Modernity at the Margins: Paul Bowles’ Let It Come Down, The Spider’s House, and Moroccan Collaborations.
Literary representations of Morocco sometimes challenge specific colonial, national, and nationalist epistemologies. The work of Paul Bowles, in particular, problematizes conventional categories, not only through the extra-national yearnings of protagonists of his fiction, but also due to the hybrid...
| Publicado en: | Journal of Commonwealth Literature Vol. 47; no. 1; pp. 91 - 109 |
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| Formato: | Literary Criticism |
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Sage Publications Inc.
Mar2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=73364826&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 73364826 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00219894 CLK jtl: Journal of Commonwealth Literature issn: 00219894 maglogo: Y pubinfo: dt: Mar2012 vid: 47 iid: 1 pid: 344 pub: Sage Publications Inc. artinfo: ui: 73364826 10.1177/0021989411432664 ppf: 91 ppct: 18 formats: tig: atl: Modernity at the Margins: Paul Bowles’ Let It Come Down, The Spider’s House, and Moroccan Collaborations. aug: au: Moore, Lindsey affil: Lancaster University, UK su: Spider's House, The (Book) Let It Come Down (Book) Morocco in literature Bowles, Paul, 1910-1999 Artistic collaboration Modernity Morocco sug: subj: Morocco Spider's House, The (Book) Let It Come Down (Book) Morocco in literature Bowles, Paul, 1910-1999 Artistic collaboration Modernity keyword: collaboration contrapuntal methodology Orientalism Paul Bowles teleological retrospect translation ab: Literary representations of Morocco sometimes challenge specific colonial, national, and nationalist epistemologies. The work of Paul Bowles, in particular, problematizes conventional categories, not only through the extra-national yearnings of protagonists of his fiction, but also due to the hybrid products of collaborations with Moroccan artists. This article grapples with the contested status of an author profoundly engaged with non-Western epistemology and experience, yet susceptible to Orientalist desire. I focus on Bowles’ novels Let It Come Down and The Spider’s House and then on ways in which the author participated in the emergence of a postcolonial Moroccan body of “texts”. Edward Said’s contrapuntal methodology (2004) and the notion of teleological retrospect (Currie 2007) provide an analytical framework, and Said’s emphasis on labyrinthine and occluded literary relations a rationale for analyzing contexts beyond those directly affected by British colonialism. I argue that Bowles increasingly deprivileges expatriate sensibility and anticipates a critical rereading of colonial history; it is also underpinned by an ambivalent view of writing. While his Moroccan corpus repeatedly enacts the difficulty of “telling the other”, it is nevertheless thematically, structurally, and philosophically invested in the challenges of transcoding, translation, and transvaluation. As such, it illuminates interfaces between colonial discourse, late modernist expatriate/travel writing, and early postcolonial production. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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