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Disagreement between France and Algeria about the future of nuclear test sites in the Sahara was one reason why the first round of peace talks at Evian, Switzerland, broke down in June 1961

The concern was not only for contested territory in Algeria, but also for independent states bordering the desert, whose leaders warned that nuclear fallout could cross their national borders. Radiation measurements taken in the wake of Gerboise bleue proved many of them right.

France would not, until 1999, call the bloodshed a war, preferring the line that what happened in Algeria, as part of France, amounted to a domestic dispute, rather than UN business. Macron became, in 2018, the first French president to acknowledge “systemic torture” by French troops in Algeria.

The US State Department worried that French attachment to the test sites might thwart the decolonization process.

The Evian Accords marked a nuclear compromise. Finally signed in March 1962, the landmark treaty granted France a five-year lease to the Saharan test sites but did not specify terms of use.

The Hoggar Massif shook 13 times before France handed over its two Saharan test sites to Algeria in 1967. An accident occurred during one of these underground blasts, dubbed Béryl, when containment measures failed. Several French soldiers and two high-ranking French officials suffered the highest radiation exposures, but roughly 240 members of “nomadic populations” in the region received lower doses.

France began construction on its Pacific test range in French Polynesia, the site of nearly 200 nuclear explosions between 1966 and 1996. Most took place underground, but France also conducted atmospheric detonations in Polynesia, and these continued into the 1970s. Even though the Limited Test Ban Treaty had gone into effect in 1963—prohibiting nuclear blasts in the atmosphere, underwater, and in outer space—France refused to sign it.

Compensation programs map a global history of colonial empire, racial discrimination, and dispossession of indigenous land, but postcolonial inequalities look particularly stark from the Sahara. Including appeals, France has granted 545 of 1,739 total requests filed by French soldiers and civilian participants in the nuclear detonations, as well as exposed populations in Algeria and Polynesia. Only 1 of 52 Algerian dossiers has proven successful.

Macron could declassify archival materials documenting the intensity and scope of radioactive fallout generated by French nuclear blasts. Draconian interpretations of French statutes on the reach of military secrecy continue to block access to the vast majority of military, civil, and diplomatic collections on France’s nuclear weapons program—including radiation effects. Foreign archives have provided useful information, but official documentation from the French government would help exposed populations—like those in the Sahara—understand what happened, evaluate the risks, bolster their claims, and likely find these more successful.

In fact, the Peace of Westphalia strengthened a system of relations that was precisely not based on the concept of the sovereign state but instead on a reassertion of the Holy Roman Empire’s complex jurisdictional arrangements (landeshoheit), which allowed autonomous political units to form a broader conglomerate (the “empire”) without a central government.  

What we have come to call the Peace of Westphalia actually designates two treaties: signed between May and October 1648, they were agreements between the Holy Roman Empire and its two main opponents, France (the Treaty of Münster) and Sweden (the Treaty of Osnabrück). Each treaty mostly addressed the internal affairs of the Holy Roman Empire and smaller bilateral exchanges of territory with France and with Sweden.

The treaties were only properly mythologized in the late eighteenth and early nineteenth centuries, when European historians turned to the early modern period in order to craft stories that served their own worldview.

Looking for a story of states fighting for their sovereignty against imperial domination, nineteenth-century historians found exactly what they needed in the anti-Habsburg fabrications that had been disseminated by the French and Swedish crowns during the Thirty Years’ War

Leo Gross’s essay “The Peace of Westphalia: 1648–1948,” published in 1948 in the American Journal of International Law. Canonized as “timeless” and “seminal” at the time, the article gave meaning to the emerging postwar order. By comparing the 1945 UN Charter to the Peace of Westphalia, Gross rehashed a story about treaties for freedom, equality, non-intervention, and all the rest of the alleged virtues for reinventing national sovereignty

The solution to the Westphalia debacle, then, would seem to lie in putting forward an alternative narrative grounded in greater historical accuracy, one that reflects the much more complicated process through which the modern international order came about.

