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An Investigation Into Paul Bowles's Literary Image Of A MYSTIC QUEST IN THE SHELTERING COUNTRY: AN INVESTIGATION INTO PAUL BOWLES’S LITERARY IMAGE OF MOROCCO ASSILA BOUACHRINE Thesis submitted to London Metropolitan University for the degree of Doctor of Philosophy 2014 1 Abstract Paul Bowles (1910-1999) was an American writer who restlessly travelled throughout the world until he finally chose Morocco as a country of permanent residence. He settled in Tangier from 1947 until his death in November 1999. Paul Bowles’s work as a whole includes writings set in the different countries he travelled to but the bulk of his literary production is essentially Moroccan in themes, characters and settings. This dissertation attempts to investigate Paul Bowles’s mystic quest in Morocco as a sheltering home and the reasons why this country retained him for a lifelong expatriation. It also demonstrates the impact Morocco exerted on the fulfilment of the writer’s quest in Morocco. In short, this study analyses the reasons why Morocco became the writer’s adopted and sheltering home and the extent to which it fulfilled his mystic quest. My study is a text based analysis involving Paul Bowles’s fiction, autobiographies, travel essays and interviews. This research has been conducted in the light of different methods, namely the comparative method of investigation, the psychoanalytical approaches of Jacques Lacan, Julia Kristeva and others when appropriate and of J.Olney’s and G.Gusdorf theories of autobiography. The comparative method of investigation analyses the different contextual influences that shape the expatriate’s image of Morocco and show the extent to which the writer was receptive to the different world cultural and movements, in addition to the author’s familial, American and Moroccan influential contexts. Bowles’s literary production as a whole includes writings set in the different countries where he resided for different periods of time. A significant element of my study is then the analysis of the autobiographical cohesion and centrality that subtend the writer’s work as a whole. This part is mostly conducted in the light of J.Olney’s and G.Gusdorf theories of Autobiography. The cohesion and centrality linking Paul Bowles’s life and work reveal the Moroccan specificities as well as the cultural and spiritual ethos that retained him for a definite expatriation and contributed to the fulfilment of his mystic quest. In the contexts of J. Lacan’s and J. Kristeva’s psychoanalytical theories, the image of Morocco is also revealed as the projection of Paul Bowles’s psyche, as the metaphor of his self-recovery and definition and finally of his aspirations at transcendence. Paul Bowles’s adoption of Morocco was to a significant extent due to his uncompromising and sheer fascination by Moroccan Nature, scenery and cosmic elements. This appeal induced and, to a great extent, contributed to the fulfilment of the writer’s mystic quest in the context of Pantheism. I have therefore analysed Paul Bowles’s quest in the light of Ibn-al-Arabi’s Pantheism and of other mystical philosophies as appropriate. Thus, the final chapter of this investigation has been devoted to Paul Bowles’s mystic Morocco as the sheltering realm of his mystic quest. 2 Acknowledgements My warmest and sincere thanks go to my Director of Studies, Dr Laila Ibnlfassi for her constructive supervision and support in addition to her courage that aroused my admiration and heightened my esteem towards her. Wholehearted thanks also go to my second supervisor, Dr Briar Wood, for her valuable guidance and help. A posthumous and special word of thanks and gratitude is due to my parents who gave me love, taught me endurance and instilled in me the love of academic achievement and research. Huge thanks also go to my husband for his abnegation and continual support through the highs and lows of this research project. Thank you again, for being by my side every step of the way. Thanks must also go to Amine and Fahd who kindly endured a family environment where Paul Bowles was just too much ‘present’. The encouragement and support of all these people have made this work possible. So, thank you!!! 3 In loving memory of my parents To my exceptional husband To Amine and Fahd, my gifts from life 4 Table of Contents INTRODUCTION----------------------------------------------------------------------------------------8 CHAPTER I: CONTEXTUAL FRAMEWORK OF THE IMAGE-------------------------------12 The existential facet of the image of Morocco ------------------------------------------------------- 12 Alienation -------------------------------------------------------------------------------------------------- 12 Existence as it precedes essence: anti-essentialism ------------------------------------------------ 17 Self-definition --------------------------------------------------------------------------------------------- 33 Mystical existentialism in the image ------------------------------------------------------------------ 44 The Surrealist facet of the image ---------------------------------------------------------------------- 51 The American Context---------------------------------------------- ------------------------------------ 61 The Familial Context ------------------------------------------------------------------------------------ 65 The Moroccan Context ---------------------------------------------------------------------------------- 73 Tangier ----------------------------------------------------------------------------------------------------- 74 CHAPTER II: AUTOBIOGRAPHICAL COHESION AND CENTRALITY IN PAUL BOWLES’S IMAGE OF MOROCCO ----------------------------------------------------------------- 8O Autobiographical cohesion in the image of Morocco -------------------------------------------------- 82 The autobiographical facet of Paul Bowles’s unconscious in the image --------------------------- 88 The metaphorical pattern of the image of Morocco --------------------------------------------------- 90 Chronological evolution or the dynamics of Paul Bowles’s image of Morocco ------------------- 96 The lexical and stylistic autobiographical evolution of Paul Bowles’s image of Morocco --- 100 Autobiographical centrality of Paul Bowles’s image of Morocco----------------------------------102 Validity and truth: Significant negligences------------------------------------------------------------ 109 CHAPTER III: THE IMAGE OF MOROCCO AS THE PROJECTION OF PAUL BOWLES’S PSYCHE------------------------------------------------------------------------------------------------112 The image of Morocco as the vehicle of Paul Bowles’s alienation--------------------------------112 Image and alienation in relation to Lacan’s theory of the mirror-stage ------------------------- 115 Violence and characters’ bodily mutilations ----------------------------------------------------------- 118 Mutilating ritual practices and bloody Moroccan rites ---------------------------------------------- 121 The disintegration of the personality -------------------------------------------------------------------- 123 5 Literary expressions of the Oedipus complex in Paul Bowles’s image of Morocco -------- 126 The figure of the Father ------------------------------------------------------------------------------------ 126 Father and son conflicts ------------------------------------------------------------------------------------ 126 The ‘killing’ of the Father ---------------------------------------------------------------------------------- 127 The Moroccan expatriation -------------------------------------------------------------------------------- 135 The image of Morocco as the reflect of Paul Bowles’s search for childhood --------------------- 136 The Desire of the Mother and expatriation as a quest for paradise ------------------------------- 138 Alterity in the image of Morocco: Literary representations of the Other ------------------------ 138 Human Relationships and aggressivity ------------------------------------------------------------------ 139 Lack of communication ------------------------------------------------------------------------------------- 141 Rivalry and aggressivity ----------------------------------------------------------------------------------- 148 Horror in the image of Morocco -------------------------------------------------------------------------- 151 Paul Bowles’s identification with Morocco -------------------------------------------------------------- 156 Fascination with Morocco --------------------------------------------------------------------------------- 156 Moroccan folklore and traditional culture ------------------------------------------------------------- 157 The Moroccan dialect --------------------------------------------------------------------------------------- 161 Paul Bowles’s magic country: Fascination with Moroccan Nature ------------------------------- 163 Moroccan space and settings ------------------------------------------------------------------------------ 169 Closed and confined settings ------------------------------------------------------------------------------ 170 Desert and open spaces ------------------------------------------------------------------------------------- 173 Tangier --------------------------------------------------------------------------------------------------------- 173 Geographical limits of Paul Bowles’s Morocco -------------------------------------------------------- 175 Symbiosis between settings, themes and characters -------------------------------------------------- 176 Analysis
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