The Jane and Paul Bowles Society is an independent author society for both Paul Bowles and Jane Bowles, whose members conduct academic, scholarly research on the Bowleses, and present papers and participate in panels at international and American literary conferences.

History was made at the American Literature Association's annual conference held from May 30 to June 2, 2002, where The Jane and Paul Bowles Society was formed through the tireless efforts of David Racker of Temple University and co-founder Anne Foltz, Editor of the Society's publication Bowles Notes. Racker organized and recruited presenters for a panel on Paul Bowles entitled "Radical Exploration: Modernism, Domination, and Eroticism in the Work of Paul Bowles." John Hawley of Santa Clara University filled in as Panel Chair for Allen Hibbard who was en route to the Middle East. Panel presentations included Anne Foltz's "Subjected to the Arab Gaze: When the Other is US/Us" and David Racker's "The Awareness of Domination in the Work of Paul Bowles." Following a lively question and answer period, Racker and Foltz met with scholars interested in being part of this ground breaking organization.

The principle aim of the Society is to celebrate the work of Jane and Paul Bowles in academic venues. The Society attends the Modern Language Association and American Literature Association annual conferences and presents panels geared toward scholarly investigations of works conceived by Jane and/or Paul Bowles. The Society also provides resources to interested instructors and teachers on how to include the Bowleses' works in university or college classroom settings. The Society's members feel Jane and Paul Bowles both made unique and significant contributions to 20th Century arts and letters, and these contributions deserve to be studied and properly acknowledged.





Paul Bowles International Conference in Lisbon, Portugal

October 21–23, 2010

Universidade de Lisboa

Call for Papers:

Paul Bowles is widely acknowledged as one of the twentieth century’s most skillful storytellers and imaginative composers of modern American music. His unsettling literary themes and expatriation to Morocco made him into a cult figure whose life and work continue to fascinate contemporary audiences.

By examining the interplay between literary, musical, visual and cultural texts, the conference aims at stimulating discussion on Bowlesian musical and literary themes, as well as cultural and anthropological issues and on the relationship between the artist’s challenging work and current inner and outer geographies.

Given the international and interdisciplinary academic mould of the conference, and the author’s polymath profile, we encourage contributions from scholars and artists of different fields and welcome suggestions for papers, panels and sessions, and also multimedia proposals.

The Conference was hosted by the American Studies Research Group at the University of Lisbon Centre for English Studies (ULICES / CEAUL), and was held in Lisboa, Portugal from October 21 to 23, 2010.


• Bowles and Portugal (influences, writings, translations)

• Paul Bowles and Jane Bowles (interactions/interinfluences)

• American Existentialism (the Beats, American negativity, dissonance, crime, Modernism)

• The Maverick Tradition (rebels, individualism/community, Avant-garde, Anti-art)

• New American Music (trends, aesthetics, fictions)

• Literature and Other Arts (music, contemporary opera, spoken-word, film music, cinema)

• Gothic and the Grotesque (American gothic, horror, dark poiesis)

• Exile (Moroccan fiction/place/culture and travel)

• Literature and Anthropology (Anarchism, cultural clash; magic/smoking/religion)

250-word abstracts, or enquiries, should be sent by June 30, 2010 to Anabela Duarte and Hermínia Sol at: doyoubowles@gmail.com


University of Lisbon Centre for English Studies

Faculty of Letters of the University of Lisbon

Alameda da Universidade

1600-214 Lisbon, Portugal


Sixth Annual International Conference of the

International Centre for Performance Studies (ICPS)

Performing Tangier 2010

Cultural Memory and Contemporary Creativity

New Perspectives on Site Specificity in Arabo-Islamic Contexts

Tangier, Morocco, May 21–23, 2010

Chellah Hôtel

47-49 Rue Allal Ben Abdellah

Tangier, Morocco

Telephone: 212 5 or 3

In Morocco: 05 or 3

Call for papers:

What is site-specificity? Is it an inclusive category that shelters all artistic interventions that fuse the artwork with the surrounding space? Or else, a performance that emerges out from a negotiation with a specific site? Informed by a complex history, which began in the late 1950s and continues to the present, site-responsive art is fueled by the subversive esthetics of installation art, performance art, environmental theatre, theatre/archaeology… We believe that site-specific art is essentially part of its location as it is devised to restructure the receiver’s conceptual as well as cognitive experience of that specific location through the artist’s intervention in place making. It is an art that can be inscribed, or rather re-sited, in highly codified spaces such as museums and historical monuments, or any other public space affected by an enforced oblivion and disuse.… The relationship between the artwork and the morphology of its location (which imposes a series of visual markers that imprint specific features to the site) is complex and intriguing insofar as there is no “outside of the text.” Site-specificity invites methodological inquiry as much as it problematises memory and history through a trans-historical intervention. Space and place, however, are kaleidoscopic, elusive, and difficult to define, for they reflect the surging, shifting, and inchoate character of Being-in-the-World as a dynamic performative experience.