Until the nineteenth century, the international order was made up of a patchwork of polities. Although a distinction is often made between the European continent and the rest of the world, recent research has reminded us that European polities also remained remarkably heterogeneous until the nineteenth century. While some of these were sovereign states, others included composite formations such as the Holy Roman Empire and the Polish-Lithuanian Commonwealth, within which sovereignty was divided in very complex ways.

Sovereign statehood only became the default within Europe in the nineteenth century, with entities like the Holy Roman Empire gradually giving way to sovereign states like Germany. While often overlooked in this regard, Latin America also transitioned into a system of sovereign states during that period as a result of its successive anti-colonial revolutions.

Over the past several decades, the state has not only triumphed as the only legitimate unit of the international system, but it has also rewired our collective imagination into the belief that this has been the normal way of doing things since 1648.

As late as 1800, Europe east of the French border looked nothing like its contemporary iteration. As historian Peter H. Wilson describes in his recent book Heart of Europe (2020), the Holy Roman Empire, long snubbed by historians of the nation-state, had been in existence for a thousand years at that point; at its peak it had occupied a third of continental Europe. It would hold on for six more years, until its dissolution under the strain of Napoleonic invasions and its temporary replacement with the French-dominated Confederation of the Rhine (1806–1813) and then the German Confederation (1815–1866).

what we think of as modern-day Italy was still a patchwork of kingdoms (Sardinia, the Two Siciles, Lombardy-Venetia under the Austrian Crown), Duchies (including Parma, Modena, and Tuscany), and Papal States, while territory further east was ruled by the Ottoman Empire.

We are accustomed to thinking of Europe as the first historical instance of a full-blown system of sovereign states, but Latin America actually moved toward that form of political organization at just about the same time. After three centuries of imperial domination, the region saw a complete redrawing of its political geography in the wake of the Atlantic Revolutions of the late eighteenth and early nineteenth century. Following in the footsteps of the United States (1776) and Haiti (1804), it witnessed a series of wars of independence which, by 1826 and with only a few exceptions, had essentially booted out the Spanish and Portuguese empires. Of course, Britain promptly gained control of trade in the region through an aggressive combination of diplomatic and economic measures often referred to as “informal empire,” but its interactions were now with formally sovereign states.

much as with Western Europe, the region did not stabilize into a system of nation-states that looks like its contemporary iteration until the end of the nineteenth century. It now seems possible to tell a relatively similar story about North America, as in historian Rachel St John’s ongoing project, The Imagined States of America: The Unmanifest History of Nineteenth-century North America.

Until World War II the world was still dominated by empires and the heterogeneous structures of political authority they had created. Once decolonization took off after 1945, the nation-state was not the only option on the table. In Worldmaking after Empire (2019), Adom Getachew describes anglophone Africa’s “federal moment,” when the leaders of various independence movements on the continent discussed the possibility of organizing a regional Union of African States and, in the Caribbean, a West Indian Federation.

“antinationalist anticolonialism” eventually ran afoul of the French government’s unwillingness to distribute the metropole’s resources amongst a widened network of citizens. Yet the fact that it was seriously considered should give us pause. Of course, in the context of decolonization, the triumph of the nation-state represented a final victory for colonized peoples against their long-time oppressors. But it also disconnected regions with a shared history, and it created its own patterns of oppression, particularly for those who were denied a state of their own: indigenous peoples, stateless nations, minorities

what is clear is that a mere seventy years ago, what we now consider to be the self-evident way of organizing political communities was still just one of the options available to our collective imagination

The conventional narrative associates international order with the existence of a system of sovereign states, but the alternative story suggests that the post-1648 period was characterized by the resilience of a diversity of polities

The comparative stability of the post-1648 period may therefore have had more to do with the continued diversity of polities on the continent than with the putative emergence of a homogenous system of sovereign states

an international system in which power is shared among different kinds of actors might in fact be relatively stable

even the most powerful contemporary multinational corporations—Facebook, Google, Amazon, Apple, and the rest—are drastically more limited in their formal powers than were the famous mercantile companies who were central actors in the international order until the mid-nineteenth century. The two largest, the British and the Dutch East India Companies, founded in 1600 and 1602 respectively, amassed spectacular amounts of power over their two-hundred-year existence, becoming the primary engine of European imperial expansion. While these companies started off as merchant enterprises seeking to get in on Asia’s lucrative trading network, they gradually turned into much more ambitious endeavors and grew from their original outposts in India and Indonesia into full-on polities of their own. They were, as various scholars now argue, “company-states”—hybrid public-private actors that were legally entitled to rule over subjects, mint money, and wage wars. From this perspective, contemporary non-state actors are still relatively weak compared to states, who still monopolize far more formal power than all other actors in the international system

we should be careful not to suggest that the culprit is an unprecedented weakening of the state and thus that the solution is to expand state power

