\\n  E più considerava il misterioso insieme, più indecifrabile ne diventava il significato.\\n
This statement sets the tone for a story that is full of mystery and intrigue. The more one delves into the complex web of events and characters, the more elusive the true meaning becomes. It is as if there is a hidden layer beneath the surface, waiting to be discovered.

Grande scrittura, trama deludente. The writing in this work is truly magnificent. The author has a way with words that makes the descriptions come alive. However, the plot is somewhat disappointing. It lacks the excitement and momentum that one would expect from a story of this nature.

Personaggi pieni di potenziale, ma non hanno né inizio né fine (volutamente). The characters are full of potential, but they seem to lack a clear beginning and end. This may be a deliberate choice by the author, perhaps to create a sense of ambiguity and mystery.

Bellissime descrizioni di luoghi, momenti e sensazioni. The descriptions of the places, moments, and sensations are beautiful. The author has a keen eye for detail and is able to capture the essence of each scene with great precision.

È come una magnifica confezione che ha un dolcetto sciapo all’interno. It is like a magnificent package that has a disappointing treat inside. The overall presentation is impressive, but the substance leaves something to be desired.

Sono un po’ perplessa, alla fine di questa lettura. At the end of this reading, I am a bit perplexed. I am not sure what to make of the story or how to feel about it.

Il primo quarto del libro è volato, mi ha catturato con le sue rappresentazioni di Tangeri e della sua pioggia, delle stradine e delle scalinate infinite. The first quarter of the book flew by, captivating me with its depictions of Tangier and its rain, the streets and the endless staircases.

Poi il testo si è assestato su un livello intermedio tra “bella scrittura” e “che noia, perché non succedere niente?”. Then the text settled on an intermediate level between “beautiful writing” and “what a bore, why isn't anything happening?”.

Della seconda metà ho apprezzato poco, veramente poco. I appreciated very little of the second half, truly very little. Only the descriptions of the places and the sensations under hashish raised my evaluation.

I personaggi non mi hanno fatto impazzire, le situazioni non mi hanno intrigato o interessato, andavo avanti nella lettura giusto per la scrittura, che è m a g n i f i c a. The characters did not drive me crazy, the situations did not intrigue or interest me. I continued reading just for the writing, which is magnificent.

Peccato per la trama, insipida. What a pity about the plot, it is insipid. Probabilmente se avessi letto il libro più velocemente me lo sarei gustato di più. Perhaps if I had read the book more quickly, I would have enjoyed it more.

\\n  Se si potesse almeno non pensare, anche per pochi istanti, se almeno si potesse cessare di preoccuparsi di tutto, ma veramente di tutto, come sarebbe meraviglioso. Ma ciò sarebbe probabilmente la morte. La vita trae senso dal preoccuparsi. È una lunga lotta per evitare di ridursi in frammenti. Se ci si abbandona al vero godimento, la salute va in rovina, e con la salute se ne va anche la bellezza. La vera cosa terribile è che alla fine, in qualsiasi modo si sia agito, per quanto si possa essere stati attenti, tutto è inevitabilmente destinato a crollare.\\n
This passage reflects on the nature of life and the importance of thinking and caring. It suggests that while it may be wonderful to stop thinking and worrying for a moment, it is also a part of what gives life meaning. It is a constant struggle to avoid falling apart, and if we give in to pure pleasure, our health and beauty will suffer. The truly可怕 thing is that in the end, no matter how we act or how careful we are, everything is inevitably doomed to collapse.

Having just perused a book regarding hawks, the immediate comparison that springs to mind is that of a raptor. However, upon further reflection, that doesn't seem entirely appropriate. Bowles has penned some of the most disconcerting short stories in the English language. They continue to linger in my mind, haunting me. One such story is a dialogue between a stork and a hyena, and this serves as a crucial clue. Bowles is like a scavenger, cunning and just as destructive to the intricate machinery of life. Yet, he is earthbound and earthy. The hyena, for instance, celebrates its triumph by rolling in and consuming its own vomit.

