52 pages • 1 hour read
Paul BowlesA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Kit and Tunner make their way to Boussif more slowly on the train. They proceed to drink champagne—Tunner has brought half a dozen bottles—and become fairly intoxicated. Kit begins to get nervous as Tunner tries to move closer to her. She abruptly decides to leave their compartment, shrugging off Tunner’s offer to go with her. She ends up in the train car with the “fourth-class passengers, all native Berbers and Arabs” (80). She becomes anxious, worried that the “Moslem” men might smell the alcohol on her breath and be offended, not to mention that she feels overwhelmed and threatened by the “babble of voices” that she cannot understand. As the train comes to a platform, she jumps off into the rain to escape a horribly disfigured man and the chaos of the native car. She runs back to her car and jumps back onto the train before it pulls on to the next stop.
When Tunner sees her, he is aghast: She is drenched and panicked. He makes her undress while he waits outside their compartment, then rubs her cold feet with alcohol. He pulls her close and kisses her. All she can think is that she is no longer afraid.
Port is drinking coffee on the hotel’s terrace when Mrs. Lyle comes in. She warns him not to get involved socially with Arabs; this is why Eric is so ill, she says, because he contracted “an infection” from “[s]ome filthy swine of an Arab woman” (87). Port tries to remain neutral, and he assesses his new traveling companions’ motivations as “fear” in the case of Mrs. Lyle, while “greed” propelled Eric (89). He looks out onto the streets of Boussif, which he considers modern—it is neatly laid out on a grid—even if the sun’s piercing rays penetrate without trees for shade. He calls for more tea and stays on the terrace “until lunchtime” (90).
The next morning at the hotel, Kit awakes with “a bad hangover” (91). It takes her a minute to realize that Tunner is sleeping in the bed next to her; she quickly gets rid of him and his luggage. She asks him only for another bottle of champagne to ease her hangover. Port comes by to see that they have arrived and notes that Tunner is in the room he had intended for Kit. The error is corrected, and the three then get together for lunch later.
Their conversation turns to the war and its aftermath, and Port exclaims that “Europe has destroyed the whole world,” saying it should be “wiped off the map” (93). Kit protests his ill wishes towards humanity, and Port retorts that the mass of humanity is uninteresting. Tunner, in turn, suggests that Port himself is humanity, and Tunner finds him quite interesting. After lunch, Tunner goes up for a nap in his room while Port asks Kit to go to the market. She says she is tired, too, so Port suggests she sleep until the evening when they will rent some bicycles to tour the city. She agrees and, before turning in, tells Port what she has discovered about the Lyles: They both have British passports, listing her as a journalist and him as a student; she was born in 1899, while his birthdate was in 1925. Kit thinks it ridiculous that anyone should believe that Eric was a student.
The Moresbys go for a bike ride to the edge of town, toward the base of the mountains. They come across a native, entirely naked and shaving his pubic hair with a knife. They pass him without comment and talk about the encroaching evening, revealing disparate views: “It made her [Kit] sad to realize that in spite of their so often having the same reactions, the same feelings, they never would reach the same conclusions, because their respective aims in life were almost diametrically opposed” (99). Port, in turn, wishes that “she, too, would be touched in the same way as he by solitude and the proximity to infinite things” (99). Kit also feels that Port distances himself from her, residing in “the cage that he had built long ago to save himself from love” (100).
Port has a revelation, as the two discuss the immensity of the sky and the blackness of night: “We’ve never managed, either one of us, to get all the way into life” (101). Kit interprets this to mean that, since they are not all in, they are more likely to fall off the precipice. While they are having this discussion, a native sits nearby in prayer. They return to town, and Kit fears that Port knows about her infidelity with Tunner. After dinner, Port decides to rent a bike again, with a headlight to go back to the base of the mountain, without Kit. He doesn’t tell her what he is doing because “[s]he would not understand his having wanted to return without her. Or perhaps, he reflected, she would understand it too well” (103).
They decide to travel by bus to Ain Krorfa in Algeria. All three sit in the front, alongside the driver, where the dust is less prominent. Port thinks about how, when he travels from “one place to another, he was able to look at his life with a little more objectivity than usual” (105). He also determines that he would like to strengthen his relationship with Kit, and “he remained convinced that never under any circumstances would she yield to a person like Tunner” (106). He also remembers an incident, back in Boussif, when Eric Lyle approached him, asking him to lend Eric ten thousand francs. Port flatly refuses, but Eric persists. Finally, Port says that he will give him three hundred francs, knowing that Eric will never pay him back. Eric is “shameless” enough to take the money (107).
