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Bowles did not create the “myth of Tangier,” but he gave it a literary respectability and an American cast.

In the early 1950s, Burroughs, Ginsberg, Kerouac, Bryon Gysin, Tennessee Williams, Truman Capote, and Susan Sontag all gravitated to this “portal to the unknown,” as one author christened Tangier. So did European writers like Genet, Juan Goytisolo, and Joe Orton, but Bowles’s influence was not limited to the literary community. In later decades, his recordings and promotion of Moroccan music would draw producers and recording artists from Patti Smith to the Rolling Stones.

Through the 1960s and 1970s, he focused instead on recording and translating from darija (Moroccan Arabic dialect) the oral histories of men he met in Tangier’s cafés. By the time of his death, in 1999, the idea of Tangier as a place for self-discovery had become received wisdom in the West and the Arab world, and Bowles was established as a giant of American letters despite decades of silence.

I gave him a copy of my thesis. He looked up from the title page: “‘Orientalism’?—that’s a bad word, isn’t it?” Faux-naïveté, I would learn, was part of his manner. He told me to come back the following day.

I was, he said, the first Moroccan researcher—a Tangier native, to boot—to defend him. He added his signature beneath my printed name. (A few weeks ago, I got goosebumps when I found the same copy that I gave him, albeit coffee-stained, in the archives at the University of Delaware’s Paul Bowles Collection.) Later, the thesis was included in a collection titled Writing Tangier (2004). I still see citations occasionally in student dissertations on Bowles noting that one Tanjawi, at least, did not regard him as an Orientalist.

Tangier’s collective memory is steeped in nostalgia and centered around the medina, the old city. The medina, the elders told us, was once the epicenter of the Islamic world: it was from the port where the medina meets the sea that Tariq ibn Ziyad had set sail and conquered Spain in 711. After the fall of Granada in 1492, it was to Tangier’s medina that the Jews and Moriscos fled, settling in its alleyways, preserving the mosaic of Islamic Spain

The economic misery and political repression of the 1980s and 1990s made it hard to believe that the medina was ever a free space. Most locals had never heard of these famous writers. I only heard of Bowles when, in 1988, a film crew began working in front of our family restaurant at the entrance to the Kasbah as Bernardo Bertolucci began filming The Sheltering Sky. As teenagers, we came to wonder what truths the books from the Interzone contained, and if Tangier had indeed been better-off under Western rule, as the nostalgists, local and foreign, seemed to imply

The narrative we learned at school was that the monarchy had liberated the north from colonial oppression. But what liberation did the regime (makhzen) bring? After independence, as a local intelligentsia began forming in Tangier, many came to see the American corpus of writings about 1950s Tangier as an invaluable record of a lost golden age.

I made a point of reading the American authors who had written about Tangier’s Interzone. Besides Bowles, I was intrigued by the Beats, especially the Columbia University alums—Kerouac, Ginsberg, Lucien Carr—students of Lionel Trilling and fans of Arthur Rimbaud who had somehow mapped Greenwich Village onto Tangier, turning the Boulevard Pasteur into a “North African Bleecker Street.” But even as a college sophomore, I realized that their writings were more about the straitjacket of McCarthyite America that they were running from, rather than about Morocco as such.

It was even gratifying to see that Tangier, like Berlin, had played a significant role in launching a gay literary movement—in some ways ahead of the West, in having its finger on the “prognostic pulse of the world,” as Burroughs called it. But what was startling was that, while these writers basked in the city’s pleasures, they—with the exception of the Bowleses—didn’t really like Tangier. The Beats had a casual disdain for the natives, invariably describing Moroccans as “rakish” or “raffish.” Capote found Tangier too alien, describing the men as “noisy heathens” and the women as “anonymous bundles of laundry.” He warned friends in New York about the “smell of the arabe.” Burroughs referred to the locals as a “bunch of Ay-rabs,” and in 1958 he pronounced: “Tanger [sic] is finished. The Arab dogs are among us.”

