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the CIA estimates that there are around 30,000 Muslim jihadists in the entire world. A Kurdish leader has suggested that the CIA underestimates the jihadist threat, and claims that the total number is closer to 200,000. Even assuming the larger figure, jihadists represent a grand total of 0.01 percent of the world’s 1.8 billion Muslims

A 2011 Gallup poll found that American Muslims were the least likely of all polled American religious groups to accept vigilante violence against civilians. In all, 26 percent of American Protestants, 27 percent of Catholics, 22 percent of Jews, 19 percent of Mormons, 23 percent of atheists, but just 11 percent percent of Muslims said that it is “sometimes justified” for an “individual person or a small group of persons to target and kill civilians”.

Glaringly absent from American news media are opinion polls showing that Muslims are no more likely to accept violence than other groups. For instance, a 2011 Gallup World Violence poll showed that Muslims were just as likely as non-Muslims to reject vigilante acts of violence against civilians

Media scholar Jack Shaheen carried out a content analysis of more than 900 Hollywood movies featuring Arab or Muslim characters. Shaheen found Muslim characters are almost never cast in positive or neutral roles. The overwhelming majority of films that feature Arab or Muslim characters cast them as enemies, terrorists, violent, savage or backwards

compared to other threats of violence, Muslim terrorism garners exaggerated attention in American news and politics.

In the 14 years since 1 January, 2002, Muslim terrorists have killed 45 Americans in the United States, a smaller number than right-wing conservative terrorists have killed during the same time period. Also, since the start of 2002, there have been more than 200,000 firearm-related homicides in the United States

More realistic, proportionate presentations would greatly improve American political life. However, given the extent to which the Islamophobia industry is funded, people shouldn’t hold their breath waiting for fairer, less sensational presentations.

Today’s focus on Muslim perpetrators as the problem—and the rescue of non-Muslim victims as the solution—draws on a toxic cocktail of nationalism, racism, and anti-Muslim politics that has been gathering strength for decades in North America, Europe, and beyond

Many liberals also speak of Islam and Muslim political actors as if they were singular agentive forces that can be analyzed, quantified, engaged, celebrated, condemned, or divided between good and bad. Yet there is no such thing as Muslim or Christian political behavior

To posit extremism as an organic expression of Islam renders us incapable of apprehending the broader political and social contexts in which discrimination and violence occur and empowers those who benefit from the notion that Islam is at war with the West

To identify Middle Eastern Muslims as the cause of these problems, and to propose “saving” their Christian “victims” as the solution, replaces serious discussion about politics and U.S. foreign policy with moral panic

It is somewhat of a trend among Christian institutions, however. Wheaton College dropped its Crusaders nickname in 2000, followed by the University of the Incarnate Word in 2004, Northwest Christian (now Bushnell) University in 2008, Eastern Nazarene College in 2009, and Alvernia University and Northwest Nazarene University in 2017.

contemporaneous Muslims, Christians, and Jews all referred to the Middle Ages conflict as “the Wars of the Franks.” It was not until about the 18th century, Mikhail said, that Muslim polemicists began translating the conflict as “the Wars of the Cross-bearers.” But today, this is the term that has universal usage in Arabic.

most Middle Eastern Christians stood with the Muslims against the Crusaders.

“Christians and Muslims both have a lot of work to do in terms of revising elements of their religious language that poison everyday relations,” Accad said. “We have to create new symbols.”

I would never call myself a Crusader

there is no correlation between the Muslim Brotherhood's rise to power and sexual harassment. Sexual harassment has existed long before they came along

This article reeks of prejudice and confirmation bias with the author conveying her pre-conceived notions of what she expects an islamic party or muslims to behave and act like regardless of what she saw in actuality. 

The fact is that women in Egypt and other countries in the region are already legally second class citizens, and one would hope that their revolution, to which the women gave so much, would begin to change that, rather than have a regressive effect.

Although I am no fan of the Brotherhood (or the Tea Party), I am dismayed by crude generalizations and stereotypes employed by this author. I would hope that Slate could choose something a little more insightful to present to Western readers wanting to understand the Islamist movement (and what this means for the shape of politics in the Middle East) instead of perpetuating crude stereotypes.  

Nina, you are not fit to write about the "fate" of women after any Arab revolution. As an Arab, Muslim FEMINIST who "swaddles" herself in a headscarf, I can tell you that you just don't know enough. Plain and simple. I know Egyptian womyn who "swaddle" themselves in headscarves and identify as anarchists. I know Egyptian womyn who "swaddle" themselves in headscarves and go tagging in downtown Cairo. I know Egyptian womyn who "swaddle" themselves in headscarves and are members of the Revolutionary Socialist movement. I wonder if these womyn will be featured in your book. Probably not because it seems to me you have a very specific portrait you'd like to portray about the Arab, Muslim womyn donning the headscarf.

the orientalising nature of this piece

are you sure those are 'conservative' foreign donors? are they even the majority of donors? Are you implying the most popular political party in egypt for the last century cannot afford to pay its own bills? Actually 'conservative' donors would donate to the salafis, not to the Muslim Brotherhood. 

