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a project of modern coexistence that not only had to be imagined and designed, but also built

to trace how an extraordinary idea of Muslim and Christian and Jewish civic and political community rooted in secular equality went from unimaginability to ubiquity in the course of a single century, and nowhere more so than in the Arab East after 1860

subject to conflicting interpretations that valorized “real” religion and demonized sectarianism, often in contradictory and conservative modes, but also in more liberal and even radical ways

The Orientalist view of sectarianism frequently analogizes sect as “like race” and, furthermore, it assumes that sectarian differences are inherent cultural and political differences similar to race. What do you think is the relationship of sect to race?  How should race figure in the story of coexistence you relate?

the Orientalists idealize the West in order to Orientalize the East. Second, as you suggest, this view transforms religious pluralism in the Middle East into a structure of age-old monolithic antagonistic communities so that one can speak of medieval and modern Maronites, Jews, Muslims and so on as if these have been unchanging communities and as if all ideological diversity in the Middle East ultimately is reducible to religion and religious community

The religious sect is conflated with the political sect; the secular is understood to be a thin veneer that conceals the allegedly “real” and unchanging religious essence of the Middle East. This view is dangerous, misleading and tendentious.

both race and sect urgently need to be historicized and contextualized—race belongs to US (and Western) political vocabulary; sect to Arab political vocabulary. Both the notion of age-old sects and that of immutable races are ideological fictions that have been manipulated to serve power

US scholars Barbara J. Fields and Karen E. Fields have suggested we think of “racecraft” rather than “race relations” to underscore the ideological fundament of racist thinking that appears totally natural to its proponents. As I allude to in my book, so too might we think of “sectcraft” rather than sectarian or communal relations, both to underscore the ideological aspect of sectarianism and to emphasize the amount of work that goes into making sectarianism appear to be inherent, inevitable and unchangeable

many scholars gravitate toward using categories and experiences that emerge in the US context and apply them, sometimes indiscriminately and often very problematically, to other parts of the world. I think it is important at some level to respect the fact that in the modern Middle East, progressive scholars and laypeople, men and women belonging to different religious communities, have throughout the twentieth century typically described and conceptualized their struggles against injustice and tyranny as struggles against sectarianism and colonialism, but not necessarily as a struggle against racism.

Tribalism, communalism and sectarianism all refer to parallel formations in Africa, South Asia and the Middle East respectively that assume an unchanging essence that separates members of a single sovereignty or putative sovereignty. They are all static ideological interpretations of pluralism, and have all, to a greater or lesser degree, been massively influenced and even in many ways formally classified and invented by Western colonial powers

the national polities of the post-Ottoman period in the Arab East were established by European colonial powers. These European powers massively distorted the ecumenical trajectory evident in the late Ottoman Arab East. First, they broke up the region into dependent and weak states, and second, they divided the region along explicitly sectarian lines

the colonial dimension is crucial, and it clearly separates the US and the European period of nationalization from that of the colonized Middle East

why the investment in and privileging of certain epistemic categories of domination as opposed to others? The question of migrant labor illustrates how race and class and geography and history are intertwined in very specific ways—the Middle Eastern cases (whether the Gulf or in Lebanon) are indeed different from that of the history of migrant labor in the United States, which has always been implicated in settler colonialism.

One key difference, of course, between modern Western colonialism and early modern Islamic empires is that the latter, like their early modern Christian counterparts, did not pretend to uphold liberal representation, political equality or self-determination. So, temporality is one essential difference: ethnic, racist or sectarian discrimination in the Islamic empires was not justified or imagined as a benevolent burden to uplift others into an ostensibly equal level of civilization. There was no pretense of a colonial tutelage to help natives achieve independence in the fullness of time

In the Ottoman Islamic empire, there were indeed professions of Islamic superiority, notions of ethnic, tribal and religious discrimination, forms of bondage and slavery, and myriad chauvinisms and prejudices tied to kinship, geography, language, culture and ethnicity and so on, but not a notion of biological racism or the obsession with racial segregation and miscegenation that has been the hallmark of modern Western colonialism

a new and distinctive defensiveness among leading Muslim Arab intellectuals—that is, their need to defend Islam and Islamic society from missionary and colonial assault whilst also embracing or reconciling themselves to compatriotship with Arab Christians and Jews. This defensiveness persists

the great problem of scholars and governments in the West who have long instrumentalized and Orientalized discrimination against non-Muslims to suggest that there is some peculiar problem with Islam and Muslims

I think that scholars of gender and women’s history have a lot to teach us in this regard: that is Arab, Turkish, Iranian and other scholars who have explored the long history of gender discrimination—who have defied the fundamentalists—without succumbing to racist Orientalism or self-loathing

really historicize! It really is an effective antidote in the face of those who peddle in chauvinism, racism, sectarianism, tribalism and communalism

Under French colonization, Muslim Maghrebi women were persuaded, paid, or forced to remove their veils and to adopt the slogan, “Let’s be like the French woman.” Today, Muslim French women are told they are not French enough if they cover their hair. Today, they too are asked to shed their veils in order to be “like the French woman,” even though France is their home and place of birth.

