It is a great pity that Paul Bowles' later novels, Let It Come Down and The Spider's House, were somewhat overshadowed by The Sheltering Sky, mainly due to the movie adaptation by Bernado Bertolucci.

If there is any modern filmmaker who could do proper justice to Let It Come Down, it would have to be an auteur like David Cronenberg.

It is truly incredible to think that Let It Come Down was first published in 1952. This novel is intense, provocative, frustrating, nihilistic, and downbeat. It does suffer from the restrictions and attitudes of its social milieu, especially regarding the sex scenes that haunt the margins of the text. These include a lesbian relationship and a distasteful rape under the influence of hashish. There are a couple of moments of extraordinary violence at the end that are likely to haunt any reader for days afterwards with their hallucinatory intensity.

However, it remains just as intense a read today, and its universal themes of culture clash, assimilation, and alienation are equally topical. The book directly addresses racism and xenophobia. Indeed, it can be argued that Bowles' own ingrained racist and colonial attitudes are dismayingly on display with Moroccan characters like Hadija and Thami, who largely remain ciphers, with Hadija especially given cringeworthy lines like "no spicking Anglish".

Still, despite its flaws and the fact that it remains mired in a specific socio-historical context, Let It Come Down strongly reminded me of early Ian McEwan books like The Comfort of Strangers. It is clear that Bowles has cast a long shadow over British fiction. The fact that he is not more lauded or cited today is very sad.

I find it fascinating whenever a writer tackles unsavoury or unlikeable characters, as this requires a delicate balance between repulsion and attraction on the part of the reader.

Well, everyone in Let It Come Down is unlikeable, from the curiously apathetic American Nelson Dyar to the motley assortment of expats lurking in the International Zone in Tangier, to a range of equally unpalatable locals. The ending, in particular, is a jaw-dropping exercise in narrative chutzpah, as Dyar succumbs to the logic of the particular path to dissolution he has chosen or which has chosen him.

This is a novel slightly damned by its author's bravery, because it is not entirely successful, and it is likely to turn off as many readers as it appeals to. Bowles is a master of mood and setting, and his descriptions of the natural and urban environments of the Zone - one immediately thinks of William Burroughs, of course - are masterly. It is a pity then that he resorts to such a hackneyed device as money smuggling to get the plot moving.

Nevertheless, this remains an extraordinary reading experience. I can only hope that a director with the energy and audacity of David Cronenberg would attempt to film this novel, and thereby bring Bowles back into the literary limelight, where he belongs.

Of course, Bowles would demur. His place has always been in the shadows, and in the deeper darkness behind.

This is a truly gripping novel that delves into the life of an American who is completely oblivious to the culture he suddenly finds himself submerged in.

However, it's important to note that he was also rather "empty" even when he was back in America. This is quite typical of Bowles' works, but this particular novel struck me as being a highly existentialist one in terms of philosophy. It's something I hadn't initially considered that Bowles might have adhered to, although now that I've written it, it seems rather obvious that he would have been, as it was THE philosophy of the times.

This novel is an interesting blend. It's sort of a crime novel, with its own set of mysteries and intrigues. It's also sort of a travel narrative, taking the reader on a journey through different cultures and landscapes. And it's even sort of an object lesson about the effects of markets and economics on some Americans.

The ending, in particular, shocked me with a fairly grisly turn of events. I really appreciated this unexpected twist as it added an extra layer of depth and excitement to the story. Overall, this is a good second novel. It clearly shows that the author is still in the process of adjusting to a longer form of narrative than he was previously accustomed to employing, but it also showcases his growth and potential as a writer.

It was not yet completely dark.

The sky still held a hint of the day's light, a soft glow that lingered on the horizon. The sun had set, but its influence could still be felt. The world around was in a state of transition, from the brightness of day to the darkness of night.

The trees stood silent, their leaves rustling slightly in the gentle breeze. The birds had stopped chirping, as if they were also preparing for the night. The air was cool and refreshing, carrying with it the scents of nature.

People were hurrying home, eager to be in the warmth and safety of their own houses. Some were walking, while others were driving. The streets were still busy, but there was a sense of calm settling over the city.

It was a beautiful moment, a time when the world seemed to hold its breath, waiting for the night to fully embrace it.

I know, I know--it may seem strange to be recommending a book that I read more than 10 years ago. But truly, this book made such a profound impression on me that it has withstood the test of time.

I first became fascinated with Paul Bowles in the early nineties when someone loaned me a copy of The Sheltering Sky. There is a certain haunting power in that novel, similar to what pervades EM Forster's A Passage to India, yet with a more existential perspective that is unique to Bowles' narratives.

By the time I delved into Let It Come Down, I had developed a voracious appetite for the detailed descriptions in his storytelling.

It's as if the descriptions of the protagonist's experiences in Morocco serve as a mirror of the layered circles of his consciousness. You go deeper and deeper, seeing how in a place that doesn't know you, where you could become lost forever and potential danger lurks around every corner, it can paradoxically become the only place where you can be truly free.

Every seemingly terrifying moment, when the protagonist's very survival and self-identity are called into question, somehow becomes liberating and beautiful.

I wholeheartedly recommend this book to anyone who enjoys a captivating story about how people come to terms with themselves through the lens of an unfamiliar place. It's a literary journey that will stay with you long after you've turned the last page.

I think the blurb on my copy doesn't do this story justice. It describes it as a "descent into nihilism" or something along those lines. However, it is so much more than that.

All of the characters in the story pale in comparison to Tangier. This city truly comes alive within the pages of this book. It has its own unique charm, atmosphere, and a sense of history that is palpable.