Paul Bowles traced the history of the medina from the early 1930s to independence. He chronicled how the sultan’s crackdown on Sufi practices (“the great puritanical purging”) in central Morocco inched northward.

Bowles’s defense of the Amazigh, or Berber, population was daringly transgressive. Morocco’s culture “is not predominantly Arabic, but Berber,” he insisted—in the face of Arab nationalists who acted as though they believed “Berbers have no culture at all,” as they tried to drag the country into the Arab League. “The general opinion is that the autochthonous population must at all costs be Arabized if it is to share in the benefits of independence,” he observed acidly. “No one seems to have conceived of the possibility of an independent Berber Morocco. In fact, to mention the Berbers at all qualifies one as a pro-French reactionary. At present, to become modern means to become Egyptian.”

Reading these words in my dorm room in wintry Pennsylvania in 1992 was both thrilling and frightening. We as Moroccans—especially those of us from the northern Berber region—grew up in a climate of fear, and I had never heard or read anyone publicly criticize Arab nationalism, or speak so openly of the Moroccan hinterland’s animus toward Fez, the city of the interior regarded as the seat of the regime. To hear this American writer openly excoriate the Moroccan ruling elite for its cruelty and skullduggery was exhilarating

Bowles prompted me to think beyond the binary of “Western” versus “Arab.”

The Moroccan reaction against Bowles began to take form in the early 1970s. His earliest critics were the philosopher Abdallah Laroui and Ben Jelloun, who both chided the American writer for promoting an image of the country as a land of primitivism, drugs, and unlimited sex. Laroui also lambasted the Moroccan bourgeoisie for buying into and reproducing Bowles’s “folkloric” portrayal of their country. Ben Jelloun, writing in 1972, accused the American of belittling the nation’s literary patrimony.

Bowles, in the mid-1960s, had begun translating the memoirs and stories of down-and-out illiterate youth in Tangier. (While he could not read Arabic, Bowles did understand darija, the spoken dialect.) The most prominent of these were Larbi Layachi’s A Life Full of Holes (1966), about a petty thief and male prostitute and his experiences dodging police and servicing tourists (the book was made into a BBC film); Look and Move On (1967), the tales of Mohammed Mrabet, a hustler and golf caddie who worked for an American couple; and the best-known, Mohammed Choukri’s For Bread Alone (1972), an account of his migration from the Rif to Tangier, his life as a street kid in the International Zone, and his becoming a schoolteacher, which he recounted to Bowles in Spanish. These books were marketed in the West as “Moroccan literature,” and for many in the Anglophone world, this was their introduction to it.

in effect erased an earlier literary tradition that had seen Moroccan writers published in French and Spanish since the 1930s, let alone the preceding centuries of poetry and other writing in Arabic

Laroui acted as an adviser to the king and was a strong proponent of Arabization. Tangierians saw his attack on Bowles as another attempt by the Arab nationalist elite to subdue the “sin city.” Ben Jelloun also had a complicated relationship to Tangier. The son of a merchant, a Fassi (a person from Fez) who settled in Tangier in the early 1960s, he had attended the French lycée and was seen as part of the new Francophone Fassi upper class—comprising the Alaoui, Alami, Ben Jelloun, Berrada, Omrani, and Tazi families—that had fanned out across the country as the French departed, assuming top government positions. Like Laroui, Ben Jelloun spoke neither of the two common local tongues of the north, Spanish and Tarifit (the Berber language). A paradox of Ben Jelloun’s work, in particular, was that it often featured the very tropes of mysticism, violence, and sexual deviancy he denounced in Bowles’s work. For his part, the American writer dismissed his Moroccan critics as “confirmed Marxists.”

as long as America was seen as a political friend, Bowles was viewed favorably. Not surprisingly, after the Gulf war of 1990 and the release of Bertolucci’s film of The Sheltering Sky that same year, more articles started to appear across the Middle East critiquing Bowles’s representations of Morocco, accusing him of racism and Orientalism

I myself was part of this trend—defending Bowles against the Arab nationalists who were trying to tear him down and impose their political preferences on us. In his final interviews, when asked if he was an “Orientalist,” Bowles would often cite me, noting that a Tangier-born scholar now in America had judged him not to be.