Similar to the French colonizers who forgot that forced unveiling was the real incarnation of sexist inferiority, the masculine French state of today ignores that policing women’s bodies is undeniable proof of misogyny and oppression.

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.

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.”

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.

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.”

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 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.

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

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.

As Aydın shows, the most prominent strategy in the making of imperial subjects, as well as citizens, was the notion of civilization and its twin, race—that is, racialization. In this way, Aydın echoes Partha Chatterjee, who forcefully argues that colonial power operates through a “rule of colonial difference,” where the colonized are embedded in social and political relations of inferiority vis-à-vis their colonial counterparts. For Chatterjee, this is done through emergent notions of race and practices of racial difference.

Aydın’s argument resonates with Chatterjee’s insistence on racial difference as a key component of imperial power and Scott’s critical revision that the creation of racialized subjects takes place through practices that change over time, adapting to new circumstances thus enabling the production of new kinds statements, arguments, and practices in turn.

While the idea of bounded entities, which are, supposedly, culturally and religiously distinct, has been subject to numerous revisions and criticisms, it has maintained a constant presence in news media and policy circles. Samuel Huntington’s “clash of civilizations” narrative has reappeared in the likes of Donald Trump’s recent speech in Poland, where he questions, in racially and religiously coded terms, whether the “West has the will to survive,” or if its “civilization” can be “preserved”; these are strong indications of the lasting hold of imperial concepts on the imagination of policymakers and politicians even as we acknowledge a transformation in the historical conditions of their articulation.

assuming the adjective “Muslim” tells us something about the kinds of political actions one undertakes is not only delusional, but also dangerous for democratic politics.

A general dislike of modern borders has been a feature of Islamist politics for some time now, and not just among the young and zealous. Turkey’s President Recep Tayyip Erdogan, for example, has been candid on how Turkey’s “emotional borders” extend far beyond those drawn on the map.

After the Arab Spring, a growing number of Islamists have begun to challenge what they see as uncreative approaches to the state — an overly centralized state, and one which, in its very constitution, is unable to tolerate dissent or alternative approaches to organizing society. There is a sense, as one participant put it to us, that the state actively interferes with everything, including religion.

a sort of libertarian streak

The Islamic State’s model is actually quite modern, with government control taking precedence over social and religious institutions rising organically from the grass roots.

As the scholar Ovamir Anjum has argued, pre-modern Muslim thought was not concerned with “politics” in the traditional sense, but with the welfare of the ummah — what he cleverly calls “ummatics.”

What’s discomforting is that many Muslims — and not just the Islamic State or card-carrying Islamists — might prefer, in an ideal world, to be free to pledge their ultimate loyalty to the ummah in the abstract, rather than to a nicely bounded nation-state. And while survey data shows the overwhelming majority of Muslims strongly oppose the group, the Islamic State nonetheless draws strength from ideas that have broader resonance among Muslim-majority populations

Maybe the reason Islam hasn’t fallen in line isn’t just the poverty, the lack of education, colonialism or wars. These all play a role, of course. But maybe the ideas Islamism brings to the fore also have a resilience and appeal that we have been reluctant to admit. And maybe the liberal order is not as desired, inevitable or universal as we thought.

The town's radical reputation has lately been burnished by the presence of several former Guantanamo prisoners, including Sufyan bin Qumo, who heads the Ansar al-Shariah Islamist group blamed by the American for the U.S. embassy attack.

"In Libya it's only been a year and the idea of democracy and political parties is difficult for people to absorb. The people have not responded to this imported, packaged democracy. We don't accept it. We have a religion that needs to be taken into account," said Azouz, an English teacher who belongs to one of Derna's most prominent families.

For the Islamist groups, which are part of a Salafi movement whose members try to model their lives on the early followers of the Prophet Mohammad, the legitimacy of the newborn Libyan state is highly questionable."It's the revolution that made the state and some of the opportunists who did not participate in the revolution or shed any blood for the revolution are the ones who are forcing their orders on us," Azouz said.

"The solution is to draft an Islamic constitution ... and set up Sharia courts so that people can trust that this state is a true Islamic state,"

Some jihadists are already preparing for what they see is an inevitable showdown with those who seek to turn Libya into an "apostate" nation. They can see no compromise with an infidel West bent on changing Libya's Islamic identity.

The deep streak of radicalism in eastern Libya that fed on the neglect of towns such as Derna during the Gaddafi era is still strong these days. Many jihadists say the country's new rulers are favoring Tripoli just as the former dictator did.