celle-ci, en tulle lamé d’or,
et qui ne vient pas de Paris.
Que de belles choses possède Lella Zenouba ! Ce coffret
d’argent ciselé ! et ces flacons à parfums en cristal doré, aux cols
minces et longs, de forme rare ; ces petits étuis à kohol, ces
broderies précieuses !…
— Veux-tu voir nos bijoux ?
Elle sort de l’armoire une grande cassette pleine d’écrins et, sur
un signe de sa maîtresse, Mabrouka apporte un coffre d’ivoire
contenant les joyaux de la princesse Bederen’nour.
Sur le divan, c’est un éblouissement de pierreries, de colliers, de
perles à plaques incrustées de roses, de longues boucles d’oreille
où les diamants tremblent comme des gouttes d’eau entourées d’un
cercle de lumière, de bracelets travaillés avec un art exquis… Et,
parmi ces trésors de famille, les parures trop modernes données par
Si Mansour et Si Chédli à leurs épouses : guirlandes de fleurs,
étoiles, diadèmes aux mille reflets.
O ces bagues de la princesse Bederen’nour ! Bien arabes celles-
là, où les topazes, les rubis, les émeraudes sont enchâssés en de
lourdes montures ciselées.
— Mais tu n’as pas vu la plus belle, celle-ci, que Si M’hamed bey
donna jadis à ma grand’mère, Lella Kmar, son épouse favorite…
Elle me passe un joyau, près duquel en effet tous les autres
pâlissent. Un énorme diamant, d’une extraordinaire limpidité, serti
dans une couronne d’or aux ciselures incroyablement fines et
compliquées. Un vrai bijou de reine ou d’odalisque. Mais je ne
l’imagine pas à la main d’une Européenne. Cette bague fait une
saillie bizarre sur le doigt.
Et j’admire encore les mille ustensiles de toilette : aiguières
d’argent, boîtes à fard, miroirs, coffrets incrustés d’écaille et de
nacre.
Avant de partir, il me faut dire bonjour aux enfants : les quatre
fillettes de la princesse Bederen’nour, qui apprennent le français
avec une institutrice juive, et ses trois garçons, déjà conscients de
leur importance mâle. Les aînés, cinq et sept ans, récents circoncis,
ont des grimaces de souffrance, malgré leur précautionneuse
démarche écartée. Et il y a aussi la toute petite et laide progéniture
de Lella Zenouba qui piaille dans les bras de sa nourrice.
 Je quitte enfin mes amies. Le garçonnet Béchir m’accompagne
cérémonieusement jusqu’au bout de l’impasse avec son allure de
jeune canard.
*
* *

La semaine suivante, passant par la cuisine, j’aperçus Mabrouka

la négresse en vive conversation avec Chedlïa :
— O Allah ! — Qu’il soit exalté ! — O notre Seigneur
Mohamed !… O Miséricordieux ! — gémit-elle en me voyant. — Quel
malheur !… La princesse Bederen’nour est au désespoir !… Sa
bague de diamant, le présent de Si M’hamed bey, a disparu !… Hier
elle était en train de se parer, aidée de la petite Aïcha, lorsque Si
Mansour est entré. Il l’a entretenue quelques instants, et, quand la
princesse s’est remise à sa toilette, la bague n’était plus là !… Il n’y
avait dans la chambre qu’Aïcha, mais on a beau la fouetter, elle
s’obstine à ne pas avouer son vol. C’est une tête solide ! Du reste, il
est vrai qu’on l’a fouillée en vain. Et que ferait-elle de ce bijou, elle
qui ne sort pas de la maison ?… Dans ma pensée, c’est le tour d’un
« chitane », d’un diable jaloux qui a enlevé la bague. On ne la
retrouvera jamais !

Quelque temps après, nous prenions le thé au Belvédère avec

des amis. Des messieurs et une petite femme très empanachée, à la
toilette suggestive, occupaient la table voisine.
— C’est, — me dit M. X…, — une professionnelle du lieu.
Remarquez comme elle pose sa main en évidence, pour qu’on voie
bien la fameuse bague dont tout Tunis a parlé, cadeau, dit-on, d’un
amant indigène. En vérité, elle est splendide. Ces Arabes sont d’une
générosité !
La dame allongeait en effet, avec affectation, une main fardée
qu’ornait un seul et royal diamant…
Mais cette bague !… Je la connais… Elle n’a pas sa pareille.
C’est le présent de Si M’hamed bey à Lella Kmar, la bague de la
princesse Bederen’nour !
Le caïd Mansour vole les bijoux de sa femme pour les offrir à sa
maîtresse…