The bus continues on overnight, stopping briefly at a small encampment for coffee. Port falls asleep before he can witness the breaking dawn.
As they approach the city of Ain Krorfa, they are inundated by flies; this seems to bother Tunner the most, who says he “can’t stand […] filth” (113). On the other hand, Kit finds the city “the only visually attractive place she had seen since arriving in Africa” (114). However, the town leaves much to be desired: As they enter the courtyard to the hotel, they see a fountain full of “reeking garbage” and “three screaming, naked infants” who are covered in sores (115). The hairless dogs sleeping nearby seem more human to Kit than the infants. The dining room has no lighting, so they must eat outside on the patio, where they find weevils in their soup. Tunner goes down to the market to see if he can find some decent food, but Port refuses to go. He decides that he and Kit must be rid of Tunner.
The Lyles’s car pulls up to the hotel, and they take tea, as the English do. Eric stares at Port, “devouring [him] with his eyes” (120). While Port believes it is because Eric wants more money from him, Kit thinks it is due to something entirely different. Kit urges Port to take a walk with her in the twilit town. Port asks Kit if she could be “happy here,” but she says she cannot possibly know (121). It appears as if they are stuck at the Grand Hotel—which isn’t so grand—with Tunner and the Lyles for now.
When they return to the hotel, they eat a late dinner and retire to their respective rooms. Just as Port is getting into bed, Eric knocks at his door. On the pretense of repaying the loan, Eric asks if Port has change for a thousand franc note. He also mentions that he and his mother are leaving first thing in the morning for Messad. Port seizes the opportunity to suggest that Tunner very much would like to go, runs to Tunner’s room to tell him that the Lyles will take him—lying that they can only find room for one—and returns to let Eric know that Tunner will be traveling with them. Eric says not to worry about the change, as he can get it done in the morning; thus, Port is not repaid. He quickly drops off to sleep and awakes from a dream, “sobbing,” coming up from “the lower regions with a sense of infinite sadness and repose” (127).
Kit discovers, at breakfast, that Tunner is gone and realizes that Port has no intention of trying to meet up with him again. She feels uneasy, her omens telling her that this is a mistake. She spends most of the day reading while Port explores the town. He returns to tell her they have an engagement with a local Arab shopkeeper for tea that evening.
The tea goes pleasantly—Port signals to Kit that she should not smoke, for it might shock the Arab—until Kit complains of being cold, and they leave before the Arab dismisses them. The breach of etiquette bothers Port, yet Kit finds the emphasis on courtesy excessive. Port realizes, now that it is only the two of them together, that he must make the right gestures to develop their bond. The thought overwhelms him, and that night, at dinner, Kit finds “patches of fur in her rabbit stew” (137). This certainly puts them both off of thoughts of intimacy, but they still believe that the “much-awaited reunion” (137) will happen at some vague future moment.
On their last night in Ain Krorfa before leaving for Bou Noura, Kit goes up to pack after dinner while Port goes into town with the hotel proprietor, Mohammed. Mohammed takes Port to a brothel, where children play in the courtyard and the girls, while pretty, were “vaguely workaday” to Port (141). However, he becomes mesmerized by the sight of a girl dancing to live music in the middle of the room. Her expression is so mysterious, so devoid of emotion that Port cannot look away. He finally realizes that she is blind and decides that this is the woman he wants. Mohammed informs him that she is unavailable, and Port becomes distraught, feeling like “he had lost love itself” (144).
They return to the hotel, and Kit’s light is off. Port decides he needs some whisky with tea to calm him, though Mohammed warns him against the whisky. It is very late, and he must pay the servant woman triple the amount to get her to make the tea. He drinks three glasses, draining the bottle of whisky before returning to where Mohammed and some other men are smoking. Mohammed notices Port’s intoxication and says, “I know! The young Englishman who went to Messad the other day, he was like you. Pretending always to be innocent” (148). Mohammed tells Port that he walked in on Eric and Mrs. Lyle having sex. Port pays the woman for the tea, which Mohammed assumes was actually for sexual services.