States certainly were important after 1648, but so were a host of other actors, from mercantile companies to semi-sovereign polities and all sorts of empires more or less formally structured. This system only truly began to unravel in the nineteenth century, with many of its features persisting well into the twentieth. Viewed through this lens, the so-called “Westphalian order” begins to look much more like an anomaly than the status quo

Engaging with this history makes the current centrality of the states-system as a basis for organizing the globe look recent and in fairly good shape, not centuries-old and on the verge of collapse

What is truly new, from a longue durée perspective, is the triumph of the state worldwide, and our inability to think of ways of organizing the world that do not involve either nation-states or organizations of nation-states.

Even thinkers in tune with limitations of the nation-state cannot seem to free themselves from the statist straitjacket of the contemporary political imagination. Debates about state-based supranational institutions likewise fall along a remarkably narrow spectrum: more power to states, or more power to state-based international organizations?

Misrepresenting the history of the states-system plays into the hands of nationalist strongmen, who depict themselves as saving the world from a descent into stateless anarchy, controlled by globalist corporations who couldn’t care less about national allegiance. More broadly, getting this history right means having the right conversations. Giving power to actors other than states is not always a good idea, but we must resist the false choice between resurgent nationalism on the one hand and the triumph of undemocratic entities on the other.

Today the norm is that states enjoy far more rights than any other collectivity—ranging from indigenous peoples to transnational social movements—simply because they are states. But it is not at all clear why this should be the only framework available to our collective imagination, particularly if its legitimacy rests on a history of the states-system that has long been debunked.

The profile of the Macron-appointed author of the report gives a clue as to why it is so one-sided. Historian Benjamin Stora is an academic based in Paris, not Algiers. Moreover, he comes from a family that fled Algeria along with hundreds of thousands of European colonists in 1962. Like almost all the one million settlers of European origin, who were known as pieds–noirs (Black Feet), Stora’s family was ultimately displaced by members of the indigenous Arab Muslim and Berber communities who continue to inhabit Algeria to this day.

This caricature goes back to the early days of colonization, when Arab Muslims were considered morally inferior to Christians.

in the introduction to his supposedly historical inquiry, Stora focuses not on colonial-era savagery, but on the brutal recent attacks carried out in France by Islamist terrorists. He specifically refers to heinous crimes that are wholly unrelated to Algeria, including the beheading of a schoolteacher by a Russian passport-holder in a Paris suburb, and three killings of Roman Catholic churchgoers by a Tunisian immigrant in the southern city of Nice.

What Stora is doing is echoing a contentious Macron speech on what the president calls Islamist “separatism” from last October, in which he spoke about “the traumas” of France’s “colonial past”—and particularly the Algerian War—“feeding unspoken resentments,” which allegedly radicalize youths and lead to terrorist attacks.

Macron considered Stora to be the right scholar to shed light on a vexed subject that still affects those living in the largest country in Africa by land mass, and their diaspora, which is estimated at about 800,000 in France.

an unrelenting conflict that became a full-blown war in 1954. Algerians estimate that it claimed 1.5 million of their citizens, including those fighting with the FLN, or National Liberation Front. The dead included men, women, and children who were indiscriminately obliterated by French carpet-bombing.

Of the 1.5 million military personnel mobilized throughout the War, the French lost some 25,000 soldiers, as well as up to 3,000 pieds-noirs militias and as many as 150,000 Harkis (Algerians who collaborated with the colonizers).