Site-specificity is strongly associated with environmental art, including environmental theatre that is free from the confines of the proscenium tradition. The age-old division between stage/auditorium is disrupted through its tendency to transform non-theatrical spaces inside out to make theatre. The way audience approaches and interacts with a site-specific performance is integral to the work. As such, site-specificity becomes one of the very few affordable platforms with embedded agency where thinking is not simply possible, but urgent within a rapidly changing world characterized by human neglect and amnesia and the supremacy of hyperreality and simulation over real experience. Boudrillard rightly argues that the hyperreal is a simulation which has engulfed the real. It is experienced as though being more real than the real. It is at this point that site-specificity emerges as an art of ‘intermission’ within the spectrum of ‘la société de spectacle’; it is the moment when all simulacra are interrupted and no everyday spectacle is taking place.

One could hardly find a better arena than theatre and performance to fathom the maelstrom of change inundating the Arab world over the past century and more. Virtually all social, political, and philosophical twists and turns have been manifested on the Arab stage. However, there is still an urgent need to transfer all energies of everyday life to the largely moribund theatre. Site-specificity is among the less frequent artistic spectrums that releases such energy and speaks across and beyond Arab nations and borders. While ample attention has been given to site specificity in its global contexts, it is equally important to further investigate it in Arabo-Islamic ones. The aim of the conference is therefore to interrogate and try to bridge the chasm between the local, national, and the global, and to open up new venues for the future of site-specificity in Arabo-Islamic con-texts.

Site-Specific Art in Arabo –Islamic Contexts aims to address the following themes:

• The interplay between site-specificity, interventions in urban space and memory politics in Arabo-Islamic contexts
• Re-siting the body, agency, and cultural resistance
• Site-specificity and the transfer of social energy, knowledge, cultural memory, and collective identity
• Performance, cultural geographies of dislocation, place and space// memory, commemoration, histories and presence

Site-Specific Art in Arabo-Islamic Contexts features:

Keynote presentations by eminent practitioners and scholars// Round tables with guest speakers from the field of performance and academy// Performances// Installations// Workshops

The Organizing Committee invites papers and panel propositions from scholars of all relevant disciplines such as Performance Studies, English, History, Ethno-Musicology, Cultural Studies, Archeology, Sociology and Anthropology, Gender and Women’s Studies, Middle Eastern Studies as well as from Artists, and especially encourages papers that focus on a critique of Site-specific Practices in Arabo-Islamic Contexts, or devised by Arab Artists around the world.


A 250-word abstract of proposed papers, along with brief curriculum vitae, must be submitted electronically (preferably in Word or Rich Text format) by January 31, 2010 to the Organizing Committee care of Professor Khalid Amine (President of ICPS and Conference Convener). Selected conference papers will be published in a special volume upon the approval of ICPS scientific committee.

Emerging Scholars’ Panel:

The conference is also a home for graduate students and emerging scholars from different parts of the world. The establishment of an emerging Scholars’ panel invites new voices to join the debate. Up to four participants will be selected for this panel, and each panelist will have fifteen minutes to deliver her/his paper. Graduate students whose papers are accepted will receive free conference registration, free admission to conference luncheon, and a one-year membership in ICPS. To be considered for this panel, please submit your 10-12-page paper by January 31, 2010 to Professor Khalid Amine. Since the conference is again pulling a very international public, registered attendees will be welcome too.


