Bowles / Beats / Tangier

From the volume introduction --

A site-specific reconsideration of the Bowles, the Beats, and Tangier in 2008 provoked a lot of debate, much of it centered around the complex tensions between aesthetics and ethics. As we look back at that historical moment, we might ask: What were these American writers doing in Tangier? What kinds of interactions did they have with Moroccans? How much were they aware of their own position of privilege and vital local political issues (notably the resistance to colonial rule and the promotion of nationalism)? Specifically, questions were raised about Burroughs and his relationship to Moroccan boys, and about the relationship between Paul Bowles and the Moroccan writers and storytellers whose work he translated and helped to publish in the West. Were these relationships exploitative? Certainly the tensions between ethical considerations and artistic production are heightened within a postcolonial context, marked as it so often is by dramatic differences in power and wealth between local and foreign subjects. These, then, are the kinds of questions and concerns that emerge when thinkers from various places converge in Tangier, ones that will be pursued more pointedly in the next, fifth Tangier conference, “Critiquing Postcolonialism/-Performing Cultural Diversity.”

In thinking the beyond, we can begin to write a new script, a script not bound to tired narratives of the past, a script that goes beyond even traditional formulations of the postcolonial. What possible narratives might be generated at this point? An approach to issues and problems such as migration, globalization, disparities in wealth, climate change, resource depletion, the use of military power, prejudice, overpopulation and so forth must transcend national boundaries. Derrida spoke of Democracy to come, insisting on a continuation of process of working toward a better politics, a global civic order, if you will, attentive to the rights and place of the other. We might speak as well about a Tangier to come. What new shapes will this city take? What fresh talent will arise from the place, or be attracted to the place? What new things will be made here, by insiders and by outsiders? What role will the city play in the life of Morocco, as well as in the developing global order? What visions of the past will emerge from future vistas? What thinking will transpire after our death? What lies on the horizon and beyond?

Dr Allen Hibbard
Middle East Center
Middle Tennessee State University

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Table of Contents

Khalid Amine

Introduction: "A Moveable Feast"

Allen Hibbard

"Language, Noise, Silence: Communication and Community in Paul Bowles'
Let It Come Down"
Barry Tharaud

"Sky, Desert, and Infinity: Time, Space, and Self in The Sheltering Sky"
Gozde Pelivan

"The Gothic Mode in Paul Bowles"
Zoubida Hamdaoui

"Why was Marcel Proust's Le Temps Retrouve such and important book for Paul Bowles"?
Celia Wallhead

"Paul Bowles: Mixing Codes and Cross Borders"
Marjorie Kanter

"Paul Bowles: Auter in absentia?"
Mohammad Jadir

"'So Are You Still Writing About Kif?' Paul Bowles' A Hundred Camels in th Courtyard: Modernist Literary Innovations and 'Post' Realism: The Makings of Orient Counterculture"
Raj Chanderplasty

"Beat(ing) Tangier: Transgression and Displacement in the Writings of Paul Bowles"
Maria Porras Sanchez

"Aestheticizing the Revolution: William S. Burroughs in Tangier"
Kurt Hemmer

"Half a Tsphah: Kerouac's Haiku in Tangier"
Regina Weinreich

"Interzone et labyrinthe: William Burroughs and Mohammad Choukri a Tanger"
Marianna Salvioli

Joanne Kyger's Desecheo Notebook and the Feminization of the Interzone"
Amy L. Friedman

Rereading Jane Bowles: Between Feminist and Postcolonial Discourses"
Mieke Kolk

"'The Third Mind' of William S. Burroughs and Brion Gysin"
Antje von Graevitz

"'Paris is about the last place...': William Burroughs In and Out of Paris and Tangier, 1958-1960"
Andrew Hussey

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