“Paul Bowles loves Morocco, but does not really like Moroccans.” Choukri had some powerful evidence on his side. Over the decades, Bowles had made countless derogatory remarks, speaking of Moroccans as “childlike,” “purely predatory,” and “essentially barbarous.” He claimed also that Muslims aimed for world domination through “the sword and the bomb.”

He was sympathetic to the Amazigh, whom he saw as the original inhabitants of North Africa, a fiercely independent people only “partially Islamicized.” This affection nevertheless rested on some unsettling ideas about racial hierarchy. Bowles was profoundly influenced by the “Hamitic hypothesis,” a late nineteenth-century anthropological theory that saw almost everything of value in Africa as imported by the Hamites, a branch of the Caucasian race, who were held as superior to the Negroid peoples. Berbers, whatever their actual skin tone—even the typically dark-skinned Tuareg—were for Bowles essentially a white “Mediterranean race.”

In Bowles’s idiosyncratic hierarchy, it was Berber music that encapsulated Morocco’s true African identity—and this cultural essence was threatened by the Arabs and their music. The recently released Music of Morocco collection reflects this bias, giving credence to Choukri’s claim that Bowles deliberately misrepresented local culture to reflect his personal vision of Morocco.

I began to realize that Bowles’s fondness for the Berbers and his animus toward Arabs was, in many ways, a reflection of French colonial policy. Although he was well aware of the violence of French imperialism, he enjoyed its amenities—“the old, easygoing, openly colonial life of Morocco”—and as early as the 1950s, Bowles began to lament the loss of “colonial Tangier.” Above all, he believed in the International Zone, seeing its “anarchy” and “freedom from bureaucratic intervention” as an extraordinary political experiment. But these liberties, which is what drew many of the Beats, were the privileges of Europeans and Americans—ones generally not enjoyed by the city’s Muslim and Jewish natives.

In 1972, Tahar Ben Jelloun publicly accused Bowles (and the Beats) of exploiting illiterate, vulnerable youths in Tangier not just artistically but sexually. Choukri in 1997 would echo this charge, claiming Bowles suffered from a sexual illness. These allegations became more commonly heard once Farrar, Straus and Giroux published Bowles’s correspondence in 1994, although he expressed some reluctance about its release. The volume included letters in which he described the boys he slept with, in one letter even bragging about how cheap sex was in Algeria. “Where in this country [America] can I have thirty-five or forty people, and never risk seeing any of them again? Yet, in Algeria, it actually was the mean rate.” (In the correspondence, he reminisced about how he “never had sexual relationships without paying,” and viewed paying for sex as a form of “ownership.”)

Although the letters simply lent credence to rumors long circulating in Tangier, Choukri and other Tanjawi writers were still shocked by them. The literary reaction in Morocco fed into a larger effort there by human rights activists campaigning against sex tourism and child prostitution. Whereas Bowles had always seemed more judicious and reputable than the Beats—in contrast, say, to Burroughs’s open bragging about buying “pre-pubescent gooks” and Ginsberg’s boasting about “paying young boys” for sex—it became increasingly difficult to defend him. For a man who had called Moroccans “purely predatory,” his own behavior now appeared in rather grotesque relief.

The more time I spent at the Schomburg Library uptown, the more I discovered an alternative American literature about Tangier. I stumbled upon Claude McKay’s memoir A Long Way from Home about his time in Tangier in the late 1920s, where he completed his novel Banjo; the actress Anita Reynold’s diary about life in the Interzone in the 1930s; Josephine Baker’s papers, where she talks about filming Princess Tam Tam (1935) in the International Zone, and jazz recordings produced by African-American musicians living in Tangier. Although they had their own dreams about a “Mother Africa,” the African-American writers did not see Tangier as a brothel, or its residents as primitives who needed to be contained or civilized. Most wrote and produced art in solidarity with the disenfranchised local population, connecting the civil rights struggle to North Africa’s anticolonial movements.

