Jessica Weis, To Have and to Hold: Marriage, the Baby Boom and Social Change (Chicago: University of Chicago Press, 2000). Rollins (Lexington: University Press of Kentucky, 1998), 135. Leslie Fishbein, “The Snake Pit (1948): The Sexist Nature of Sanity,” in Hollywood as Historian: American Film in a Cultural Context, ed. John Aldridge, After the Lost Generation: A Critical Study of the Writers of Two Wars (New York: McGraw Hill, 1951), 192. Paul Bowles quoted in Yosefa Loshitzky, “The Tourist/Traveler Gaze: Bertolucci and Bowles’s The Sheltering Sky,” East-West Film Journal 7, no. This process is experimental and the keywords may be updated as the learning algorithm improves.Īnne Folz, “Paul Bowles,” Review of Contemporary Fiction 20, no.

These keywords were added by machine and not by the authors. Nevertheless, The Sheltering Sky (1949) remained on the New York Times bestseller list for 10 weeks in early 1950 and sold more than 200,000 paperback copies in 1951. Given the era’s predominant urge to celebrate the familiar and cozy, Bowles’s depictions of extreme and often random violence in prose characterized by “a terrifying and macabre stillness that scarcely masks a cruel and compassionless universe,” 1 his status as an expatriate in North Africa, his brief membership in the Communist Party during the late 1930s, and his open disavowals of modernity (of which America was perhaps the leading example) seem more likely to promise commercial failure than success.

Paul Bowles’s uncompromising explorations into the darker aspects of human existence saw him occupy a curious position in post-war American culture.

The sheltering sky book analysis