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If the African continent resonates in America, it is through the voice of Sammy Kamau-Williams, the double of real life musician-poet Gil Scott-Heron. The narrator of La Divine Chanson, a cat named Paris, is another avatar of his master. This ginger feline is also the reflection of Abdourahman A. Waberi, the writer from Djibouti, who thus offers a biofiction inspired from African American musical practices. What then remains of the traces of the past in the African American present? And what can be rebuilt on amnesia and shame? Magical stories, tentative bonds of filiation, plans for a Revolution. But, above all, music, a tune that connects North and South, and can be heard along the banks of the Mississippi River. The blues thus invades spaces as it accompanies the character's drifts on a tightrope. The text therefore, politically, but mainly aesthetically, plays with a series of superimposed layers and inscribes its own poetic lines in the magical shadow of a God from Benin turned Haitian Loa, Papa Legba, posted at the crossroads of destiny where past, present and future intersect.