Allen
Hibbard is Professor of English and Director of the Middle East
Center at Middle Tennessee State University. He received his Ph.D. in English
from the University of Washington in 1989. From 1985 to 1989, he taught
in the Department of English and Comparative Literature at the American
University in Cairo, and was a Fulbright lecturer in American literature
at Damascus University from 1992-94. He travels frequently to Europe, the
Middle East, and North Africa.
Hibbard’s research has involved a sustained exploration of the history
of interactions, interpenetrations and cross-pollinations between the U.S.
and the Arab world, revolving around considerations of modernism, postcolonialism,
globalization, genre, transnational movement, and translation. He has written
two books on Paul Bowles (Paul Bowles: A Study of the Short Fiction,
1993, and Paul Bowles, Magic & Morocco, 2004), edited Conversations
with William S Burroughs (2000), and published a collection of his
own stories in Arabic. His current projects include a volume on the great
modern Arabic poet Adonis, a translation (from Arabic) of Syrian writer
Haidar Haidar’s novel A Banquet for Seaweed, and a biography
of the fascinating, wickedly talented Jewish American writer Alfred Chester.
Christopher
Sawyer-Lauçanno
received his B.A. degree from the University of California in 1971. Later
he received both M.A. (1975) and Ph.D. (1983) degrees from Brandeis University,
Massachusetts. From 1982 until his retirement in 2006 he was a writer-in-residence
at the Massachusetts Institute of Technology, where he also taught writing
and literature.
He is the author of the first biography of Paul Bowles, An Invisible
Spectator (1989), which was named a “Notable Book of the Year”
by The New York Times. During the writing of the biography he spent
much time in Tangier conversing with Bowles, Mohammed Mrabet and other members
of Bowles’s Moroccan coterie. In 1987 he also helped produce the first
concert in several decades of Bowles’s music at the Festival Manca
in Nice, France. Sawyer-Lauçanno’s other books include
The Continual Pilgrimage: American Writers in Paris, 1944-1960 (1992);
E.E. Cummings: A Biography (2004); The World’s Words:
A Semiotic Reading of Joyce’s Finnegans Wake and Rabelais’ Gargantua
et Pantagruel (1993); and Les Mots Anglais (2002). He is also
well-known as a translator and poet. Among the many books he has translated
are works by Rafael Alberti, García Lorca, and Panaït Istrati,
as well as the ancient Mayan Books of Chilam Balam. He is currently completing
a new book of poems: Mussoorie-Montague Miscellany.
Irene
Herrmann, accompanist and lecturer at UCSC, is executor of the
Paul Bowles music estate. She studied at the University of California, Berkeley,
where she earned degrees in both German Literature and Music. In 1993 she
received a Master Degree in Performance Practice from the University of
California, Santa Cruz, with an emphasis on American Vernacular Music and
20th-century piano repertoire. As an artist she has performed with the New
Music Works of Santa Cruz as well as with various independent ensembles.
Since her musical acquaintance with Bowles in Tangier, in 1992, which quickly
grew into a lively friendship of discussing music and the New York artistic
scene in the 30s and 40s, she has been editing, disseminating, and performing
his music throughout the world. Her CD of Bowles music named Paul Bowles:
A Musical Portrait (Koch International Classics, 1995), includes chamber
music and solo and duo piano works and features several performance premieres,
including unpublished works.
These unusual and theatrical recitals often use a lecture/performance format
and have been part of Bowles festivals in Berlin, Lisbon, New York City,
and at the University of Delaware. In addition to performing Bowles’s
music, Prof. Herrmann co-edited with Timothy Mangan the book Paul Bowles
on Music (2003).
Robert
Samuels (b. 1962) is Lecturer in Music at The Open University.
He studied English and Music at Cambridge, graduating with a B.A. in 1985,
M.Phil. in 1987 and a Ph.D. in 1994, supervised by Derrick Puffett. He worked
at Lancaster University from 1989 to 1995 before moving to his current post.
His work centres on music from the nineteenth and twentieth centuries, and
is principally concerned with analytical theory, aesthetics, and the relationships
between music and other art forms, especially literature. He has written
on Schubert, Schumann, Cage, Boulez, Mahler and Birtwistle amongst others.
His book Mahler’s Sixth Symphony: A study in musical
semiotics was published by CUP in 1995, and a book on the nineteenth-century
symphony and novel is in preparation. He is a member and co-ordinator of
the Literature and Music Research Group at the Open University.
