"No city in the world has quite the exotic allure of Tangier. From the seventeenth century, it has been a place on the edge, beyond the normal disciplines of government, a city of refuge and excitements where sex is cheap, drugs are plentiful, and the outcasts of the world can breathe easily. The golden years of Tangier began after World War I and barely survived World War II. Among those who sought sanctuary in or inspiration from this legendary city were Jack Kerouac, William Burroughs, Allen Ginsberg, Paul and Jane Bowles, Ronnie Kray, the unhappy Woolworth heiress Barbara Hutton, Tennessee Williams, Joe Orton, Cecil Beaton, and Truman Capote. It is this "last resort of the living dead, alive but not madly kicking" which Iain Finlayson explores in his witty, enthralling book."--Back cover.
In this first guide to Tangier's extraordinary cultural history , former BBC North Africa correspondent Richard Hamilton explores the city to find out what has inspired so many international writers, artists and musicians. In Tangier, the Moroccan novelist Mohamed Choukri wrote, 'everything is surreal and everything is possible.' In this intimate portrait, Hamilton explores hotels, cafés, alleyways and the city's darkest secrets. Delving down through complex historical layers, he finds a frontier town that is comic, confounding and haunted by the ghosts of its past. Samuel Pepys thought God should destroy Tangier and St Francis of Assisi called it a city of 'madness and delusions.' Yet, throughout the centuries, it has also been a crucible of creativity. It was a turning point in Henri Matisse's artistic journey and had a profound impact on the founder of the Rolling Stones, Brian Jones. Tangier also produced two of the greatest American novels of the twentieth century: The Sheltering Sky and Naked Lunch. Besides Paul Bowles and William Burroughs, the book also looks at lesser known characters such as the flawed genius, Brion Gysin, as well as Ibn Battuta, who travelled three times further than Marco Polo. Featuring a thrilling cast of pirates, sultans, artists, musicians, writers, princes and playboys, this is an essential read about Tangier.
Between the years of 1898 and 1926, Edward Westermarck spent a total of seven years in Morocco, visiting towns and tribes in different parts of the country, meeting local people and learning about their language and culture; his findings are noted in this two-volume set, first published in 1926. The first volume contains extensive reference material, including Westermarck’s system of transliteration and a comprehensive list of the tribes and districts mentioned in the text. The chapters in this, the second volume, explore such areas as the rites and beliefs connected with the Islamic calendar, agriculture, and childbirth. This title will fascinate any student or researcher of anthropology with an interest in the history of ritual, culture and religion in Morocco.
Writing Tangier discusses an array of topics relating to the literature on Tangier from the seventeenth century to the present. Major questions include: Why has Tangier come to play an important role in contemporary world literary history as a signifier in the literary imagination; what is the nature of the inter-textual output produced through Paul Bowles' translations of the oral tales of a circle of uneducated storytellers (including Mohammed Mrabet and Larbi Layachi) and the text (For Bread Alone) brought to Bowles by the literate Mohamed Choukri; how do academics, artists, and writers who have been based in the city or who have written about it assess the various socio-economic, political, and cultural factors that have shaped its cultural production and the relationship of this production to the celebrated hybrid aspects of its identity; does the success of the literature of Tangier reflect a truly new multicultural cosmopolitanism, or does it stem from the fact that this literature is congenial to Westerners, that it is understood in terms that they themselves define, and that much of it (including productions in Arabic prepared with the expectation of translation) has even been «written to measure» for them?
Recent years have seen growing academic interest in England’s colonial venture in Tangier in the late seventeenth century, and the crucial role it played not only in influencing contemporary domestic politics in England, but also in shaping new imperial policies in the Mediterranean. This critical edition presents a remarkable collection of 18 Restoration pamphlets dealing with the English occupation of Tangier. In an extensive original introduction, Karim Bejjit narrates the various stages of the colonial venture in Tangier, and critically analyses both the British historiography and current scholarship on the subject. He provides an alternative reading of the Tangier episode, emphasising the Moroccan point of view and the significance of the local political agency. At the same time, as the author argues in the introduction, so intertwined were the affairs of the colony and the home country in 1680 that the political crisis which was then unfolding in England cannot be fully explained without acknowledging the impact of dramatic developments in Tangier. Despite their generic diversity, as Bejjit shows, the pamphlets in this collection share a common interest in the affairs of Tangier, and reflect the changing circumstances and shifting politics at home and in the colony. In bringing together these long forgotten narratives, this edition revives critical interest in the colonial adventure in Tangier which had considerable influence on the political scene in England. Read collectively, the texts offer a genuine glimpse into the colonial scene and the interplay of forces which governed English presence in Tangier.
