Question: Paul Frederic Bowles (; December 30, 1910 - November 18, 1999) was an American expatriate composer, author, and translator. He became associated with Tangier, where he settled in 1947 and lived for 52 years to the end of his life. Following a cultured middle-class upbringing in New York City, during which he displayed a talent for music and writing, Bowles pursued his education at the University of Virginia before making several trips to Paris in the 1930s. He studied music with Aaron Copland, and in New York wrote music for theatrical productions, as well as other compositions.

After Jane Bowles' death, on 4 May 1973 in Malaga, Spain, Bowles continued to live in Tangier. He wrote regularly and received many visitors to his modest apartment. In the summers of 1980 and 1982, Bowles conducted writing workshops in Morocco, at the American School of Tangier (under the auspices of the School of Visual Arts in New York). These were considered successful. Among several students who have become successful authors are Rodrigo Rey Rosa, the 2004 Winner of the Miguel Angel Asturias National Prize in Literature, and Mark Terrill. In addition, Bowles designated Rey Rosa as the literary heir of his and Jane Bowles' estates. In 1982 Bowles published Points in Time, subtitled Tales From Morocco, a collection of stories. Divided into eleven parts, the work consists of untitled story fragments, anecdotes, and travel narratives. These stories are not included in either The Stories of Paul Bowles (Ecco Press) or Collected Stories and Later Writings (The Library of America). In 1985, Bowles published his translation of Jorge Luis Borges' short story, "The Circular Ruins". It was collected in a book of 16 stories, all translated by Bowles, called She Woke Me Up So I Killed Her. This Borges story had previously been published in translations by the three main Borges translators: Anthony Kerrigan, Anthony Bonner, and James E. Irby. Critics have noted the differences amongst these four translations. Bowles' version is in his typical prose style; it is readily distinguishable from the other three, which have a more conservative idiomatic form of translation. In 1988, when Bowles was asked in an interview what his social life was like, he replied, "I don't know what a social life is... My social life is restricted to those who serve me and give me meals, and those who want to interview me." When asked in the same interview how he would summarize his achievement, he said, "I've written some books and some music. That's what I've achieved." Bowles had a cameo appearance at the beginning and end of the film version of The Sheltering Sky (1990), directed by Bernardo Bertolucci. Bowles' music was overlooked and mostly forgotten for more than a generation, but in the 1990s, a new generation of American musicians and singers became interested in his work again. Art song enthusiasts savor what are described as "charming, witty pieces." In 1994, Bowles was visited and interviewed by writer Paul Theroux, who featured him in his last chapter of his travel book, The Pillars of Hercules.

Using a quote from the above article, answer the following question: what did he write?
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Answer: In 1982 Bowles published Points in Time, subtitled Tales From Morocco, a collection of stories.

Problem: Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.

The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period. Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns. Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid. After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.

What made these unique

Answer with quotes:
Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid.