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For reformers, an ideal society would not necessarily be liberal in the sense Western liberals understand it — such as holding liberal social values, being accepting of abortion and homosexuality, for example — but would instead be politically liberal, meaning it would allow minority faiths to both practice and — and this is the crucial bit — express their religious faith in public. That’s a critical distinction that liberals have yet to grapple with.

Western European liberals have forgotten how to grapple with faith, so religion has been comprehensively pushed to the margins of public life

the idea of groups coming together, which may have differing views about how a future society should be organized, is the basis of politics itself

The broad coalition of ideologies that make up the left today have different conceptions of what an idealized society would look like. Yet they agree on the political task of removing structural inequality and injustice today.

While there are certainly questions about this alliance between liberals and faithful Muslims, and some on each side eye each other warily, I don’t share the belief that there is anything unusual or uniquely challenging about this political alliance. For one thing, the rising progressive wing of the liberal movement — the one so often derided as “woke,” as if that were a bad thing — has more in common with Muslim millennials than the previous political generation

A rising generation of liberals now looks at social institutions as the problem. They look at the way hierarchies are constructed — in society, at work, even in relationships — and believe the structures themselves are the problem. The same with schools, banks, the police, and so on. The value systems within these structures are the problem, not the people within them who are incentivized to uphold these values.That analysis chimes with a changing Muslim political community, too. For Muslim millennials, integration is not the overarching political ambition that it was for a previous political generation. The current political generation of Muslims in the West applies a structural analysis of what is wrong with the world. This is where the overlap occurs. The two groups look at the structures of power and see clear links between the historical crimes of slavery and colonialism, as well as the hierarchies of race, gender, and faith, and the situations in the West and the Muslim world today.

Progressive liberals are upending some of the distinctions long thought to be immovable. As that movement shifts from analyzing hierarchies in society, work, and relationships to hierarchies in politics, some of the questions that were taken for granted will be upended.One of those questions will be about the role of faith in public life, or, to say it more specifically, what exactly counts as the display of faith in public life. As religion shifts from being something about the afterlife to being something about culture in this earthly life, there will be a shift in what counts as the display of faith in public life.

The fact that the meme of the Muslim woman who must be saved from Islam and Muslim men – through the intervention of a benevolent western state – 11 years after the very real plight of Afghan women was cynically deployed to legitimise a global war, and long after the opportunism of this imperialist feminism was decisively exposed, points to a serious and deep investment in the assumptions that animate these claims. These assumptions come out of a palpable dis-ease with Islam within the liberal mainstream and portions of the Left, a result of the long exposure to Orientalist and Islamophobic discourses.

secularism is posited as the necessary prerequisite for achieving equal rights for women

The less-than-enthusiastic support for the Arab Spring by liberals on the basis of a fear that the Muslim Brotherhood would come to power (thereby implying that the human rights/women’s rights record of the regimes they were replacing was somehow better) illustrates the liberal anxiety regarding democracy when it comes to the Arab/Muslim ‘world’ and hints at the historical relationship between women’s movements and authoritarian regimes in the postcolonial period

Even as the United States officially begins to wind down its war in Afghanistan, the GWoT – recently rebranded as the Overseas Contingency Operation by President Obama – is spreading and intensifying across the ‘Muslim world’, and we can expect to hear further calls for the United States and its allies to save Muslim women. At the same time, we are seeing the mainstreaming and institutionalisation of a gendered anti-Muslim racism within the west, which means that we can also expect to see more of the discourse which pits the rights of Muslim men against those of Muslim women.

caution against seeing Muslim women as exceptional victims (of their culture/religion/men), and to point out both that there are family resemblances between the violence suffered by women across the world and that there is no singular ‘Muslim woman’s experience’

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.

many of those both on the left and right of Israel have forgotten how to argue for liberal values from within Jewish traditions and texts

It is in Israel’s Declaration of Independence, in which the word “democratic” does not appear, that the new state’s aspirational values were best presented stating that “it will be based on freedom, justice and peace as envisaged by the prophets of Israel; it will ensure complete equality of social and political rights to all its inhabitants irrespective of religion, race or sex; it will guarantee freedom of religion, conscience, language, education and culture.” These were the values chosen for the state, considered not only desirable but grounded in Jewish tradition.