Moreover, Bowles lacks sentimentality. This is the assessment that Robert Stone offers in his introduction to Bowles's short stories, and it is nearly spot-on in diagnosing why his stories, especially this one, work so well. I say nearly correct because there is a hint of sentiment here, but it always teeters on the edge. The story ostensibly revolves around Nelson Dyar, an American experiencing a mid-life crisis who departs from New York to take up a promised job from a distant friend in Morocco. It is set just after World War II and just prior to Morocco's independence, meaning the country is divided into regions, each controlled by different colonial powers. The main action unfolds in the International Zone, which is perilously close to being lawless. (William Burroughs immortalized the International Zone in his Naked Lunch.) From the outset, we are aware that Dyar is fated to be destroyed by this country.

Nevertheless, there is sentiment present, even as the plot clicks around Dyar, who ultimately meets his demise, much like a trap closing around the leg of a wild animal. The sentiment lies in the distance, in the sound of the ocean, its salty spray, and the glimmer of hope that something better might await on the other side. For the most part, though, Bowles is unrelenting in his exposure of Dyar. In fact, as Bowles himself even admits in the prefatory matter, Dyar is not much of a character, a born victim - a quintessential American in many respects. He is naïve and fails to realize that Morocco is a different place. Both "see" and "grapple" elude him; he does not perceive, or perhaps refuses to truly come to terms with, the fact that Tangiers operates under different rules. Nor does he understand that it is a place rich in history, texture, and roots, not an empty canvas upon which he can impose his own will. Even as he believes he can see through the various machinations, he remains oblivious to the traps being set for him.

We quickly discover that the book is about more than just Dyar, as Bowles fearlessly switches perspectives, even in the midst of a scene, delving into one character's mind and then another. He leaves Dyar alone for a while as he introduces us to others. This is a challenging structure to execute, and it often leaves the reader feeling disoriented, never quite certain where a thought might be originating from.

Simultaneously, Bowles reveals another of his great skills: not only is he unsentimental about his characters, but he also sees them with remarkable clarity and describes them vividly, peeling away all the layers of rationalization that might exist. That hyena instinct exposes their innermost selves, both repulsive and intimate. In just a few paragraphs, we come to know the secret identities of The Marquesa Daisy, Eunice Good, Wilcox, and the others who are vying to make their way in the International Zone and are eager to enlist Dyar in their schemes. They see him easily, even as he remains blind to them, and manipulate him accordingly.

The conclusion of the story - the fourth section - is hallucinatory and horrifying. (In hindsight, it serves as an obvious reference point for Stone's own Dog Soldiers, using the framework of an adventure story to convey philosophical ideas.) Dyar brings about his own downfall, even as he attempts to flee from the forces pursuing him but ultimately fails.

In sum, it is a wicked and deeply unsettling tale.

The statement "Vacillates between terrific and really?" seems rather cryptic. It implies a sense of uncertainty or wavering in one's assessment.

Perhaps the first half being described as the best is in reference to a particular experience, event, or work. It could be that the initial part was truly outstanding, leaving a strong impression.

However, the use of "vacillates" suggests that there is some doubt or hesitation about the overall quality. Maybe the second half didn't quite live up to the expectations set by the first half.

It could also mean that the person's perception is constantly changing, going back and forth between thinking it's great and questioning its true worth.

This kind of vacillation can occur in many aspects of life, whether it's evaluating a movie, a book, a performance, or even a relationship.

Sometimes, our initial enthusiasm may be tempered by further reflection or new information.

In conclusion, the phrase "Vacillates between terrific and really?" captures the complex nature of our evaluations and the potential for uncertainty and change in our opinions.

Read in Morocco.

It was an experience like no other. This was my second encounter with Paul Bowles' works, and I can firmly say that it won't be my last.

The moment I picked up the book, I was immediately drawn into the unique world that Bowles creates. His writing style is both captivating and mysterious, transporting me to the heart of Morocco.

