Journey into Barbary

Through the eyes of a creative genius, Journey into Barbary is both an inimitable portrait of Morocco and one of the first truly modern accounts of a country that had for so long remained an enigma to generations of travellers.

In the spring and summer of 1931, Wyndham Lewis travelled to the westernmost part of the Berber heartland in Morocco, known traditionally as 'Barbary'.

Wanting to avoid what he called 'the Baedekered blight' of Anglo-American tourism, he set out for the majestic High Atlas mountains with pens and watercolours to record, in words and images, the rich traditional culture and changing face of the wild, isolated Berber tribes who carved a harsh life out of Morocco's remotest regions.

The result is a blend of two arts, the literary skill of a detached and humorous observer, mixed with the drawings of one of the 20th century's most exciting and original artists.

Auteur

Original, ferociously witty, controversial, Wyndham Lewis (1882-1957) is celebrated as a painter - co-founder of the Vorticist movement - and writer. His most well-known novels include The Revenge for Love an Tarr, as well as a major work of fiction, The Human Age. He served in France during World War I and his subsequent paintings of war earned him a place as one of the early twentieth century's most dynamic artists.

Résumé
Through the eyes of a creative genius, Journey into Barbary is both an inimitable portrait of Morocco and one of the first truly modern accounts of a country that had for so long remained an enigma to generations of travellers.In the spring and summer of 1931, Wyndham Lewis travelled to the westernmost part of the Berber heartland in Morocco, known traditionally as 'Barbary'.Wanting to avoid what he called 'the Baedekered blight' of Anglo-American tourism, he set out for the majestic High Atlas mountains with pens and watercolours to record, in words and images, the rich traditional culture and changing face of the wild, isolated Berber tribes who carved a harsh life out of Morocco's remotest regions.The result is a blend of two arts, the literary skill of a detached and humorous observer, mixed with the drawings of one of the 20th century's most exciting and original artists.

Contenu

*Editor's Foreword
Editor's Introduction*

Filibusters in Barbary (Record of a Visit to the Sous)
Map
Editor's Note

Part One: London to Casa
Author's Foreword
I A Conventional Farewell
II Marseilles Goes Japanese
III High Table
IV A Child of Don Quixote
V Oran
VI By Whom is French North African Inhabited?
VII Arab, Turk, Berber, Black, and Jew
VIII Islamic Sensations
IX Tlemcen
X Important Interiors
XI The Riff
XII Casa

Part Two: Rio de Oro
I Marrakech
II Film-filibusters
III Faking a Sheik
IV Agadir
V The Filibuster of Tooting Bec
VI The Brothel of Agadir
VII Marshal Lyautey as the Creator of "The Great Lords of the Atlas"
VIII The Clubman Filibuster of the 'Nineties
IX The Bled Hotel
X Into the Territory of the Ikounka
XI Beau Geste of the Goums
XII Visit to a Sheik of the Anti-atlas
XIII The Agadir at Assads
XIV The Sous
XV The "Blue Men" of the Rio De Oro
XVI The Sand-wind of the Coast of Atlantis
XVIII Arms-smugglers as Veiled Men of the South

Kasbahs and Souks
Editor's Note
What are the Berbers?
"The Berger Bug"
The Policemen of the Desert
Berbers and Arabs
The Berber as "European"
Kasbah-Art
The Kasbahs of the Atlas
Kasbahs and Souks - A Fortress Mentality
Postscript: Poor Brave Little Barbary

• **Bibliography
  Notes on Illustrations*