Traumatic encounter: A young American, a bank clerk, oppressed by a domineering mother, abandons everything and relocates to Tangier (back then in the international zone of Morocco), embarking on a path of decadence or "deterioration", surrendering to alcohol, drugs, criminal acts, and making use of those open-air brothels available to Westerners, which had become numerous areas, hypocritically called "cosmopolitan", in the colonized world. Orientalism is wasted here, but it's still Paul Bowles and I'm affectionate towards it, and the writing is beautiful and ultimately it's precisely that world that he endeavors to represent. Probably with his contribution of detachment as an external observer, he is certainly not the man who "finds himself" in hotels that have a standard fifty times higher than the average of the "exotic" place visited and who idly wonder: "what could my life be like here" while caressing their British Airways return ticket. After all, it was he who defined "home", in his case the United States: "the cesspool of all evils, the emblem of the accursed Western civilization". Bowles' work is not that terrible thing called by that expression almost impossible to write due to its ugliness: "Travel literature", not at all.

Banquo: It will be rain to night.

1st Murderer: Let it come down.

(They set upon Banquo.)

This short exchange between Banquo and the 1st Murderer is a prime example of the creepiness and awesomeness that pervades this entire book. The mention of the impending rain creates an atmosphere of foreboding, as if nature itself is participating in the dark deeds that are about to unfold. The response of the murderer, "Let it come down," is both chilling and dismissive, indicating a lack of concern for the elements or the consequences of their actions. The act of setting upon Banquo further heightens the tension and adds a sense of violence and danger to the scene. Overall, this brief passage serves to draw the reader in and set the stage for the rest of the story, which is sure to be filled with more of the same thrilling and disturbing elements.

This was a story that burned slowly, gradually building up to a conclusion that was completely unexpected.

Bowles masterfully creates a Tangier that is steaming, sultry, and full of atmosphere. The protagonist is thrust headfirst into this world, and his journey begins slowly. However, as the story progresses, it builds pace and, like an avalanche, gathers bulk and momentum as he is led down a path that he is not prepared for.

The storytelling is intelligent, with peripheral characters who are just as rich and multi-dimensional as the main character. Seemingly insignificant little things happen throughout the story, but they all come together in the latter part to deliver a powerful impact. Suddenly, the story creeps up and slaps you in the face!

The narration is clever and moody, and I really enjoyed it. It kept me on the edge of my seat, eagerly turning the pages to see what would happen next. This is a story that will stay with you long after you have finished reading it.

I am truly stunned by the remarkable way in which Bowles weaves together his impressions as a traveller and his observations as an explorer to construct a world that is as enchanting as that of a poet.

The facts he employs are now rather familiar to every backpacker - marijuana (mj), local rites, the feeling of isolation, and the exotics of a new culture. However, he has the extraordinary ability to avoid the pitfalls of triviality and instead, he opens the door into a special world that lingers vividly in your imagination long after you have finished reading the book.

Although I am not an admirer of his women-characters in general, in this work, he manages to paint a reliable picture of several of them. Perhaps this is because here they possess a more masculine type of character. It is a bit of a shame, though, that he leaves a couple of them hanging in the limbo of the story, almost like a forgotten valise, which seems a bit of an oversight.

Overall, Bowles' work is a captivating exploration that combines travel, exploration, and the power of imagination in a truly unique way.

As many have summarized, including the book cover, "Let it come down" is centered around a young man named Dyar who travels to Morocco to discover more about himself and gradually finds himself in deeper and deeper trouble.

A key reason for this is that he confuses his impulses with the "true self" and hopes to find his way by not overly thinking about his actions.

The fourth and final part of the novel, which focuses almost entirely on Dyar and his situation, further exacerbated by Moroccan drugs, was not as captivating as the previous three parts. Presumably, this is because it is all about a man who was effectively pronounced "dead" quite early in the novel. So, we all knew that something bad was going to happen to him, and there were no surprises there.

I was more curious to learn where and how Bowles would bid farewell to his character. Would he be truly dead or just driven mad? I won't be a spoiler.

The portrayal of the international and native society in Morocco at that time is what made me so fond of the novel. It's true that the story primarily revolves around Dyar, but what really made me laugh and think were the interactions with and between other characters who, unlike Dyar, have a clearer understanding of what they desire.

Bowles' writing is truly remarkable in depicting the complex and jumbled emotions that come with being in a strange and foreign place. In "The Spider's House," the insistent drums of the Moroccan ritual serve as an unwelcome reminder of another world, autonomous and with its own patterns. The message they convey, that one's existence may not matter, can be truly paralyzing. In "Let It Come Down," the American character in Tangier, Morocco, initially experiences a sense of "strange security" that is unfortunately short-lived. His life soon descends into a nihilistic exploration of meaning, as if his very existence is in question. For me, while "Let It Come Down" shares many common themes with "The Spider's House," it fails to fully capture the same level of intrigue.

"It was rather fun, being lost like this; it gave him a strange sense of security, -the feeling that at this particular instant no one in the world could possibly find him." (168)



Bowles is masterful at capturing the very mixed (up) feelings of being placed in a strange, foreign land -- at one turn liberating, fascinating, enthralling; at another turn alienating, bewildering, dread-ful. I think of this passage from The Spider's House:



“The insistent drums [of the Moroccan ritual] were an unwelcome reminder of the existence of another world, wholly autonomous, with its own necessities and patterns. The message they were beating out, over and over, was for her [an American]; it was saying, not precisely that she did not exist but rather that it did not matter whether she existed or not, that her presence was of no consequence to the rest of the cosmos. It was a sensation that suddenly paralyzed her with dread. There had never been any question of her ‘mattering’; it went without saying that she mattered, because she was important to herself. But what was the part of her to which she mattered?’ (p.319)



In Let It Come Down, the "fun" experience of "strange security" proves to be rather momentary for our American character in Tangier, Morocco, whose life spins out into a nihilistic questioning of what it all means, as if his existence does not matter.



