In this first guide to Tangier's extraordinary cultural history , former BBC North Africa correspondent Richard Hamilton explores the city to find out what has inspired so many international writers, artists and musicians. In Tangier, the Moroccan novelist Mohamed Choukri wrote, 'everything is surreal and everything is possible.' In this intimate portrait, Hamilton explores hotels, cafés, alleyways and the city's darkest secrets. Delving down through complex historical layers, he finds a frontier town that is comic, confounding and haunted by the ghosts of its past. Samuel Pepys thought God should destroy Tangier and St Francis of Assisi called it a city of 'madness and delusions.' Yet, throughout the centuries, it has also been a crucible of creativity. It was a turning point in Henri Matisse's artistic journey and had a profound impact on the founder of the Rolling Stones, Brian Jones. Tangier also produced two of the greatest American novels of the twentieth century: The Sheltering Sky and Naked Lunch. Besides Paul Bowles and William Burroughs, the book also looks at lesser known characters such as the flawed genius, Brion Gysin, as well as Ibn Battuta, who travelled three times further than Marco Polo. Featuring a thrilling cast of pirates, sultans, artists, musicians, writers, princes and playboys, this is an essential read about Tangier.

In his study of the Tangier expatriate community, Michael K. Walonen analyzes the representations of French and Spanish Colonial North Africa by Paul Bowles, Jane Bowles, William Burroughs, Brion Gysin, and Alfred Chester during the end of the colonial era and the earliest days of post-independence. The conceptualizations of space in these authors' descriptions of Tangier, Walonen shows, share common components: an attention to the transformative potential of the conflict sweeping the region; a record of the power relations that divided space along lines of gender and ethnicity, including the spatial impact of the widespread sexual commerce between Westerners and natives; a vision of the Maghreb as a land that can be dominated or imposed on as a kind of frontier space; an expression of anxieties about the specters of Cold War antagonisms; and an embrace of the underlying logic of the market to the culture of the Maghreb. Counterbalancing the depictions of Tangier by Westerners who sought to reconcile their nostalgia for the colonial order with their support of native demands for independent governance is Walonen's extended analysis of the contrasting sense of place found in the writings of native Moroccan authors such as Mohammed Choukri, Tahar Ben Jelloun, and Anouar Majid. In its focus on Tangier and the larger Maghreb as a lived environment situated at a particular spatial and temporal crossroads, Walonen's study makes an important contribution to the fields of urban, transatlantic, and postcolonial studies.

An edge city, poised at the northernmost tip of Africa but just nine miles from Europe, Tangier is more than a destination, it is an escape. The Interzone, as William Burroughs called it, has attracted spies, outlaws, outcasts and writers for centuries – men and women breaking through artistic borders. The results were some of the most incendiary and influential books of our time and the list of outlaw originals is long, stretching from Ibn Battuta and Alexandre Dumas to Twain and Wharton and from the darkly brilliant Beats of Bowles, Kerouac, Gysin and Ginsberg to the great Moroccan novelists: Mohamed Choukri, Mohammed Mrabet and Tahar Ben Jelloun.

Writing Tangier discusses an array of topics relating to the literature on Tangier from the seventeenth century to the present. Major questions include: Why has Tangier come to play an important role in contemporary world literary history as a signifier in the literary imagination; what is the nature of the inter-textual output produced through Paul Bowles' translations of the oral tales of a circle of uneducated storytellers (including Mohammed Mrabet and Larbi Layachi) and the text (For Bread Alone) brought to Bowles by the literate Mohamed Choukri; how do academics, artists, and writers who have been based in the city or who have written about it assess the various socio-economic, political, and cultural factors that have shaped its cultural production and the relationship of this production to the celebrated hybrid aspects of its identity; does the success of the literature of Tangier reflect a truly new multicultural cosmopolitanism, or does it stem from the fact that this literature is congenial to Westerners, that it is understood in terms that they themselves define, and that much of it (including productions in Arabic prepared with the expectation of translation) has even been «written to measure» for them?

Henry Haskins, an elderly Englishman, has seen his beloved Tangier change over the years. From its earlier incarnation as a quiet colonial outpost, he has been a steadfast witness to its transformation into an international hub populated by peoples of diverse nationalities, races, faiths, and customs who have found a way to live peacefully together. Now he has watched Tangier as it was integrated into an independent Morocco. Then, one day, he makes a fateful phone call and finds himself under arrest. During his life, he has been gripped by two impossible loves and suffered tragedy. Throughout it all, he loved this complex and cosmopolitan city, even when it stopped loving him. In many ways, Haskins is the human embodiment of a time and a place in history that is lost forever. The life of Henry Haskins, his struggle with the loss of his paradise, and finally his solitude, portrays the emotions and fate of those who once called this extraordinary city home.