There are massive social and economic problems in Egypt and in the Arab world at large. And yeah, women are largely treated as second-class citizen and face cultural and legal hurdles. But this is not something that outsiders can fix. Every society and every culture changes on their own terms. The fact that Azza al-Garf is even in that position is progress. Whether or not one likes it, religious women are seen to have more "legitimacy" when it comes to challenging and changing the cultural mores in many Islamic societies than outsiders or people deemed to be too "Western."  And really, swaddled? I'm an American Muslim woman who has worn all sorts of garb. Sorry, but her abaya is likely far more comfortable than whatever business suit the author was wearing.

Far from protecting religious sensibilities, blasphemy laws are a major source of prejudice and violence against religious minorities, as well as of violations of their religious freedoms.

The antidote to blasphemy is not blunt and counterproductive law but efforts by civil society — specifically political and religious leaders cooperating across religious and ideological lines — to condemn any curtailing of religious rights or speech that incites violence. We saw this working in New York City when Jewish, Christian, Muslim and other religious leaders stood with the mayor in August 2010 in support of Muslim leaders who wanted to build an Islamic center near the World Trade Center site. We are seeing it now as the All Pakistan Ulema Council, an umbrella group of Muslim clerics and scholars, joins with the Pakistan Interfaith League, which includes Christians, Sikhs and members of other religions, to support Rimsha Masih and to call for an end to the “climate of fear” created by “spurious allegations.”

As people have turned to religious apps as a replacement for in-person church services amid COVID-19, Silicon Valley investors have seized on them as an opportunity to commercialize a set of conversations that have historically been among the most private: those with God.

Venture capitalist Katherine Boyle put it bluntly in a 2020 Washington Post op-ed: “A holy trinity is in place: isolated people hungry for attachment, religions desperate for growth in an online world, and technology investors searching for the consumer niches yet to digitize.”

A new Catholic app called Hallow, which offers devotional content with titles like “Overcoming Hopelessness,” announced in November that it had closed a $40 million Series B fundraising round. In December, a similar app called Glorify also raised $40 million. These apps, which also collect extensive information about their users, are backed by some of Silicon Valley’s best-known prospectors: Greylock Partners (Pray.com), Andreessen Horowitz (Glorify), and Peter Thiel (Hallow). Greylock, Andreessen, and Thiel are also all known for their investments in Facebook, which recently ramped up its own prayer offerings by rolling out a new tool called “prayer posts.”

Prior to an inquiry from BuzzFeed News, the policy made no mention of the company purchasing files about its users from data brokers. Pray.com added the language on Dec. 22, 2021, following the inquiry.

In 2018, Pray.com founder Steve Gatena portrayed Pray.com in intimate terms: “While other social networks might serve as a public place for your professional identity or your social identity, prayer is more traditionally a deeply private experience.” But 10 million downloads after its launch, much of the app is public — Katie’s, Sarah’s, and Jenny’s prayers and interactions with other users are visible to anyone who joins their nearly 100,000-person public group.

users should anticipate that at any moment, online advertising could be easily integrated into these websites, and the data they currently are collecting could be used to optimize new advertising systems

Bible Gateway, one of the largest devotional apps on the market, owned by Rupert Murdoch’s News Corporation, has been making money by sharing its users’ information for years. It began, like Pray.com, as both a free and ad-free experience, but eventually introduced targeted ads to cover its costs. Since 2017, the app has fed data about the nearly 8 million people who have downloaded its app into an ad targeting system called NewsIQ, which infers interests about users based on their behavior across News Corporation apps and websites. NewsIQ claims it can “capture the preferences, opinions and emotions” of users for advertisers to exploit.

Founded without a business model, Instapray quickly found traction with users and investment from Peter Thiel. But it was then sold — along with its users’ data — to Salem Media Group, a conservative-aligned conglomerate of talk radio stations and political websites. After the acquisition, Salem shut Instapray down. It did not respond to questions from BuzzFeed News about how it uses Instapray users’ data.

Religion scholars noted that the most spiritually important conversations may not always be the most commercially viable ones, and that companies’ desire to capture users’ attention might narrow the themes explored in their devotional practice. Privacy experts worried the apps could be manipulated by interest groups like anti-vaccine activists and political parties. Instapray, which initially marketed itself to religious political constituencies, later faced criticism for hosting “political statements disguised as prayer.” At least one government has taken an interest in prayer app data, too — the US military bought extensive location data mined from Muslim prayer apps back in 2020 for use in special forces operations.

In 2020, researchers at the website VPNMentor.com discovered that Pray.com was storing millions of users’ personal information, including home addresses, where they attend church, and the contents of their contact lists, in publicly accessible cloud storage “buckets.” Among the records exposed were photos of underage users, which the researchers said were likely uploaded without parents’ permission.

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.

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.

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.”

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.”

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.”)

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.

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.

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.