[Archive of Paul Bowles Letters. Written to Patrick Eddington of Salt Lake City, Utah (Winter 1978 to Spring 1985)]
Date Published: 1978-1985
Book Id: 49605
This archive is comprised of thirty-one letters written by Paul Bowles to Patrick Eddington of Salt Lake City, Utah. Twenty-eight TLS (typed letter, signed) and three ALS (autograph letter, signed), typed/written on 8.25" x 10.75" single sheets of onion skin (format consistent, except in a few cases,). Letters with return address (printed or typed) and dates (typed) at top right. Each letter signed in ink by Paul Bowles. Some letters have corrections and added content in Bowles' hand. All of the letters but one are accompanied by their original addressed and postmarked envelopes (standard 5.75" x 4.5" international size). Some additional material is present, including five small photographs, and some xeroxed sheets of copied artwork. A detailed write-up is available upon inquiry.
During his lifetime, Paul Bowles was the so-called "dean of American expatriate writers." He published dozens of his own works (novels, short story collections, poetry, essays, travel writings, and countless translations). Bowles settled in Tangier, Morocco in 1947 and lived there until his death in 1999. In addition to creating his highly accomplished body of written work, Bowles was responsible for bringing several Moroccan storytellers to the attention of readers across Europe and America -- most notably the stories of Mohammed Mrabet. Bowles is also known as a talented musical composer, but he abandoned writing and practicing music early in his life in order to focus on his literary pursuits. Throughout his life, he maintained a keen interest in music, and is considered a pioneer of Moroccan ethno-musicology. Patrick Eddington was a Utah-based artist and art teacher. He carried on extensive correspondence throughout his life with a staggering number of writers and visual artists. Eddington co-owned and operated the publishing company Green Cat Press, which focused on publishing literary broadsides as well as art prints. Eddington's charming and persuasive letters convinced many to engage him in lengthy correspondences. Eddington was also a generous gift-giver, and was eager to forge connections among the writers and artists that he knew and admired. Bowles' letters to Eddington are fascinating and highly readable. The main threads of the correspondence are briefly highlighted here (please inquire for further details):-Patrick Eddington manages to introduce and spark a correspondence between Henry Miller, and Paul Bowles & Mohammed Mrabet. -Trades and purchases of Mohammed Mrabet's artworks, with details regarding a potential exhibition of Mrabet's art which Eddington planned to help curate. -The potential publication (by Eddington) of a signed edition literary broadside, which proposed to print a previously unpublished poem written by Paul Bowles. -Several vivid stories from Bowles regarding his frustrating and difficult (and, at times, comical) relationship with Moroccan shipping customs, censorship, and their benign suppression of Bowles' creative process; and correspondence detailing his experience living as an American in Tangier. -Some brief details and stories about Bowles' Moroccan traditional music recording expeditions. Eddington's persistent interest in obtaining these recordings (then out-of-print) resulted in Bowles sending Eddington a recorded tape of Jilala music; which is part of a larger pattern of friendliness and gift-giving that is woven through most of the correspondence-Several insightful (and sometimes devastating) written vignettes by Bowles of his life and perceptions in Tangier in the late 1970s and early 1980s.