Colonial repression tactics were imported from Algeria to mainland France when up to 300 Algerian men taking part in a peaceful pro-independence demonstration were shot, beaten up, and tortured to death or drowned in the Seine in Paris, many in full public view, by police on one night—on Oct. 17, 1961. Scores of lifeless bodies washed up for weeks afterwards.

Up until 1999, the French government was still calling the war itself “operations to maintain order” or merely “the events.” The problem, therefore, is acknowledging the evidence that exists, rather than “finding” it. The French have the complete archives, but object to full disclosure.

The Algerian government has asked Abdelmadjid Chikhi, the director general of the National Centre of Algerian Archives, to conduct his own inquiry alongside Stora and wants the restitution of their entire colonial archives from Paris.

Much of the opposition to rigorous research comes from those with a background in the Front National (FN), the far-right party founded by Jean-Marie Le Pen, an Algerian War veteran who was linked to acts of torture and who is now a convicted racist and Holocaust denier.

Le Pen’s early political goal was to lobby on behalf of the hugely bitter pieds-noirs class who had swapped their colonial lifestyles for far more modest ones in mainland France. Such far-right nostalgists now rally behind Le Pen’s daughter, Marine Le Pen. She renamed the FN the Rassemblement National (RN), but it has lost none of its antipathy toward Algerians.

The toothless Stora report feigns an interest in justice while whitewashing colonial crimes; it shows Macron is doing everything to try to win over Le Pen supporters

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.”

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.”

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Among the 1930s cultural and intellectual figures given place of pride are Albert Einstein, Pablo Picasso and John Steinbeck. Guernica is reproduced in an inset about Picasso, illustrating the artist’s hatred of war. (47) A lengthy excerpt from the Grapes of Wrath concludes with Steinbeck’s denunciation of depression-era America: “And money that might have gone to wages went for gas, for guns, for agents and spies, for blacklists, for drilling. On the highways the people moved like ants and searched for work, for food. And the anger began to ferment.”

The book places added emphasis on the harsh terms imposed on Germany at Versailles. Prefiguring the later treatment of Al Qaeda terrorism, the intention appears not so much to justify Nazism, but rather to present injustice as the causal force behind violence and cruelty in world politics.

the Holocaust instead appears here as one among several examples of Western barbarity

The foundation of the UN is immediately followed by a discussion of Israel under the heading “Imperial Powers in the Remaking of the Middle East.” (80-81) The Palestine problem, students learn, is the principal cause of conflict in the region. It began when the Ottoman Empire, “the biggest obstacle to the foundation of a Jewish state,” grew weak, leading to the creation of Israel.

Next comes a discussion of the post-war financial order and the International Monetary Fund. Students learn that “the IMF’s standard formula, which recommends austerity policies for countries in economic crises, generally results in failure, chaos and social unrest.” (81-83) An excerpt, which students are then asked to discuss, explains how the IMF prescribes different policies for developed and developing countries.

only in the context of the Cold War origins of the EU does the book engage in any explicitly religious clash-of-civilizations style rhetoric. The idea of European unity is traced back to the Crusades, while a quote about the centrality of Christianity to European identity appears under a dramatic picture of Pope Francis standing with European leaders. (112) The next page states that the EU’s treatment of Turkey’s candidacy, coupled with the fact that “all the countries within it were Christian” had “raised questions” about the EU’s identity.

Early Cold War era decolonization also provides an opportunity to celebrate Atatürk’s role as an anti-imperialist hero for Muslims and the entire Third World. (122-123) “Turkey’s national struggle against imperialism in Anatolia struck the first great blow against imperialism in the 20th century,” the authors write. “Mustafa Kemal, with his role in the War of Independence and his political, economic, social and cultural revolutions after it, served as an example for underdeveloped and colonized nations.” Atatürk himself is quoted as saying, in 1922, that “what we are defending is the cause of all Eastern nations, of all oppressed nations.” Thus, the book explains that “the success of the national struggle brought joy to the entire colonized Islamic world, and served as a source of inspiration to members of other faiths.” The section ends with quotes from leaders such as Jawaharlal Nehru, Muhammad Ali Jinnah, and Habib Bourguiba about how Atatürk inspired them in their own anti-imperial struggles or was simply, in Nehru’s words, “my hero.” An accompanying graphic shows Atatürk’s image superimposed over a map with arrows pointing to all the countries, from Algeria to Indonesia, whose revolutions were supposedly influenced by Turkey’s War of Independence.