For more information about RS’ publications, please follow the link: http://www.open.ac.uk/Arts/music/rspubs.shtml
Javier
Martín-Dominguez is the Director of the Seville European
Film Festival. He received a Master of Arts on Media from The New School
University of New York, and also graduated on Communication at the Universidad
Complutense in Madrid. As a journalist, he worked as a foreign correspondant
based in New York and Washignton for the Spanish Public Televisión
and for the catalan newspaper La Vanguardia, in Tokyo. He has produced and
directed several films and documentaries, such as De la piel pa'dentro
(1996), Viaje a la luna (1997), La última palabra,
and also Traces of sand and water. The lives of Jane and Paul Bowles,
shot in 1990 in Tangiers with the collaboration of Paul Bowles, and the
participation of Mohamet Mrabet, Emilio Sanz de Soto, Sussan Deyhim, Richard
Horowitz, who composed the music, and many others. He writes regularly about
media and the arts on the Spanish press. http://javiermartindominguez.blogspot.com/
Karim Debbagh
(b.1972 in Tangier) is a Moroccan film producer. In 1997 he went to Germany
to study Film Production at the Film Academy Baden-Wuerttemberg and in 2002
he finished his study with diploma. He worked for a few years as Line producer
and Unit production manager in Germany, and returned to his hometown Tangier,
in 2003. There he founded his Production Company, Kasbah-Films s.a.r.l,
which produced and coproduced several international films including The
Objective, Kronos, Tangerine, and TheTwo Lives of Daniel Shore.
He produced Paul Bowles – Halfmoon, directed by Frieder Schlaich and
Irene von Alberti and directed an exciting documentary about the American
author entitled “Creating a Legend”(2007). http://www.kasbah-films.com/
Regina
Weinreich is a co-producer/director on the award-winning documentary
“Paul Bowles: The Complete Outsider” and a writer on “The
Beat Generation: An American Dream”. The author of the critical study,
Kerouac’s Spontaneous Poetics (Southern Illinois University Press,
1987, Thunder’s Mouth, 2003), she edited and compiled Kerouac’s
Book of Haikus (Viking, 2003). A leading scholar of the Beat Generation,
she has contributed to numerous essay collections and literary journals
including The Paris Review, Five Points, and The Review of
Contemporary Fiction. As a journalist, her work has appeared in The
New York Times, The Washington Post, The Village Voice, Boston Globe, San
Francisco Chronicle, Talk Magazine, Entertainment Weekly, American Book
Review, Hamptons Magazine, The Forward, The East Hampton Star, among
others. She is a Professor in Humanities & Sciences at The School of
Visual Arts in New York. http://www.reginaweinreich.com http://www.gossipcentral.com
Richard
Horowitz is known for creating a unique sonic language by fusing
together his roots in classical, jazz and electronic music with the intensity
of the trance music he first experienced in Morocco at the age of nineteen.
He plays keyboards, percussion and various woodwinds, including the ney,
an obliquely blown reed flute. It is one of the oldest human wind instruments.
Since the late sixties Horowitz˛s compositions have been inspired by the
ritual drama of ancient music. His compositions are translations that morph
ancient sources into the full spectrum resonance of the surround sound present.
He wrote and directed a film The Fourth Person Singular and recorded Oblique
Sequences at IRCAM (Boulez˛s computer music Lab in Paris) for Shandar Records.
In 1974 he met Brion Gysin and Paul Bowles, both of whom became friends
and mentors. In 1982 Bowles recommended him to the American Academy of Arts
and Letters for the Goddard Lieberson Composition Award. He has scored many
feature films receiving Golden Globe and Los Angeles Film Critics awards
for his work on The Sheltering Sky, directed by Bernardo Bertolucci and
based on the novel by Paul Bowles. He has worked with Jon Hassell, Jaron
Lanier, Duncan Shiek, Michael Brook, Hassan Hakmoun, Branford Marsalis,
Hector Zazu, David Byrne, Doug Wimbish, Will Calhoun, Gram Haynes, Suzanne
Vega, Rufus Wainwright, Frank Serafine, Steve Shehan, Bill Laswell and Ryuichi
Sakamoto. www.richardhorowitz.com www.myspace.com/richardhorowitz
Of
Hungarian parents, John Havelda is an English poet and
visual artist who lives in Oporto, Portugal. As a result, much of his work
is multilingual. His poems have appeared in magazines such as Chain,
danDelion, The Paper and Oficina de Poesia. His publications
include mor (1997) a bilingual book of texts and visual work translated
by Manuel Portela, Unparalled Candour (2005) and, in collaboration
with Fred Wah, Know Your Place (2007). With Manuel Portela and Isabel Patim,
he is an editor and translator of pullllllllllllllllllllllllll : Poesia
Contemporânea do Canadá (2010). He also writes for the
theatre. Os Considerados, a play on cd, was published by the Teatro
Nacional de São João in 1999. He has taught a number of short
stories by Paul Bowles in courses at the University of Coimbra where he
teaches in the section of Anglo-American Studies.
