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As a democratic government, we support the Salafis’ freedom of expression, but advocating violence is a red line. Those who cross it will be arrested.

strength and importance of extremist groups have been unduly amplified by the news media

Images of angry Muslim mobs, like the one featured on a recent cover of Newsweek magazine3, once again revived the old Orientalist trope of a backward and hysterical Muslim world, unable to engage in civilized and rational debate or undertake peaceful negotiations — in other words, incapable of conducting political affairs.

Arguing that the groups who have recently staged violent demonstrations represent the entire Arab population is as absurd as claiming that white supremacist groups represent the American people or that the Norwegian right-wing mass murderer Anders Behring Breivik is representative of Europeans.

Islamic jurisprudence inherently contradicts democratic politics

In the twentieth century, secularist rulers adopted secular legal systems in Turkey, Iraq, Tunisia, and several other Muslim-majority cases. These assertive secularist regimes were mostly authoritarian. Therefore, they did not allow the law-making processes to be truly participatory. Secularism appears to be necessary but not sufficient for participatory legislation, too.

As my new book Islam, Authoritarianism, and Underdevelopment: A Global and Historical Comparison explains, there existed a certain level of separation between religious and political authorities in the first four centuries of Islamic history.That is why the first systematic book about “Islamic” politics was written as late as the mid-eleventh century. It was Mawardi’s The Ordinances of Government. The book argues that an Islamic government is based on a caliph (an Arab man from the Quraish tribe) to rule all Muslims. The caliph holds the entire political and legal authority and stays in power for life. The caliph delegates his legitimate authority to sultans, governors, and judges.The second book, which systematically defines an Islamic political system, was written in the early fourteenth century. It is Ibn Taymiyya’s Sharia-based Governance in Reforming Both the Ruler and His Flock. Instead of the one-man rule of a caliph, this book emphasizes the alliance between the ulema and the state authorities. Ibn Taymiyya interprets the only phrase in the Quran about authority, “uli’l-amr” (4:59), as referring to the ulema and the rulers (though other scholars have interpreted it differently).

To implement Mawardi’s idea of caliphate today would imply to establish an extreme autocracy. Ibn Taymiyya’s ideas are not helpful to solve modern political problems either. In fact, the ulema-state alliance is the source of various problems in many Muslim-majority countries.

To maintain a certain level of separation between Islam and legal systems may limit the exploitation of Islam for political purposes.

recent Islamization (at the political, legal and ideological levels) has weakened secular fundamentals of citizenship and law-making in many Muslim-majority countries.

USAID regulations state that awards “must be free from political interference or even the appearance of such interference and must be made on the basis of merit, not on the basis of the religious affiliation of a recipient organization, or lack thereof.”

In August, as the White House was considering cuts to an array of foreign aid programs, it shielded funding for religious minorities abroad

Late in the Obama administration, USAID’s activities in Iraq focused on an effort by the United Nations to restore basic services as soon as cities had been liberated from Islamic State rule. By the end of 2016, the United States had contributed over $115 million to the effort through USAID, and other countries had contributed hundreds of millions of dollars more. U.S. officials credit the U.N.’s work with enabling millions of Iraqis to return to their homes soon after the fighting was done instead of languishing in refugee camps.

U.S. officials in Iraq were sensing dissatisfaction among some Iraqi Christians and American religious groups with the U.S. strategy and the U.N.’s work. Trying to head off problems, U.S. officials urged the U.N. in the summer of 2017 to pay special attention to the Nineveh Plains, an ethnically and religiously diverse region of northern Iraq where many of the country’s Christians live. U.N. officials were reluctant, arguing their assistance could go further in dense urban areas like Mosul, as opposed to the Nineveh Plains, a stretch of farmland dotted by small towns and villages.

Many career officials at the State Department and USAID supported the broader scope of the U.N.’s work. They acknowledged it wasn’t perfect — it could be slow, and the U.N. was not adept at communicating with local communities — but said the rebuilding had benefited wide swaths of territory that included both Muslims and minority groups.

Career officials also expressed concerns at the time that targeting federal funds toward particular minority groups on the basis of religion could be unconstitutional

Initially, Pence’s office and political appointees at USAID were focused on helping Christians, with little attention to Yazidis, a small, ancient sect that was targeted in an especially cruel manner by Islamic State militants, said a current official and a former foreign service officer. Over time, career officials “helped educate” political appointees on the extent of the Yazidis’ suffering, in hopes of getting their support for directing some aid at non-Christian groups, the former foreign service officer said. “There was a very ideological focus on Christians, and most of the questions were about Christians,” this person said. “We were trying to get them to focus on others in the minority communities that might need assistance.”

While the grant process was being worked out at USAID, Pence blindsided officials in October 2017 when he declared to an influential Christian group in Washington that Trump had ordered diplomats to no longer fund “ineffective” U.N. programs. USAID would now directly help persecuted communities, he said.