In 1998, armed with this newfound knowledge, and as a conscious revision of my earlier guiding, I began giving walking tours of “Black Tangier.” We would would meet at Cinema Mauritania, the theater where Josephine Baker had performed many times, up until her last show there in 1970. She had lived in the International Zone, then joined the French Liberation forces during the war, and later had an affair with the vice-caliph of Spanish Morocco. On the first floor of the Mauritania, pianist Randy Weston had once operated African Rhythms, a music spot that drew the likes of Max Roach and Ahmed Jamal. Then we’d walk down to the Fat Black Pussycat café where the poet Ted Joans, one of few black writers in the Beat movement, played trumpet and “blew” jazz poems.

Next, we’d hit Galerie Delacroix, where Joans once hosted a four-hour tribute to his mentor Langston Hughes, and had the late poet’s verse read in Arabic, English, French, and Spanish. (In 1927, Hughes had visited Tangier and written a lovely poem about travel and unrequited longing, “I Thought It was Tangiers I Wanted.”) Then we’d walk to the majestic Teatro Cervantes built in 1913, where Weston had organized the first pan-African jazz festival in Morocco in June 1972 (revived in 2002), which brought Dexter Gordon, Odetta, Billy Harper, and Pucho and the Latin Soul Brothers to the city. Our last stop was the Hotel Chellah, where, as local legend had it, the Martinican anticolonial thinker Frantz Fanon stayed overnight on July 3, 1959, following a car crash on the Morocco–Algeria border rumored to be the handiwork of La Main Rouge, the paramilitary group run by French intelligence to assassinate leading supporters of Algerian independence. Fanon was flown to Rome the following day on a Moroccan passport.

Paul Bowles and King Hassan II died in 1999, a few months apart. The novelist and the tyrant who had towered over Tangier for generations had more in common than either would have admitted—and that in part explains the reverence Bowles still enjoys in official Morocco

both shared a disdain for leftist, Third-Worldist politics. Both hated pan-Arabism, and loved Berber culture as long as it was “folkloric” and apolitical. They each thought Moroccans were congenitally ill-suited for democracy.

both Bowles and the monarch celebrated a “primitive,” mystical, unlettered, unfree Morocco, sharing a special appetite for the intoxicating rhythms of the Berbers. No wonder King Hassan II, who expelled numerous critics—from Arab intellectuals to French journalists and American professors—never bothered Bowles.

The Ministry of Culture, which almost blocked his recording project in 1959, published a remarkable essay in 2009 on the tenth anniversary of his death defending Bowles against criticism from Moroccan nationalist intellectuals, underscoring how he presciently warned of the threats that modernization posed to Morocco’s cultural and physical landscape. Government mouthpieces such as Hespress run flattering pieces about “the American who loved Morocco.”

The Morocco that Bowles dubbed a “land of magic” is one the Ministry of Tourism sells to the West

his emphasis on Morocco’s “African” essence suits the country’s recent geopolitical turn and reentry into the Africa Union

for all his misgivings about Western modernity, he thought Morocco as an African country would be better off attaching itself to the West. This is now the position of a significant segment of Morocco’s ruling elite.

That the regime celebrates Berber folklore and the oeuvre of a novelist who wanted an “independent Berber republic” even as it imprisons Berber activists across the country is evidence for many of the regime’s fraudulence and bad faith. In this respect, Bowles’s continuing eminence suggests how little has changed in the kingdom since the colonial era, with an authoritarian regime and repressive social order remaining largely intact.