Brian
T. Edwards is Associate Professor of English
and Comparative Literary Studies at Northwestern University, where he co-chairs
the Middle East and North African Studies group. Edwards is the author of
Morocco Bound: Disorienting America's Maghreb, from Casablanca to the
Marrakech Express (Duke University Press, 2005), which examines American
representations of the Maghreb from 1942, when the United States entered
the North African campaign of World War II, through 1973, as well as Moroccan
responses to these texts. He has published essays on authors including Paul
Bowles, Mohammed Mrabet, and subjects such as contemporary Moroccan cinema,
Kiddie Orientalism, and Shrek in Tehran, in journals and magazines such
as American Literary History, Public Culture, The Believer, Foreign Policy,
McSweeney's, Journal of North African Studies, and Tingis. In 2009, he edited
a portfolio of work by the next generation of Cairo writers for the New
York literary journal A Public Space. His collection Globalizing
American Studies, which Edwards edited with Dilip Gaonkar, is forthcoming
from University of Chicago Press in October. Edwards has lectured and taught
extensively in North Africa and the Middle East, and has been an active
member of the Moroccan Cultural Studies Center at Sidi Mohammed Ben Abdellah
University in Fes. http://www.english.northwestern.edu/people/
edwards.html
Ana
Maria Freitas is a member of IEMo (Institute of Studies on Modernism),
of the Faculty of Social and Human Sciences, Universidade Nova de Lisboa.
She works mainly as a researcher of the literary estate of Fernando Pessoa,
studying, deciphering and organizing the poet’s fictional prose writings,
as well as some of the poetry. She is one of the editors of three volumes
of Fernando Pessoa’s poetry: Poesia 1902-1917, Poesia 1918-1930,
and Poesia 1931-1935 (Assírio & Alvim, 2006 and 2007).
She is responsible for some of the topics in the Dicionário de
Fernando Pessoa e o Modernismo (Dictionary of Fernando Pessoa and
Modernism) (Editorial Caminho, 2008), and published her own edition
of this author’s detective stories, the Quaresma, Decifrador
series (Assírio & Alvim, 2008).
Being a firm admirer of Paul Bowles, she translated his novel Let it
Come Down into Portuguese, with the title Deixa a Chuva Cair
(Assírio & Alvim, 2006).
António
Costa graduated in Modern Languages and Literatures at the Faculty
of Letters of the University of Lisbon. Having worked as teacher, editor
and translator, he presently works as cinema manager and programmer, bookshop
consultant and organizes conferences with authors for the Oporto’s
Book Fair and others. He worked with the director Manoel de Oliveira and
contributed to newspapers and magazines such as A Phala, Elle, Graphis,
Gazeta do Interior, and Falar/Hablar Poesia. In the late 80s,
he interviewed Paul Bowles with the journalist Lourdes Féria in Tangier.
He was also the translator of Bowles’s texts for the book My Tangier,
by Daniel Blaufuks.
Daniel
Blaufuks, a award winning Portuguese photographer, obtained most
of his academic education from the Art School Ar.Co (Lisbon), the Royal
College of Art (London), and the Watermill Center (New York).He uses mainly
photography and video, presenting his work through books, installations
and films and has a predilection for issues such as the connection between
time and space and the representation of private and public memory.
In 1990, Blaufuks met Paul Bowles in Tangier and in 1991published My Tangier,
a publication which combines a set of photos by Blaufuks with texts by Bowles.
The work was also presented as an exhibition in the same year. In 2007 Daniel
Blaufuks presented “Next to Nothing" as part of the Cycle Paul
Bowles hosted by the Centro Cultural de Belém (Lisbon). http://www.danielblaufuks.com
Lourdes
Féria received her BA degree in History from the University
of Lisbon. She worked as a professional journalist for newspapers and magazines
such as Diário de Lisboa, O Independente, Icon Magazine, Elle,
Marie Claire, Arte & Leilões, Rotas & Destinos, and
Epicur. In the late 1980s she interviewed Paul Bowles with António
Costa in Tangier. She has written some articles about the beat generation
and the American alternative cultures. An American friend introduced her
to William Burroughs in 1987 in Tony Shafrazy Gallery, in Soho,
where he was exhibiting some of his paintings. She has written also for
art catalogs and art books, and has produced a couple of art exhibitions
as a curator.