Mark Green, the head of USAID, expressed discomfort to a colleague about potential interference by Pence into the grant process

Pence’s then-chief of staff, Nick Ayers, called Steiger to demand somebody at the agency be punished for the failure to provide aid to Christian groups quickly enough, according to several people familiar with the conversation. Ayers did not respond to requests for comment. Green’s reaction was to remove Maria Longi, a career civil servant and a top official in USAID’s Middle East bureau. Though still on USAID’s payroll, she now teaches national security strategy at the National War College.

Concern spread even among Trump appointees that their jobs might be threatened. “What it did instill in the Middle East bureau was fear among the political appointees that they could be thrown out at any time,”

Five current or former U.S. officials said involvement in grant decisions by political appointees — particularly by someone as senior as Ferguson — is highly unusual. USAID grants are typically decided by a review committee and a contracting officer, all of whom are career officials.

“USAID procurement rules with technical review panels are strict, as they should be, to avoid any political interference on the use of U.S. taxpayer dollars,”

Aside from its small size and lack of federal grant experience, Shlama was an unconventional choice for another reason. Last year it received $10,000 in donations from the Clarion Project, a nonprofit organization which researchers at Georgetown University’s Bridge Initiative said “advances anti-Muslim content through its web-based and video production platforms.”

USAID is now expanding its emphasis on religious minorities far beyond Iraq. In December, a month after his email about White House pressure, Ferguson told USAID mission directors in the Middle East that agency leadership had identified up to $50 million it planned to use in 2019 for “urgent religious freedom and religious persecution challenges,” according to a second email seen by ProPublica. He asked mission directors to submit programming ideas. In a follow-up email in June, also seen by ProPublica, Ferguson wrote that in addition to Iraq, religious and ethnic minority programming was planned for Lebanon, Morocco and Tunisia.

With the end of the Soviet war in Afghanistan — in which the Americans and Muslim jihadists were allies — and the fall of the Soviet Union, a new dynamic began to set in. The 1991 Gulf War raised the specter of an American hegemon and also led inadvertently to the development of al-Qaeda as an anti-Western force. Over the next two decades, underlined by the 9/11 attacks, the notion of Samuel Huntington’s clash of civilizations appeared to be coming to fruition. With the Iraq and Afghanistan wars in full throttle, alongside the second Palestinian intifada, this divide sharpened in the early 2000s.

in recent years approximately 90% of terrorism-related fatalities have been Muslim

In 2008, Hezbollah leader Hassan Nasrallah, Syrian President Bashar al-Assad and Iranian President Mahmoud Ahmedinejad were regarded as the most admired leaders in the Arab world. Subsequent events and sectarian strife have made such a result today inconceivable

The ripping open of the political space in Egypt, Libya, Yemen and Tunisia has brought contestation for power into play, and in the spotlight stands the debate over the role of Islam

three concurrent battle lines pitting Muslim against Muslim across the region: militants versus the state, Shiites versus Sunnis (and Salafists versus Sufis) and secularists versus Islamists

On the Saudi side, while the Turkish-Saudi partnership is officially celebrated as a great new strategic alliance, the Saudi press occasionally launches attacks that undermine this veneer of cooperation. Accusations that “Sultan Erdogan” longs for the return of the Ottoman caliphate regularly appeared in the Saudi sponsored pan-Arab press. Such attacks are often backed by appeals to Arabism and the historical animosity between Turkey and the Arab people.

More ferocious attacks are clothed in religion, with Turkey’s Islamism mocked as an aberration that remains tolerant of alcohol consumption and debauchery in the red light districts of Istanbul. Turkey’s Sufi tradition stands at the opposite end of the dominant Saudi Salafist religious outlook. Its half-hearted appeal to Sharia is contrasted with Saudi commitment to Islamic law. Such attacks echo similar ones that flourished more than a hundred years ago when Wahhabi expansion in Arabia and constant harassment of pilgrimages prompted the Ottoman sultan to reassert his authority over the holy cities of Mecca and Medina. Ironically, in 1818 he relied on the Egyptian army under the leadership of Ibrahim Pasha to rid him of this menace and deliver the Saudi rulers and their religious aides to Istanbul where they were executed. While this is history, the memory seems to linger in the minds of religiously-inclined Saudis when they denounce Turkey's version of Islam for its laxity.

When you take oil out of the equation, it is unlikely to find a sensible country that would aspire to a Saudi model of governance.

It is easy to criticise an unlovely regime like that of Hosni Mubarak, and both public and private figures in the US rise enthusiastically to the task. But just let them glimpse a realistic prospect for the Egyptian Muslim Brothers to gain a significant share of power, and their enthusiasm will rapidly wane. I and others who believe as I do remain convinced that this is a significant mistake, and that the prominent current of thinking in the US which refuses to make a significant distinction between groups like the Muslim brothers and the violent Islamists who embrace the banner of Al Qaeda is wrong-headed. Our problem is that we simply cannot find compelling evidence to make our case. Absent new facts, which only the people of the region can provide, we are destined to lose the debate.

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.

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.