Indeed, the hatred of the people, women and men, has been a, if not the, unifying characteristic of col

Hatred is irrational. It is a state or emotion. As Wendy Brown reminds us, such emotional or affective states are understood to be outside of, or unwelcome in, liberalism.

critical thinkers have long argued that this practice has more to do with the lack of economic opportunity for women, the imperative to marry, and the hardening and modernization of tradition in response to colonial and neocolonial interventions (including rights frameworks) than some irrational and razor crazed “hatred.” The same insight could be extended to the question of ages of consent. A reductive framework of hatred makes these topics even more difficult to critically think about and work on.

to reflect on why the liberalism that Sha‘rawi and her cohorts fought for—men and women—drastically and resoundingly failed. One reason, and there are many, was that liberalism resonated with only a small elite. As Hanan Kholoussy points out, women under domestic confinement who like Sha‘rawi were expected to don the face veil made up only two percent of Egypt’s five million females at the end of the nineteenth century

moderate Islam has often been produced on the wings of women's and minority rights

in the Palestinian context, the women’s movement lacked a coherent strategy linking gender equality to democracy. The women’s movement thus appeared to be sponsored by the Palestinian Authority; its fate became dependent on that of the political system

Turkey, Algeria, Egypt are situations where you have small women’s movements whose popular legitimacy is lost because over time they have been seen as linked to or sponsored by authoritarian secular regimes.1

We respectfully invite El Tahawy to join the conversation among women and men in Tahrir and outside of it. After all, the shameful and state-sanctioned sexual violence of the Supreme Council of the Armed Forces’ “virginity tests” did not take place in silence. They happened a day after International Women’s Day when women claimed Tahrir as a space of gender equality and liberation. The “virginity tests” did not meet silence either, as El Tahawy herself points out. Samira Ibrahim continues her fight; her following and her courage are formidable.

There is no one answer because there is no single culprit, no single “culture” or “hatred” that we can root out and replace with “tolerance” or “love.” Similarly, the absence of a sustained and critical attention to sex and gender cannot be solved, syllabus style, by a separate glossy special “Sex Issue,” the content and form of which reproduce what it purports to critique.

Western Europe may respond, indeed is responding, to Muslim political assertiveness in two opposing ways, based on its response to two controversies that erupted in 1989: the Salman Rushdie affair in the United Kingdom and the headscarf affair in France.

too many European governments discourage Muslim self-representation in politics and civil society and prefer to initiate debates about Islam’s relationship to national identity in which Muslims are the objects of discussion rather than participants in it

Western Europe will not be able to integrate its growing population of Muslims into its national polities without rethinking political secularism. This will be much easier where moderate secularism and multiculturalism prevail, as opposed to a more radical form of secularism. European nations must oppose radical secularism, antipathy to public religion, and the trampling and alienating effects this tendency is having on religious freedoms and a growing European Muslim population.

Just as European citizens and governments must oppose the extreme nationalism that is asserting itself across the continent, they must also turn away from extreme secularism which, apart from in France, is not the Western European way. Affirming its historically moderate secularism, and adapting it to accommodate a multifaith national citizenry, represents Europe’s best chance for finding a way forward.