That being said, the story did drag in parts for me. I believe this is simply because certain perspectives were less interesting for me to read. But despite that, I still thoroughly enjoyed this book. It has a certain allure and a way of drawing the reader in that is quite captivating.

I will definitely be picking up more of Bowles' works in the future. I am eager to see what other stories and worlds he has to offer. I have a feeling that they will be just as engaging and thought-provoking as this one.

This is a very traditional novel, the second one by the author, with roots going back to modernism and the "lost generation" of the 1920s. It can be read in parallel with Camus' "The Stranger" (which was published 10 years earlier), thus creating an additional stereo effect. Here, there is the same "lost" person, a traditional insignificant victim for Bowles on the border with a foreign culture, in a situation where there can be neither understanding nor reconciliation. Everything is merciless and hopeless - complete alienation, from oneself, from civilization in general, and from the surrounding reality in particular, just like in the stories. Bowles here appears as a kind of lost Euro-American link between Hemingway, who couldn't completely break away, and the Beats, who couldn't (and didn't want to) completely return. In general, it's another strain of existentialism.

Moreover, this is the last of Bowles' novels not translated into Russian - and translating it is a thankless task, although very rewarding in the end. Many people smarter than me have written about Bowles' language, and in this novel, it seems that he began to reject linguistic excesses and "literariness", reducing the text to a pure exposition of facts, dry and emotionless, removing any authorial attitude towards what is being depicted. As a result, we see the birth of that "zero degree of writing" that we once dealt with when preparing his stories for publication. Here, it is impossible to get emotionally attached to anyone, and the author deliberately removes any crutches from the reader that could help the reader get at least somewhat involved in what is happening (and if it's not a detective story, then there is a travel intrigue in the novel). At the same time, the author seems to be only learning to write like this, so the text is rather uneven, and as soon as some lyricism (caused by a plot twist) arises in it, the book ends. The text has reached its natural point for it and simply stops.

During the work, it was necessary to carry out a certain experiment (well, try) - to stylize it somewhat under the language of the "Soviet school of translation", with its looseness, viscosity, and some grammatical redundancy. True, there is still a need to choose a certain figurative ribbon to finally polish everything, and only then can we see what we have achieved. But that will not be today.

At the beginning of this novel, I truly believed that I was going to have a great time reading it. However, that was not the case.

As the story developed, it was about a rather hopeless American guy who somehow ended up in Tangier. I found the plot and the characters to be so incredibly unbelievable that I almost gave up on reading it.

Nevertheless, I did persevere, mainly out of a sense of obligation to finish what I had started. In the end, my perseverance only served to confirm my total disappointment with this book.

It's a shame really, because the premise had so much potential. But unfortunately, the execution fell far short of my expectations. I would not recommend this book to others.

Paul Bowles is a truly remarkable magician of words. His novels, set in North Africa, are a captivating blend of nihilism and the influence of drugs.

His works take readers on a journey through a world that is both exotic and deeply disturbing. The vivid descriptions of the North African landscapes and cultures add an extra layer of authenticity to his stories.

The nihilistic themes that run throughout his novels challenge our beliefs and make us question the meaning of life. The drug-infused elements add an element of mystery and danger, making the reading experience all the more thrilling.

I am truly in love with Paul Bowles' novels. They are a unique and unforgettable literary experience that I would highly recommend to anyone looking for something different.

I hadn't delved into Bowles' works for a considerable number of years. However, this recent return to his literary world did not result in disappointment. In his well-crafted noir-ish tale, he masterfully captures the essence of the ex-pat vibe. Moreover, his description of the experience of consuming THC laced foods is quite remarkable. It has kindled within me a strong desire to revisit "The Sheltering Sky" and, for that matter, Morocco as well. Although it is evident that Morocco is no longer the same as it was in the 1950s.

Bowles also introduced me to Isabelle Eberhardt through a 1972 collection titled "The Oblivion Seekers". I discovered this collection while I was temporarily staying in a house in Santa Fe, NM in the early 1990s. It is truly great stuff, and I wholeheartedly recommend it to any enthusiast of this novel.

Excellent!

I absolutely adored "Sheltering Sky". The moment I finished reading it, I was so captivated that I immediately went out and purchased a couple of his other books.

His writing is truly riveting. The prose has a unique charm that reminds me of Christopher Isherwood. It combines the beauty and lyricism of poetry with the simplicity and directness of plain speech.

Each word seems to be carefully chosen, painting vivid pictures in my mind and evoking a wide range of emotions.

I can't wait to explore more of his works and see what other literary treasures he has in store for me.

Please provide the article that needs to be rewritten and expanded so that I can help you.

It has been many years since I last read 'The Sheltering Sky' and watched the movie. This time, my choice was driven by a rather random impulse. I wanted to read a classic and escape from the increasingly narrow confines of yet another episode in the pandemic. Little did I expect to have such an extraordinary and gut-wrenching experience.

Dyar, the lead character, is a remarkable creation. He is someone who seems to have reached a dead end quite early in life, but somehow manages to find a way to start a new life in the International City of Tangier. Along the way, there are many other impressive characters. And, as one would expect from Bowles, Tangier itself is among the most important characters in the story.

Just as I was beginning to wonder if the novel was meandering a bit out of control and if it had become dated since the 1950s, no longer in line with modern ideas on colonialism, Bowles suddenly mounts a stunning and unforgettable finale. It completely changes my perception of the entire work and leaves a lasting impression on me.

This book is truly a masterpiece that explores the human condition and the power of place in a profound and thought-provoking way. I am so glad that I decided to pick it up again.