The vivid descriptions of the landscapes, the people, and the cultures made me feel as if I was actually there, experiencing it all firsthand.

As I turned the pages, I became more and more immersed in the story, unable to put the book down.

Paul Bowles has a way of making you feel emotions you never thought possible through his words.

His ability to capture the essence of a place and its people is truly remarkable.

I can't wait to explore more of his works and continue this journey of discovery.

Morocco has become a place that holds a special place in my heart, all thanks to Paul Bowles.

I highly recommend his books to anyone who is looking for a truly unforgettable reading experience.

Dear me. How stark indeed. Mr. Dyer, a bank clerk who deeply feels that his life is completely pointless, reaches a momentous decision. He decides to make a drastic change and departs for Morocco to work for a family friend who is (allegedly) operating a travel agency in Tangiers.

Upon arriving at his destination, he commences a series of jarring and seemingly arbitrary decisions. These decisions, in turn, lead him onto a rather jarring and arbitrary trajectory. I will refrain from revealing any more details.

Of course, it goes without saying that the writing in this story was truly superb. The author, Paul Bowles, has an undeniable talent for crafting a narrative that keeps the reader on the edge of their seat, eager to discover what will happen next. His use of language and description is masterful, painting a vivid picture of Mr. Dyer's journey and the strange and unexpected events that unfold along the way.

Bowles' particular kind of wit is, in my opinion, far better suited to the short story. In the larger form of the novel, his ingenious style remains undiluted. However, I find his characters to be so mundane and, in fact, disgusting. These days, I feel hung over, as if I were the one who walked the streets of Tangier dead drunk until daybreak, stopping only to watch a pornographic movie and have a quickie with a 16-year-old prostitute. There is too much gin, too much debauchery, and too many characters who are clever and conniving yet disturbingly unintelligent. They are utterly unlike Bowles himself, and no doubt this is precisely the feeling he wants to evoke in his readers. In any case, despite the unpleasantness, his work is still brilliant.

This reminded me a great deal of the other Bowles novel that I've read, namely The Sheltering Sky. However, I have to admit that I preferred that particular one.

Let It Come Down seemed to take an inordinate amount of time to reach the point where it could be considered "good". And once it finally did, it ended far too abruptly.

Nevertheless, the firsthand description of Dyar's growing detachment from reality during his fateful final descent was truly remarkable. It felt so familiar and was portrayed with such simplicity and accuracy that I couldn't help but love it.

It was as if Bowles had an uncanny ability to capture the essence of a person's psychological unraveling in a way that was both haunting and captivating.

Despite the flaws in the pacing of Let It Come Down, this one aspect of the novel more than made up for it and left a lasting impression on me.

Bowles' novels are usually set in Morocco, a place where he resided for numerous decades. The setting is vividly and convincingly depicted. However, this novel, similar to his more renowned "The Sheltering Sky," is not merely about the setting but rather about youthful boredom and the longing to experience another world that could potentially jolt one into a more genuine existence. In Bowles' novels, that place is Morocco in the 40's and 50's, yet it could just as easily be any number of "foreign" environments. I believe that almost all young people have, at times, desired this transition to another reality, and many of us have acted upon that desire, with varying consequences. But most youthful wanderers, especially those who survived, were not as naïve or nihilistically inclined as Nelson Dyar, the protagonist of "Let It Come Down." He abandons his job as a bank teller in New York City (talking about boredom!) to take on an unspecified and likely shady job in the highly corrupt international zone of Tangiers. Soon, he clearly finds himself in a situation that is beyond his comprehension and realizes he is in a place where almost all meanings and connections elude him. Or perhaps he has reached the point that Kafka once described (and Bowles quotes in his preface): "From a certain point onward there is no longer any turning back. That is the point that must be reached." The premise and general arc of this novel are quite similar to those of "The Sheltering Sky," but it is shorter and somewhat less complex, offering a good entry point into Bowles' dark vision of a world where we are all just one step away from entering a very alluring, completely unknown, and perhaps even unknowable "danger zone."