For me, this book did not quite capture the intrigue of Spider's House, even though the two share many common themes.

One of the best things I've read in years.

Bowles has truly achieved a remarkable feat here. He has masterfully blended action, suspense, and horror to create a story that reaches the pinnacle of storytelling. In this narrative, he showcases all his strengths in their finest form while completely avoiding his weaknesses.

The Noir storyline gives the tale an irresistible forward momentum. It's about a man who relocates to an alien part of the world and gradually succumbs to his darker instincts. Instead of improving his lot from this new beginning, he fashions a foolish and fearsome fate for himself.

Just like in the finest Noir constructions, there is a diverse cast of characters. They contribute to both the mood and the moral action of the story. One can't help but root for the poor protagonist through all his adventures and missteps. This makes his downward spiral all the more gripping and terrifying.

Like all of Bowles's best work, this story is thrilling, brilliantly realized, and shattering. It leaves a lasting impression on the reader and is a must-read for anyone who loves a good blend of genres and a captivating story.

First of all, this work is not as excellent as "Sheltering Sky". It's not due to the writing or the supporting characters. The issue lies in the fact that the focus is strictly on Tangiers and the lead character. In contrast, "Sheltering Sky" was about three Americans traveling in North Africa, which had a broader scope. It encompassed more events and adventures, and also had more interesting characters.

Secondly, I find Bowles to be an extremely frustrating writer. He is so close to achieving greatness. He has such a great literary style and the ability to vividly describe a time or a place, as well as create interesting minor characters. However, he completely fails to draw likable and engaging lead characters.

In this book, we are presented with several fascinating supporting characters. Notably, Eunice Goode, an obese lesbian, and "Daisy", a wealthy middle-aged Marquesa, are particularly well-developed. But the main character, "Dyar", is a cipher, a shadow. He is an unhappy clerk with no past and no sense of being alive. He comes to Tangiers hoping for a better life. The NYT's reviewer describes him as follows:

... He has read nothing, loved nothing, committed himself to nothing. In a vaguely Existentialist way, Bowles has tried to define the basic human situation by removing everything that makes a man human. The hero of "Let It Come Down" is not the Everyman of the old morality plays, but No-man, a living cipher, a moral idiot.

And we never truly care about him. He is only interesting when he engages in interesting activities or encounters interesting people. His internal thoughts, such as his hashish dreams and dime store philosophy, never appealed to me. Moreover, his final outcome fails to evoke any pity or sadness.

In one of his interviews in the 1980s, Bowles claimed that the book was a "Novel of ideas" like Camus' "The Stranger". But that's not what I desired. Nor did I want horror or macabre hashish dreams. After Dyar steals the money, I expected a realistic conclusion to the story. And that was also my problem with "The Sheltering Sky" - after Port dies, I wanted a satisfying and realistic ending, not an absurd S&M fantasy.

Bowles, an intelligent and mild-mannered man, had a penchant for writing exaggerated stories filled with cruelty, violence, and perversity. It's a pity because that's precisely what I don't want. Horror bores me. If you want to offer me a fantasy, give me one that affirms life, not a negative and dark one. If you want to展示 nastiness, show me real-life nastiness. There's plenty of it around. I don't need fake and exaggerated nastiness.

My favorite is Bowles. His works are often lyrical, odd, and ominous, just like most of his creations.

There is something truly captivating about the way he weaves words together to form unique and enchanting stories.

His writing style has a certain charm that draws me in and keeps me hooked from the very beginning to the end.

It's as if he has the ability to transport me to another world, a world filled with mystery and wonder.

Bowles' works have had a profound impact on me, and I find myself constantly coming back to them, eager to explore and discover new aspects.

He is, without a doubt, my favorite writer, and I can't wait to see what other masterpieces he will produce in the future.

The themes were everything I hated

A grim noir that soon transforms into a scorching existential journey through identity and reality.

In post-war Tangiers, a city filled with trash markets, spies, battling governments, debauched party people, drugs, criminals, and the clash of Muslim and Christian culture, a chilling tale unfolds.

Bowles masterfully weaves a story set against this backdrop, creating a world that is both gritty and captivating.

The city becomes a character in itself, with its seedy underbelly and the constant ebb and flow of power and欲望.

As the protagonist delves deeper into this world, they are forced to question their own identity and the nature of reality.

The journey is filled with twists and turns, as the lines between right and wrong, truth and falsehood, become increasingly blurred.

Bowles' writing style is atmospheric and evocative, drawing the reader in and immersing them in the dark and dangerous world of post-war Tangiers.

This is a story that will stay with you long after you have turned the final page.

The 67th book for 2018 left me with a rather mixed impression.

The descriptions of hashish intoxication were truly excessive. They were so over the top that at one point, I seriously thought I was reading about a group of paranoid schizophrenics who had ingested a tincture of belladonna, mixed with mescaline and Sonoran toad venom. It was a wild and somewhat disturbing portrayal that didn't quite sit right with me.

Moreover, the ending felt completely tacked on. It seemed as if the author had run out of ideas or simply didn't know how to properly conclude the story. As a result, the overall reading experience was somewhat marred.

Taking all these factors into account, I can only rate this book as 2-stars. It had its moments, but ultimately failed to live up to my expectations.