 Performing Tangier 2009, Fifth Edition

Two Concurrent Tangier Conferences:

1. Critiquing Postcolonalism, Performing Cultural Diversity

May 20, 21 and 22, 2009

Performing Tangier 2009: Final Program and Schedule

In memory of Lesley Gilb Taplin


2. The Interweaving of Performance Cultures Between the Two Banks

of the Mediterranean Sea and Beyond

May 23 and 24, 2009

ICPS 2009: Call for Papers

Chellah Hôtel

Tangier, Morocco

Call for Papers

Informed by various theoretical enterprises, postcolonial theory and discourse for the last few decades have created unprecedented critical attention to myriads of constituencies victimized by imperialist representation and colonial rule. Many postcolonial readings have aimed primarily at subverting the hierarchical colonial dichotomy and rewriting subaltern histories. Given the status of our current geopolitical environment, some critics have already started questioning the relevance of postcolonalism as a representative discourse today. As the site of diverse historical, literary, cultural, and artistic convergences, Tangier has been and continues to be the quintessential postcolonial space for created hybridities and cultural pluralism. The fifth international Tangier conference will focus on an evaluation of the diverse discourses that inform "postcolonial" representations (cultural, political, social, artistic, theoretical, and literary) of Tangier and their relation to the city as a historically material presence. What is the relationship between Tangier as an imagined space and Tangier as a performative space? How do postcolonial theories of hybridity, cultural nomadism, and transcendental identities relate to the materially lived experience of Tangerois? While ample attention has been given to Tangier in its historically global relations, it is equally important to further investigate, as Hardt and Negri put it, "the production of locality, that is, the social machines that create and recreate the identities and differences that are understood as the local."

            The aim of the conference is therefore to interrogate and try to bridge the chasm between the theoretical and the material, the local and the global, the past and the present to open new venues for the future. Building on the themes of the precious conferences, we specifically invite papers and panels that will continue the evaluations of the voices of Tangier and its historical and cultural status, and also gesture toward the future to propose and discuss the cultural, literary, and artistic opportunities that Tangier will continue to provide and the role it will continue to play in our ever shifting global cultural map.

Topics may include but are not limited to:

      A critique of postcolonial representations of Tangier

      Relevance of theoretical readings of Tangier

      Tangier as a historical site of cultural diversity

      Tangier as an inspirational site for international authors

      Tangier as represented in various media

      Tangier and the environment

      The future of Tangier as world cultural capital

      The status of Tangier within globalism

      Tangier between the word and the world

   Evaluations of individual authors and artists such as: Rachida Madani, Tahar Ben Jelloun, Mohamed Choukri, Mohammed Azeddine Tazi, Ahmed Beroho, Souad Bahechar, Moumen Smihi, Farida Belyazid, Anouar Majid, Jillali Farhati, Mohamed Abdaoui, Zoubeir Benbouchta, Moukhtar Chaoui, to Khalil el Ghrib, Badia Hadj Nasser, the author of Nedjma, and many others. 

The Organizing Committee invites papers from scholars of all relevant disciplines―Performance Studies, English, History, Ethno-Musicology, Language and Literature Programs, Cultural Studies, Communication, Sociology and Anthropology, Political Science, Gender and Women’s Studies, Philosophy, Psychology―as well as from Artists, and especially encourages papers that focus on a critique of postcolonialism.

A 250-word abstract of proposed papers, along with a brief curriculum vitae, must be submitted electronically (preferably in Word document format) by December 31, 2008 to the Organizing Committee care of Professor Khalid Amine (President of ICPS and Conference Convener). Selected conference papers will be published in a special volume.


Dr. Khalid Amine, Research Group of Performance Studies, Abdelmalek Essaâdi University, Tétouan, Maroc and The International Centre For Performance Studies (ICPS), Morocco: khamine55@gmail.com
Dr. Andrew Hussey, University of London Institute in Paris (ULIP):
Dr. Allen Hibbard, Middle Tennessee State University, USA:
Barry Tharaud, San Diego State University, USA and Doğuş University, Istanbul, Turkey:
José Manuel Goï Pérez, Department of European Languages, University of Wales, Aberystwyth:
Salah M. Moukhlis, Associate Professor of Comparative Studies and World Literatures, California State University at San Marcos, USA, smoukhli@csusm.edu
Dr. George F. Roberson, Geography Human Dimensions Research Group, University of Massachusetts at Amherst, USA:


·      Nadia Khoumbarek, ICPS member

·      Rajae Khaloufi, ICPS member

·      Alfred Hackensberger, poet and journalist, Germany

·      Badreddine Charab, ICPS member and volunteers

Languages: Arabic, Tamazight, French, Spanish, and English.