Dostoevsky and Camus against the backdrop of the Moroccan mountains. Their works are like a precious, smooth, surgically precise human expression. Dostoevsky delves deep into the human psyche, exploring the darkest corners of the soul. His characters are complex and tormented, facing moral dilemmas and inner conflicts. Camus, on the other hand, presents a different perspective. He examines the absurdity of human existence and the search for meaning in a seemingly senseless world. Both authors use their writing to challenge our assumptions and make us think about the nature of humanity. Against the majestic backdrop of the Moroccan mountains, their words take on an even greater significance, as if they are a commentary on the vastness and mystery of the universe.

This piece of text seems rather cryptic and mysterious. It could potentially be referring to a work of art or literature that is considered to be a masterpiece, perhaps with a strong element of voodoo or some other form of the supernatural within it. The invitation to "come on" and the statement that "the water is perfect" add an element of allure and excitement, as if there is something wonderful and enticing waiting for the reader or viewer.

It makes one wonder what exactly this masterpiece is and what kind of experience it will offer. Will it be a thrilling adventure filled with magic and mystery? Or perhaps a thought-provoking exploration of the human psyche and the power of the unknown?

Regardless of what it is, the use of such evocative language makes it clear that this is something that is not to be missed. It has the potential to transport the audience to another world and leave them with a lasting impression.

So, if you're looking for something that will challenge your imagination and take you on a journey like no other, then this masterpiece might just be the perfect choice. Come on and discover the magic for yourself.

The story of Dyar is a complex and thought-provoking one. He is a man imprisoned in his waiting life, constantly held back by the past and the uncertainty of the future. The idea that existence could be reduced to the here and now, without the echoes of the past or the anticipation of the future, is a tantalizing one. But for Dyar, it seems almost impossible to achieve.

He has spent years in a cage of his own making, never quite getting up the courage to live his life. His retirement plans are filled with "maybes" and "what ifs," and he seems content to let life pass him by. But then he decides to make a change and heads to Tangier, where an old family friend has started a tourist business.

In Tangier, Dyar finds himself in a strange and unfamiliar world. The international zone is like a time-traveling ghost town, where no one can be trusted and anything can happen. He meets a cast of characters, including a hooker with a meaningless smile and a non-friend friend non-business associate who says he'll call him but never does.

As the story unfolds, we see Dyar's inner turmoil and confusion. He is a man who doesn't know what he wants out of life, and yet he feels a weight pressing down on him. He murders someone, but it seems almost like an afterthought, as if he is so disconnected from himself and the world around him that he doesn't really understand the consequences of his actions.

Overall, the story is a powerful exploration of the human condition. It makes us question our own lives and the choices we make. Are we living in the here and now, or are we trapped in the past or the future? Do we really know what we want out of life, or are we just going through the motions? These are the kinds of questions that Paul Bowles forces us to confront in this brilliant and disturbing story.

I am amazed at how much I liked this book. I wasn't expecting fireworks, but I got a very engaging and thrilling plot on one level. Morocco in the 1950s, drugs, smuggling, alcohol, and parties among the elite of that era's Morocco.

On another level, it's a novel with interestingly introduced (not boring) internal dialogues of the characters, and reflections on various themes. We also see a character who submits to events, not controlling his own life but just waiting for what it will bring. One can wonder what freedom and independence of a person are.

Decent prose.

The story unfolds in a vivid and captivating manner, transporting the reader to a different time and place. The author has managed to create a complex and multi-layered world, filled with interesting characters and their struggles. The descriptions of Morocco are detailed and atmospheric, making it easy to imagine the scenes and feel the essence of that era.

The internal dialogues add depth to the characters, allowing the reader to understand their thoughts and emotions better. It makes the story more relatable and engaging.

Overall, this is a book that I would highly recommend to anyone who enjoys a good read with a touch of mystery and a lot of depth.