For much of the twentieth century, Tangier stood at a crossroads of cultures, creativity and chaos. Its labyrinthine streets and vivid contradictions attracted adventurers and artists, forming the backdrop of an era of literary and cultural revolution. At its heart was Mohamed Choukri, a self-taught writer whose life epitomised resilience and transformation, rising from illiteracy and hardship to become one of Morocco’s most celebrated voices.
In Tangier captures Choukri’s memories of the city and his encounters with luminaries Paul Bowles, Jean Genet and Tennessee Williams, whose lives intertwined with his own. Against the evocative backdrop of 1970s Tangier, Choukri offers readers a glimpse into the complex personalities of these iconic figures while painting a portrait of a city teetering between past and present.
A mesmerising blend of memoir and cultural history, In Tangier celebrates the spirit of a city and its indelible mark on literary history.
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Choukri, who grew up illiterate before becoming one of Morocco's seminal writers, shares three distinctive portraits with progressive degrees of intimacy. Genet is often observed from a distance or recollected in short bits of passing conversation and these reprinted journal entries speak most to Choukri's own aspirations of becoming a writer. Williams's stint in Tangier in 1973 included countless languid café afternoons and dinner parties; the two writers were friends and these amicable passages provide satisfying windows of "real" life for a literary figure as mythic as Williams. But it is Bowles (who translated the first two sections of this book as well as Choukri's For Bread Alone) who comes most to life with depth and honesty in a portrait that is not always flattering (it is here too that the city of Tangiers becomes another vibrant character): "Paul Bowles loves Morocco, but does not really like Moroccans," Choukri reflects. Though it is clear from their years together that Bowles did indeed like Choukri; the tenderness with which they both age has less to do the veneer of fame than of men aware of their own mortality. (Nov.)
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