Performing Tangier 2008—“Borders, Beats, and Beyond”

 The 4th Annual International Conference—Tangier, Morocco

May 16-19, 2008—Chellah Hôtel—Tanger, Maroc


Organized by:

International Centre for Performance Studies, Morocco

Research Group of Performance Studies, Abdelmalek Essaâdi University, Morocco

University of London Institute in Paris (ULIP)

Middle East Center, Middle Tennessee State University, USA

Department of European Languages University of Wales, Aberystwyth, UK

The Jane and Paul Bowles Society


The lastest and most recent fourth international Tangier literary conference focused on the city as a site of transcultural encounters in art, literature, music, and politics in all periods up through the present and projecting into the future. We especially invite papers and panels to investigate the dynamics of the city’s cultural, spatial, and performative interactions, past, present, and future, including issues of change, confrontation, and alterity. We also invite a continuation of panels and discussions begun in previous conferencesfollowing the methods and techniques of Juan Goytisolo as well as Andrew Hussey’s creative deconstruction of the urban morphology of Parisof how Tangier might be re-invented as one of the World capitals of the twenty-first century. In broad historical terms we invite continuing evaluation of specific writers and artists who have come to or out of Tangier, from Tahar Ben Jelloun, Mohamed Choukri, Mohammed Azeddine Tazi, Ahmed Beroho, Souad Bahechar, Moumen Smihi, Farida Benlyazid, Anouar Majid, Jillali Farhati, Zoubeir Benbouchta, to Mohammed Mrabet and including the oral tradition some of whose storytellers and artists who were translated by Paul Bowles, as well as modernist painters like Matisse, existentialist writers such as Bowles, dramatists of various stripes such as Jean Genet and the brilliant minimalist Samuel Beckett, “Beats” such as Jack Kerouac, William S. Burroughs, Allen Ginsburg, and others, as well as more general movements associated with the various African, Andalusian or Islamic influences on western music in general and more particularly on American jazz and blues like the outstanding collaborations of Dar Gnawa in Tangier with Jazz legend Randy Weston. Our perspectives and horizons are all-inclusive.

Papers may focus on particular figures, paintings, films, performances, fictional texts or non-fiction, salient theoretical concerns, or historical and cultural issues. Creative, performative responses to the topic are also welcome. From this starting point, further papers and panels are invited to investigate the dynamics of the city’s cultural, spatial and performative interactions from past, present, and future.

There was a screening of the documentary film Paul Bowles: The Complete Outsider, produced and directed by Catherine Warnow and Regina Weinreich with a questions and answers discussion. (Presented by Regina Weinreich, the co-producer and co-director.) Another film presented during the conference was the award-winning documentary Let It Come Down: The Life of Paul Bowles, produced by Canadian filmmaker Jennifer Baichwal.

This annual international conference was organized in collaboration with The Embassy of The United States in Rabat, Instituto Cervantes (Tangier), La Ville de Tanger, Maroc.


Two Panel Sessions Proposed by Professor Allen Hibbard,
 Middle East Center, Middle Tennessee State University:

Building on three previous conferences (“Writing Tangier,” “Voices of Tangier,” and “Performing/Picturing Tangier”), the proposed panels will explore the intriguing historical relationship between Beat figures and Tangier. Interest in the Beats has remained lively, both in the academy and the general public. The term “beat,” Jack Kerouac once noted, meant “characters of special spirituality who didn’t gang up but were solitary Bartlebies staring out the dead wall window of our civilization." One critic has recently described the term as characterizing “an alternative America during the civil rights and Asian war years, a counter to philistinism and paranoia and part of an ongoing inquiry into the construction of nationhood.” It’s not unusual to find among American youth today a kind of nostalgia for the Beats and their times.

While the importance of Tangier for many Beat figures has always been recognized, the nature of the city’s role has not been thoroughly understood and articulated. Paul Bowles who had taken up residence in Tangier soon after World War II ended, unwittingly attracted a number of Beat figures to the city, even though his aesthetic vision stands in contrast to that of most of the Beats. In Tangier William S. Burroughs (with the help of Allen Ginsberg) assembled his masterpiece Naked Lunch. Brion Gysin, Gregory Corso, Jack Kerouac and others associated with the Beats made appearances in the city. Tangier also was a magnet for “late beats” such as Ira Cohen, Marc Schleiffer, Irving Rosenthal, Charles Wright, and Alfred Chester.

Bringing a discussion of the Beats to Tangier will likely reorient our thinking about this literary/cultural phenomenon, opening fresh approaches, critiques, and insights. Among the topics that might productively be addressed in this context are: the effect of Beats on Tangier, the Beat legacy in Tangier, interaction between particular Moroccans and the Beats, the Beats within the context of Moroccan independence, Tangier and the Beats within the context of American politics in the 50s, women’s roles (or lack thereof), and the place of the Beats within a wider historical context of Moroccan-American-European relations. Papers may focus on particular figures or texts, salient theoretical concerns, or historical/cultural issues. Creative, more performative responses to the topic are also welcome. Papers are thus invited to investigate the limits of this paradigm in theoretical and real, experiential terms.