Amidst the polarization of the Erdoğan era, what is striking in this book is the authors’ efforts to weave together the conflicting strands of Turkish political history into a coherent narrative. Illustrating Ernst Renan’s argument about the role of forgetting in nation-building, this account glosses over the depth of the divisions and hostility between rival historical actors, presenting them as all working side by side toward a common national goal

Selçuk Bayraktar, the architect of Turkey’s drone program, said that as a student “I was obsessed with Noam Chomsky.” [16] During the 1980s and 90s, America sold Ankara F-16 jets and Sikorsky helicopters that were used to wage a brutal counterinsurgency campaign in southeast Anatolia. No one was more critical of this than left-wing scholars like Chomsky.[17] Now, Ankara is selling Bayraktar drones to Ethiopia, where they are being used to kill civilians and destroy schools in another violent civil war.

The narrative of national independence also helps smooth over Turkey’s Cold War domestic divides. Students are introduced to the ‘68 Generation and left-wing leaders likes Deniz Gezmiş as anti-imperialists protesting against the U.S. Sixth Fleet in support of a fully independent Turkey. (185-186)[9] In this context, Baskin Oran’s work is again cited, this time quoting Uğur Mumcu on the role of “dark forces,” presumably the CIA, in laying the groundwork for Turkey’s 1971 coup.

The book also offers a relatively neutral treatment of political activism during the ensuing decade, suggesting that rival ideological movements were all good faith responses to the country’s challenges. On this, the authors quote Kemal Karpat: “Both right and left wing ideologies sought to develop an explanation for social phenomena and a perspective on the future. A person’s choice of one of these ideologies was generally the result of chance or circumstance.” (202) Thus the authors imply that while foreign powers provoked or exploited these movements, the individual citizens who participated in them can be given the benefit of the doubt. Interestingly, the book takes a similar approach in discussing the 2013 Gezi protests: “If various financial interests and foreign intelligence agencies had a role in the Gezi Park events, a majority of the activists were unaware of it and joined these protests of their own will.”

Turkey’s real struggle in the 21st century, as in the 20th, is against dependence on foreign technology

a book which begins with a portrait of Atatürk ends with a photo of the Bayraktar TB2.

the book’s biases are less in the realm of wild distortion and more reminiscent of those that plague ideologically infused nationalistic history education in all too many countries

its exaggerated critique of European imperialism may be no more misleading than the whitewashing still found in some European textbooks

At moments, Contemporary Turkish and World History is better aligned with recent left-leaning scholarship than the patriotic accounts many Americans grew up reading as well

Throughout the 20th century, America defined itself as the world’s premier anti-imperialist power, all while gradually reproducing many of the elements that had defined previous empires.[11] Today, it often seems that Turkey’s aspirations for great power status reflect the facets of 20th century American power it has condemned most vigorously

Turkey’s marriage of power projection and anti-colonial critique have been particularly visible – and effective – in Africa. Ankara has presented itself as an “emancipatory actor,” while providing humanitarian aid, establishing military bases, selling weapons across the continent.[13] In doing so, Turkish leaders have faced some of the same contradictions as previous emancipatory actors. In August 2020, for example, members of Mali’s military overthrew a president with whom Erdoğan enjoyed good relations. Ankara expressed its “sorrow” and “deep concern.”[14] Then, a month later, Mevlüt Çavuşoğlu became the first foreign official to meet with the country’s new military leaders. “Like a brother,” he “sincerely shared” his hopes for a smooth “transition process” back to democracy

The authors also offer a balanced treatment of the fraught domestic politics during the period from 1945 to 1960 when Turkey held its first democratic election and experienced its first coup. (138-142, 144-146) They focus their criticism on the negative impact of U.S. aid, arguing that Washington intentionally sought to make Turkey economically and politically dependent, then sponsored a coup when these efforts were threatened.

certain themes dominate Contemporary Turkish and World History. At the center of its narrative is the struggle for global hegemony, in military, economic, technological and artistic terms