As for Bowles’s work, I had come to realize that it reflected poorly on Morocco and America. Yes, he had brought attention to the suppression of Berber history and made invaluable musical recordings, but decolonization was supposed to dismantle colonial representations, and instead, the Moroccan regime was validating and institutionalizing Bowles’s depictions of Morocco

today, a new generation of Moroccan writers—among them secularists, Berber activists, music critics, and pan-Africanists—are claiming Bowles as an ally. And that is why I found myself writing about Bowles once more.

not only that pre-modern Arab-Islamic thought never used shudhudh in reference to homosexuality; it also had no term for the concept of homosexuality as understood today

In his book “Desiring Arabs,” Columbia University professor of modern Arab thought Joseph Massad shows how modern Arab Nahda intellectuals adopted a variety of strategies to explain away certain aspects of their culture that did not fit with Victorian notions of what is shameful and appropriate

Emerging 19th-century fields such as psychology, psychiatry and sexology focused on identifying sexual abnormality and its boundaries. In the process, however, these fields also played a role in reinforcing the familiar. Unlike pre-modern moralists and anatomists who thought that a weak moral will or a biological malfunction in the genitals caused sexual “perversions,” the main argument advanced by these specialists was that functional diseases of sexual instinct caused sexual deviance. At the core of this argument is the claim that there is something called sexual instinct, that it is naturally linked to its object — the opposite sex — and its purpose is reproduction. It also presumes that this instinct emerges in the human body during puberty and slowly decays thereafter.

Ten years after El Saadawi’s transformation of the shudhudh phenomenon from a psychological to a social one, Egyptian author and journalist Muhammed Jalal Kushk represented the second transformation, when he claimed that homosexuality is basically a civilizational issue

Kushk uses the premise of “sex as virtue” to declare that most sexual desires and activities are not abnormal or deviant. He rejects prohibition of masturbation, anal intercourse between males and females, oral sex and other behaviors.Yet the only activity that he insists on keeping as shudhudh is homosexuality. This is not because he thinks there is something inherent in the sexual activity itself that renders it to be shudhudh but because he considers homosexuality to be a moral indicator of civilizational decline

For him, homosexuality represents the extreme expression of individualism and thus the extreme form of rejection of what he considers an imperative moral responsibility to one’s civilization and future generations. In this way, Kushk explains the growing visibility and recognition of homosexuality in the West as a sign of the beginning of the West’s decline.

the narrow meaning of shudhudh to exclusively mean homosexuality occurred only in the last third of the 20th century. It was also during this time that the term started to be used in a derogatory manner. The exact moment of this change is unknown but happened amid a rise in Islamist movements in the region starting from the 1970s and the global anti-homosexuality discourse associated with the spread of the AIDS pandemic.

The final transformation of the term shudhudh occurred in the past decade and it involved the fact of its becoming the central notion in an anti-homosexuality discourse that has become dominant and officially supported

Among the ways that Arab states substitute their lack of democratic legitimacy is by assuming moral authority. In the past five decades, this moral authority was exercised through regulating religion and subjugating Arab women. This is why gender and religious issues were among the hottest controversial topics in this period. But recently, and in reaction to the Arab Spring, the new authoritarian Arab regimes have changed how they treat both religion and women. If you are an Arab dictator and want moral legitimacy, but you do not want to derive it from Islam or gender, what is the most convenient source that fits your new secular conservative agenda? Arguably, the answer is adopting anti-homosexuality and, to a lesser degree, anti-atheism discourse.

Speaking out against domestic abuse is hard enough; speaking out against forced sex isn’t even an option. A society that thinks it’s okay for a man to hit his wife is likely to condone marital rape. Even though Abbou, the parliamentarian, personally favors criminalizing marital rape, she said it would be a difficult discussion in a patriarchal society like Tunisia, which still expects women to obey their husbands

“Maybe it’s better for me to stick around and be hit by my husband,” she said. “I’d rather be abused by one person than be abused by a whole society.”

rights groups say the community is still vulnerable, with as little as a photo on a telephone potentially leading to arrest, physical violence and anal examinations.

United Nations Committee Against Torture has condemned Tunisia's use of anal tests

The NGO also organised Tunisia's first queer cinema festival in 2018.