Dr. Dwight Reynolds, Senior Professor of Religious Studies, University of California, Santa Barbara
Dr. Mohammed Lammiri, Professor and Prominent Scholar of Moroccan/British Studies, University Mohammed V, Rabat, Morocco
Mr. Jonathan Curiel, journalist and staff writer with the San Francisco Chronicle
Dr. Deborah Kapchan, Associate Professor of Performance Studies at New York University
Dr. Andrew Hussey, cultural historian and biographer, and Dean of the University of London Institute in Paris
Dr. Allen Hibbard, Professor of English and Director of Middle East Center, Middle Tennessee State University
Dr. Regina Weinreich, Professor of Humanities & Sciences at The School of Visual Arts in New York
Dr. Susan Gilson Miller, Senior Lecturer in the Department of Near Eastern Languages and Civilizations at Harvard University

“Performing/Picturing Tangier”

 An International Conference—Tangier, Morocco, February 8-10, 2007, The Chellah Hotel

Rather than effect a series of deconstructive moves upon Tangier’s semiotic systems, the conference will address the city’s morphology as a place individuals realize through spatial practices. As a crossroads city between Europe, Africa, and the Middle East, traveling to and through Tangier continuously constructs imaginative worlds in the tourist’s gaze that are fueled by memories, images, and stories of the historically renowned “Inter-Zone.” These outside views are functional within the endless process of place-making, as it provides access to the tourist cultures because words, images, and actions all have the ability to build, sustain, or destroy. The ongoing practice of place-making includes visitors’ stories, Tanjawi sense of place, and artistic works that sustain the mythical proportions that have been historically attributed to Tangier. As cultural geographer Yi-Fu Juan tells us, “a great city may be seen as the construction of words as well as stone.” Our main concern in this third annual conference is to critique the dialectical oscillation between words and stone and between physical places and imagined places as we focus on the city as an archaeological or forensic site of investigation.

Space is open and undefined; when humans attach meaning to space it becomes place. Place is therefore highly individualized, but it is also a recognizable cultural construct of symbolic exchanges and interpretative conventions. It is construed in complex relationships between gaze and object within cultural expectations. Space and place, however, are kaleidoscopic, elusive, and difficult to define for they reflect the surging, shifting, and inchoate character of life itself as a dynamic performative experience. Our journey from “Writing Tangier” and “Voices of Tangier” to “Performing and Picturing Tangier” leads us to approach the city as a palimpsest, by acting out various forms of arché-writing over sites already written upon. The spatio-temporal continuum of Tangier is beyond the dialectics of colonial encounter. Our endeavors to track the traces of Mohamed Choukri, Paul Bowles, Henri Matisse, John Hopkins, William Burroughs, Mohammed Mrabet, Jillali Farhati, Farida Benlyazid, Ahmed Berouho, Zoubeir Benbouchta, and others are part of the performance and picturing of place that contribute powerfully to the place-making of the city.

Dr. Allen E. Hibbard presented papers at the "Voices of Tangier" conference in January 2006, as did Jeffrey Miller.

Dr. Hibbard, professor of modern American literature, criticism, and Middle Eastern literature and culture at Middle Tennessee State University, also attended the literary conference—"Writing Tangier"—held in Morocco from November 26-28, 2004. He has written and lectured extensively on Paul Bowles and is the author of Paul Bowles: A Study of the Short Fiction (Twayne Publishers/Macmillan, 1993). His most recent book, Paul Bowles, Magic & Morocco, was published by Cadmus Editions in 2004. From 1992 to 1994, Hibbard was a Fulbright Lecturer at the University of Damascus, Syria, and he taught and lectured at the American University of Cairo, Egypt from 1985 to 1989.

Also in attendance was Jeffrey Miller, founder and director of Cadmus Editions, the author of Paul Bowles: A Descriptive Bibliography and editor of In Touch: The Letters of Paul Bowles. Cadmus Editions has published several books by John Hopkins, and The Pelcari Project (Cárcel de Árboles) by Rodrigo Rey Rosa, translated from Spanish by Bowles. Rodrigo Rey Rosa is the literary heir of the estate of Paul Bowles and Jane Bowles. Cadmus has also published Mohamed Choukri's Tennessee Williams in Tangier, with an introduction by Gavin Lambert.