An edge city, poised at the northernmost tip of Africa but just nine miles from Europe, Tangier is more than a destination, it is an escape. The Interzone, as William Burroughs called it, has attracted spies, outlaws, outcasts and writers for centuries – men and women breaking through artistic borders. The results were some of the most incendiary and influential books of our time and the list of outlaw originals is long, stretching from Ibn Battuta and Alexandre Dumas to Twain and Wharton and from the darkly brilliant Beats of Bowles, Kerouac, Gysin and Ginsberg to the great Moroccan novelists: Mohamed Choukri, Mohammed Mrabet and Tahar Ben Jelloun.
In his early twenties Choukri takes the momentous decision to learn to read and write, and joins a children's class at the local state school in Tangier. When not at school he hangs out in cafés, drinking and smoking kif. Some nights he sleeps in a doss-house, but mostly he sleeps in mosques or on the street. He befriends many 'lowlife' characters, while the café habitués help him with his Arabic and the local prostitutes take him home, providing some human solace. Choukri's determination to educate himself, and his compassion for those with whom he shares his life on the streets is heartfelt and inspirational. 'As a writer, he is in an enviable position, though he paid a high price for it in suffering.' -- Paul Bowles 'Choukri's irrepressible, ultimately indomitable spirit is most touching and human.' -- The Independent 'Choukri is a powerful teller of stories. His telling of oppression is vivid and remarkable.' -- Morning Star
This study argues that Paul Bowles is more perceptive than many American travelers in Morocco. The book provides us with what are perhaps the most sustained meditations to date on Bowles’s translation work and his autobiography, as well as perceptive analyses of key stories such as “A Distant Episode” and “Here to Learn” and his second novel, Let It Come Down, set primarily in Tangier. The chapter on translation dwells on the complex interactions between Moroccan storytellers and Bowles. The work considers translation as a site where the oral and written, colonial and post-colonial scene, and English and Maghrebi come face to face; it is a place where things are worked out in dynamic interaction. The chapter on Bowles’s autobiography Without Stopping, urges us to take this piece of self-writing (famously dubbed Without Telling by William Burroughs) more seriously, drawing our attention to baroque architectural features of mind and external landscape, worlds distorted by mirrors, dreams, and fluid transit where forms morph. The work also highlights difference between experience and representation of experience through language, transformed through the prism of memory. In the chapter on Without Stopping as well as in my discussions of Bowles’s fiction, I provide useful elaborations of connections between Bowles’s work and that of Edgar Allan Poe.My reading of one of Bowles’s best-known stories, “A Distant Episode,” brings to the surface a recognition that the tragic fate of the Professor, the story’s protagonist, is an outcome of his inability to admit that cultures are not static. The academically trained linguist demonstrates an unwillingness or inability to adapt to change, or to read cultural signs accurately. The message is that Morocco is not stuck in time, and cannot be held in place by Orientalist fantasies or preconceived, externally derived intellectual constructs and assumptions. The book concludes that against the grain of Samuel Huntington’s notion of Clash of Civilizations, Bowles’s poetic and geographical journey forcefully projects cosmopolitanism and transnational attention confirming that civilizations and ‘identities’ open up rather than shut down, war or clash.
"Slices of on-the-road literary history and detail-rich travel romps with famous writers." Sheila F. Buckmaster, senior editor, National Geographic Traveler
Until attention shifted to the Middle East in the early 1970s, Americans turned most often toward the Maghreb—Morocco, Algeria, Tunisia, and the Sahara—for their understanding of “the Arab.” In Morocco Bound, Brian T. Edwards examines American representations of the Maghreb during three pivotal decades—from 1942, when the United States entered the North African campaign of World War II, through 1973. He reveals how American film and literary, historical, journalistic, and anthropological accounts of the region imagined the role of the United States in a world it seemed to dominate at the same time that they displaced domestic social concerns—particularly about race relations—onto an “exotic” North Africa. Edwards reads a broad range of texts to recuperate the disorienting possibilities for rethinking American empire. Examining work by William Burroughs, Jane Bowles, Ernie Pyle, A. J. Liebling, Jane Kramer, Alfred Hitchcock, Clifford Geertz, James Michener, Ornette Coleman, General George S. Patton, and others, he puts American texts in conversation with an archive of Maghrebi responses. Whether considering Warner Brothers’ marketing of the movie Casablanca in 1942, journalistic representations of Tangier as a city of excess and queerness, Paul Bowles’s collaboration with the Moroccan artist Mohammed Mrabet, the hippie communities in and around Marrakech in the 1960s and early 1970s, or the writings of young American anthropologists working nearby at the same time, Edwards illuminates the circulation of American texts, their relationship to Maghrebi history, and the ways they might be read so as to reimagine the role of American culture in the world.