Gomaa's fatwas were consistent with historical Sunni views that regard revolution with scepticism, if not outright terror, at the prospect of public disorder. The mufti's stance of neutrality, meanwhile, alienated significant segments of the Egyptian population who expected him to take a much stronger stance against the unlawful conduct of the regime and its security forces

The various responses by religious leaders to the events of the Arab Spring suggest three distinct issues facing the role of religion and politics (particularly, the possibility of a more democratic politics) in the Arab World. First, the lack of institutional independence from strong regimes continues to undermine scholars' legitimacy. It is hard to believe, for example, that Qaradawi's stance regarding Bahrain was not influenced by the Gulf Cooperation Council's anti-Iran policies. This failure to be consistent, meanwhile, undermines his status as a moral voice in these times of uncertainty. Second, among traditional scholars, there remains a profound failure to understand the nature of the modern state and how it differs from the personal rule that characterized pre-modern states. Third, traditionalist scholars continue to view politics as something exogenous to the religious life, as if it were something that can safely be ignored without doing any damage to one's life as a Muslim.

the desire by virtually all political parties to use the religious establishment to further their political programs contradicts the desire to have an independent religious establishment that could be faithful to its own mission

To the extent that traditional scholars still cling to a conception of political rule that identifies legitimacy in the personal attributes of the ruler, they anachronistically promote the idea that good politics is the function of the virtuous ruler, rather than the modern notion that virtuous rule is the product of the right institutions.

the Arab Spring rejected the notion that one can live a virtuous private life untouched by an unjust and corrupt political sphere

If one accepts the proposition that the character of a regime profoundly affects everything produced within its domain, then it is no surprise that the authoritarianism of the last 50 years in the Arab World produced sterile and decadent religious as well as secular thought

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.

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

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.

The fact of the matter is that Arab women, throughout the region, are exercising their moral and political agency, but not necessarily in the ways we might expect.

The reality is that democracy and liberalism do not necessarily go hand-in-hand, at least not in the Arab world. If anything, the opposite is true. Democracy means that governments need to be responsive to the will of the people. But the will of Arab men, and even Arab women, does not seem to be particularly supportive of the Western conception of gender equality.

What if Arabs decide they want to be illiberal?

"One of the most problematic assumptions behind quotas is that having more women in parliament somehow represents a de facto gain for women's causes."

To grasp our strength, we must accept that freedom involves freedom of expression, which is not about right or wrong but rather the right of choice, including the right to choose and use our sexuality.

Here is where American Muslims become so important. As it has in other countries, Islam as practiced in the United States is taking on many of the cultural norms of American society. American Muslim women drive cars. No one advocates genital mutilation here. Muslim women enjoy the rights and privileges of all American women. These new practices are transforming Islam here and, as with so many other immigrant groups, American Muslims are positively influencing events back in their native countries.

they also fear us, as much as our dictators feared us

Quotas, like any top-down solution, fail to address the root of the problem -- that the prevailing culture in the Arab world, for now at least, does not view women the same way that Western cultures do. In other words, getting to gender equality is probably going to take a very long time. The other possibility, and the more likely one, is that Arab societies will decide to go their own way -- a different way -- on women's rights. And they may do so both democratically and with the support and active encouragement of Arab women themselves.

The image of Nekkid Burqa Woman is lazy and insulting. Let's talk lazy first. And by lazy I mean editorially. Illustrations for print stories are meant to illuminate the text, to present a further dimension to the written word. They are not incidental to the item. The image of a naked woman with a painted-on burqa does nothing to illuminate the essay it accompanies. It's trite and boring -- been there, done that. Nekkid Burqa Woman is, in fact, so common that she doesn't even shock or provoke anymore. Her image simply elicits, in the language of the Internet, a "Really, Foreign Policy? Really?" The covered-yet-naked-yet-covered Unknown Brown Woman is all over the place. You can find her on book covers and in movie trailers. You'll see her used in making the case for war and you'll see her used in making the case for jihad.

Muslim women are typically presented in two ways in the West: traditional/veiled/subservient or modern/unveiled/autonomous. In the Muslim world, it's the reverse. The best, most free woman is the most covered. Uncovering is for a woman without morals, one who is oppressed by her own desires. In both views, Muslim women are defined by how they (un)dress.

The further insult stems from the fact the woman in the picture is inactive. She is simply presented for consumption.

And it's not just about Muslim women. The illustration is insulting to women in general. It takes the profound problem of gender-based violence and reduces it to sexual imagery: "Hey, we might be talking about the endemic hatred of one gender for the other but here's a naked painted lady to keep you company!"