Just after Port notes the “massive dark clouds” over Boussif (72), the story returns to Kit and Tunner’s journey on the train toward Boussif, where “heavy threatening clouds” gather “over the miles of indistinct rocky land” (75). There are two tropes working here: First, the author uses foreshadowing to indicate that something dark and threatening looms on the horizon. Soon enough, Tunner seduces Kit at her weakest—after plying her with champagne and allowing her to wander off, intoxicated, through the train—and her time in Boussif is marred by guilt over her actions and fear that Port will find out. Second, the role of weather—the scorching heat, the gathering storms, not to mention the omnipresent desert dust—along with the inscrutable landscape are standard tropes of the Western imperial gaze. North Africa is vast and unknowable, “indistinct” as in the above quotation and, later, as Port notes in Ain Krorfa, a “bare wasteland” at the edge of town, leading up to the mountains, where “raw, savage rock without vegetation” (89-90) was all there was to see. As with encounters with the natives who live there, the landscape is threatening and incomprehensible. Instead of providing shelter, like the sky (unattached to earthly concerns and separate from people), the landscape harbors an almost anthropomorphized antipathy toward the Western interlopers.
Indeed, the Americans, particularly Port, utilize the landscape as a backdrop for their philosophical musings and search for meaning and love. Port contemplates his place in the world while on the bike ride with Kit; he muses about what exists beyond the sky, looking for the eternal, as an Arab man prays nearby; he thinks about the value of his life while en route to a new, foreign town. He seeks an escape from himself and from the civilization from which he had come: “The idea that at each successive moment he was deeper into the Sahara than he had been the moment before, that he was leaving behind all familiar things, this constant consideration kept him in a state of pleasurable agitation” (109). For someone who considers himself a traveler, Port spends virtually no time at all thinking or commenting about the sites, the culture, or the life of the indigenous people he encounters. The Americans inscribe their own psychological struggles and personal yearnings onto the foreign landscape. In fact, the North Africa of their travels could be any place—no countries are ever named in the book—and it seems to have no particular history, with no distinct differentiation between locations, other than in the relative levels of filth.
Kit’s experience in the fourth-class car on the train also becomes an extension of her agitated state of mind: “She had the impression of living a dream of terror which refused to come to a finish” (83). This is after the crowd has jostled her on the train—the men actually ignore her, which is somehow worse than being noticed—and she comes across a man with a “diseased face” (82). This experience allows her to justify accepting the comfort, and the subsequent sexual intimacy, from Tunner. She has been disregarded by the Arab men, frightened by the specter of disease, and alienated from her rightful place: “I couldn’t get back because there’s no bridge between the cars” (85). Her sojourn onto the platform and into the rain is the only way she can get back to the civilized attention proffered by Tunner.
The dynamic between Port and Kit is unearthed in these chapters, with Kit always wanting to please Port and Port always needing to travel and search for meaning. In his endless searching, he often forgets to love Kit—and indeed, he is not adept at protecting her. As he imagines on the bus to Ain Krorfa, “[i]t was often on trips that he thought most clearly, and made the decisions that he could not reach when he was stationary” (105). The reader might draw the opposite conclusion: that Port’s constant wandering actually reveals the behavior of someone running away from something rather than toward a decisive future. For Kit’s part, she wants only “to become whatever he wanted her to become” (99). However, she is stymied in her efforts by unremitting, if nebulous, fears about bad omens.
Finally, the revelation about the Lyles at the conclusion to Book 1 is shocking and somewhat predictable—they are viewed with suspicion by every other character in the book, American and native alike. Either they are posing as mother and son or committing incest. Regardless of which, Mohammed’s reaction indicates that all Westerners are implicated in the same dissolute behavior. He assumes that Port has paid for sex, not just tea, and it is clear that, at least from Mohammed’s point of view, moral corruption is rampant among the Westerners, not the sober, praying natives.
American Literature
View Collection
Colonialism & Postcolonialism
View Collection
Colonialism Unit
View Collection
Marriage
View Collection
Mortality & Death
View Collection
Psychological Fiction
View Collection
School Book List Titles
View Collection
Sexual Harassment & Violence
View Collection
The Best of "Best Book" Lists
View Collection