This conference, in honor of Mohamed Choukri, brought together scholars from Morocco, Spain, France, the United Kingdom, the United States, Egypt, Saudi Arabia and Qatar, and featured panel discussions and lively talks on various literary figures who have lived and worked in Tangier: Mohamed Choukri, Tennessee Williams, William Burroughs, Paul Bowles, Rachid Mimoun, Ángel Vázquez, Walter Harris, Samuel Pepys and Juan Goytisolo. Dr. Andrew Hussey, Senior Lecturer in French, Department of European Languages at the University of Wales at Aberystwyth and the Moroccan playwright Khalid Amine, of the English Department at l'Université Abdelmalek Essaâdi in Tétouan organized this conference in Tangier—a unique multicultural and multilingual city in North Africa. The 2002 conference was held at l'École Supérieure Roi Fahd de Traduction in Tangier, considered one of the most prestigious translation schools in the Arabic-speaking world, in cooperation with the British Council of Morocco.

Board member Virginia Spencer Carr's biography, Paul Bowles: a Life, was published in the United States by Scribner, Simon & Schuster in November 2004. Peter Owen Publishers released the British edition of Paul Bowles: a Life in September 2005 in the United Kingdom.

The Jane and Paul Bowles Society held two panels at the American Literature Association's conference in San Francisco, California from May 27-30, 2004.

On Wednesday, December 29, 2004, the Jane and Paul Bowles Society presented papers by Allen Hibbard, Greg Mullins, David Racker, and Brian Edwards of Northwestern University, at the Modern Language Association's (MLA) Conference in Philadelphia, Pennsylvania. The panel was entitled "American–Maghrebi Space: From Paul Bowles to Mohammed Mrabet".





The Centro Cultural de Belém―CCB―presented a six-day homage to Paul Bowles in Lisbon, Portugal, from March 26 through March 31, 2007. Fernando Luís Sampaio was the curator of the event which included various readings from Bowles' works, a photo exhibition by Daniel Blaufuks, and screenings of Bernardo Bertolucci's adaptation of Bowles' novel The Sheltering Sky (in Portuguese: Um Chá no Deserto). Two documentaries were shown: Jennifer Baichwal's Let It Come Down: the Life of Paul Bowles, and Owsley Brown III's Night Waltz: The Music of Paul Bowles, with comments by Irene Herrmann, Paul Bowles' musical heir, who played Paul Bowles' Six Preludes for Piano and several of his songs set from texts by Tennessee Williams and Federico Garcia Lorca. The singer was Mário Redondo. At the conclusion there were performances of "Secret Words" by Paul Bowles, and traditional Moroccan music by the Master Musicians of Jajouka led by Bachir Attar. This special event in Lisboa, Portugal was entitled Um Abrigo na Terra (A Shelter on Earth).



Otterbein College in Westerville, Ohio featured a six-day retrospective of the life and works of Paul Bowles from May 4-9, 2006. The event was organized by Otterbein College music faculty member Timothy Huffman in connection with his doctoral research. The program included two concerts of Paul Bowles's music performed by Otterbein faculty and students on May 8 and 9, 2006. Also presented were readings from Bowles's The Sheltering Sky and several short stories,  lectures on Paul Bowles as a writer and composer, and a display of recent book acquisitions by the Otterbein College library.




An Homage to Paul Bowles (Homenaje a Paul Bowles) was held in Estepona, Spain from April 19-21, 2006 at the Palacio de Congresos y Exposiciones, with Juan Manuel de Prada, Rodrigo Rey Rosa, Valerie Miles and Javier Rioyo discussing the author and composer's life, work and legacy. Also presented during this special event were three film documentaries: Let It Come Down: the Life of Paul Bowles by Jennifer Baichwal, Night Waltz: the Music of Paul Bowles by Owsley Brown III, and Tánger, esa vieja dama (2001) by José Luis López Linares and Javier Rioyo. Pianist Joaquín Castellanos performed the piano work Carretera de Estepona, which Paul Bowles composed in 1939.





Inside cover of Bowles Notes—the publication of The Jane and Paul Bowles Society—showing the names of the Founding Editor, Contributing Editors and the Editorial Board members, among whom are Millicent Dillon, Allen Hibbard and Virginia Spencer Carr.

Table of Contents for Bowles Notes 2

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