Rights groups are continuing to campaign for an end to Article 230, first introduced by French colonial administrators in 1913.

other problems facing all Tunisians: police and judicial corruption, impunity and the brain drain as people leave to seek better economic prospects in Europe and elsewhere.

The country in 2017 committed to ending the practice, but it has continued nonetheless.In December, two men were found guilty of same-sex acts after they refused to undergo such examinations -- seen by judges as proof of their guilt.

The Tunisian president, whose July power grab allowed him to issue laws and seize control of the judiciary, has said he is opposed to jail terms based on sexual orientation -- but also to the full decriminalisation of homosexuality.

Due to her gender identity, Malak is at increased risk of torture by the police, including rape and sexual violence, as well as assault by other detainees

Malak al-Kashef is a transgender woman who is undergoing gender affirming surgery. However, she has not yet managed to have her gender identity officially recognized and is therefore registered as male in official documents

uman Rights Watch told LGBTQ Nation that it was looking into the situation. “The law inherently discriminates against LGBT+ people, so it can only be an incubator for this type of abuse,” said Ahmed Benchemsi of HRW. “Homophobic people feel empowered because the law is on their side.”

multiple gay men in Morocco told PinkNews that they were living in a state of absolute terror: watching as other gay men were outed on social media, beaten up by their families, kicked out of their homes, disappearing and, in several, unverified, cases, killing themselves as a result of being publicly outed. Now, tragically, reports of gay men dying by suicide in the Muslim-majority country have been confirmed.

“We took immediate action by sending a security message to all our 41,000 users in Morocco, we blocked all profiles created from the time this person addressed her users and contacted Facebook to have the group page taken offline.”

Images of gay men in Morocco are being shared in closed Facebook groups by women following Moussa’s instructions.

Politicians give whatever work there is to their henchmen, not to us

Many of the politicians in Lebanon and Iraq are the direct material beneficiaries of sectarian systems instituted after conflicts in both countries.

Wealth and national resources were carved up along sectarian lines, with no party having an interest in upsetting the status quo.

After the 2003 U.S. invasion, Iraq borrowed from Lebanon to build its own muhasasa taifa, or balanced sectarianism. Power is likewise shared between the ruling elite of Shiites, Sunnis, and Kurds. As a result, while elections can shift the balance of power, they do little to change the faces of those who wield it, from whichever sect or faction

such division of power has reduced sectarian conflict but failed at making government efficient or transparent

one side of the protests is that they are against any political parties that are religious or ideologically charged

At least two generations of Iraqis have been scarred by sectarianism, beginning with Saddam Hussein’s killings of Shiites in Iraq, the subsequent revenge by the Shiite militias on Sunnis, and then the formation of the Islamic State. They are not just exhausted from the chaos unleashed by sectarian rivalries, but also disdainful of them. The most recent Iraqi protests were held mainly in Shiite cities and against a Shiite-dominated government.

In Lebanon, meanwhile, the protests comprise different sects, ages, sexes, and ideologies. However, perhaps most notable were the protests by Shiites in the south of the country against the Amal Movement, historically the dominant Shiite political party. The streets of Tyre resonated with curses aimed at Nabih Berri—Amal’s leader, the Shiite speaker of the parliament, and a Hezbollah ally.

In both countries, Shiite militias backed by Iran have come to play a dominant role in government in recent years: Hezbollah in Lebanon, and groups that belong to the Popular Mobilization Forces, the irregular army raised to fight the Islamic State, in Iraq

many Lebanese feel that Hezbollah can no longer claim the moral ground it once claimed for itself as a political outsider, now that it’s clearly a part of the faulty system

In last year’s elections, a new movement of independent, nonsectarian “civil society” candidates stepped up, and though only one succeeded in winning a seat, amid claims they are too disparate and divided to succeed, they are still determined to try again

For now, however, the very act of protest offers a sense of possibility. “It’s very beautiful,” said Azab, “when you feel that you managed to defeat all your fears and say what you want out loud.”