Some context: 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.
When did he die?
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Some context: Anquetil was the son of a builder in Mont-Saint-Aignan, in the hills above Rouen in Normandy, north-west France. He lived there with his parents, Ernest and Marie, and his brother Philippe and then at Boisguillaume in a two-storey house, "one of those houses with exposed beams that tourists think are pretty but those who live there find uncomfortable." In 1941, his father refused contracts to work on military installations for the German occupiers and his work dried up. Other members of the family worked in strawberry farming and Anquetil's father followed them, moving to the hamlet of Bourguet, near Quincampoix.
Anquetil unfailingly beat Raymond Poulidor in the Tour de France and yet Poulidor remained the more popular. Divisions between their fans became marked, which two sociologists studying the impact of the Tour on French society say became emblematic of France old and new. The extent of those divisions is shown in a story, perhaps apocryphal, told by Pierre Chany, who was close to Anquetil: The Tour de France has the major fault of dividing the country, right down to the smallest hamlet, even families, into two rival camps. I know a man who grabbed his wife and held her on the grill of a heated stove, seated and with her skirts held up, for favouring Jacques Anquetil when he preferred Raymond Poulidor. The following year, the woman became a Poulidor-iste. But it was too late. The husband had switched his allegiance to Gimondi. The last I heard they were digging in their heels and the neighbours were complaining. Jean-Luc Boeuf and Yves Leonard, in their study, wrote: Those who recognised themselves in Jacques Anquetil liked his priority of style and elegance in the way he rode. Behind this fluidity and the appearance of ease was the image of France winning and those who took risks identified with him. Humble people saw themselves in Raymond Poulidor, whose face - lined with effort - represented the life they led on land they worked without rest or respite. His declarations, full of good sense, delighted the crowds: a race, even a difficult one, lasts less time than a day bringing in the harvest. A big part of the public therefore finished by identifying with the one who symbolised bad luck and the eternal position of runner-up, an image that was far from true for Poulidor, whose record was particularly rich. Even today, the expression of the eternal second and of a Poulidor Complex is associated with a hard life, as an article by Jacques Marseille showed in Le Figaro when it was headlined "This country is suffering from a Poulidor Complex".
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Behind this fluidity and the appearance of ease was the image of France winning and those who took risks identified with him.