In Morocco — Reading Notes

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In Category - Places Peoples
Wharton, Edith, 1862-1937 Project Gutenberg 2004 Not confirmed
Morocco -- Description and travel; Wharton, Edith, 1862-1937 -- Travel -- Morocco Readers of public-domain and historical texts
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Words 54,635
Reading time 238 min
Text sections 5

This digital edition of In Morocco — Reading Notes is described by source-level measurements including 54,635 words, 3 hr 58 min estimated reading time, and 5 detected text sections.

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Edith Wharton's 1920 travelogue captures Morocco at a fleeting moment between French pacification and mass tourism. Based on a month-long military motor trip, her observations of Fez, Marrakech, and the High Atlas reveal a sharp eye for architecture, social ritual, and the tension between preservation and change.
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been allowed to enter the Sacred City of Moulay Idriss, the burial-place of the lawful descendant of Ali, founder of the Idrissite dynasty. Now, thanks to the energy and the imagination of one of the greatest of colonial administrators, the country, at least in the French zone, is as safe and open as the opposite shore of Spain. All that remains is to tell the traveller how to find his way about it.

Ten years ago there was not a wheeled vehicle in Morocco, now its thousands of miles of trail, and its hundreds of miles of firm French roads, are travelled by countless carts, omnibuses and motor-vehicles. There are light railways from Rabat to Fez in the west, and to a point about eighty-five kilometres from Marrakech in the south, and it is possible to say that within a year a regular railway system will connect eastern Morocco with western Algeria, and the ports of Tangier and Casablanca with the principal points of the interior.

What, then, prevents the tourist from instantly taking ship at Bordeaux or Algeciras and letting loose his motor on this new world? Only the temporary obstacles which the war has everywhere put in the way of travel. Till these are lifted it will hardly be possible to travel in Morocco except by favour of the Resident-General; but, normal conditions once restored, the country will be as accessible, from the straits of Gibraltar to the Great Atlas, as Algeria or Tunisia.

To see Morocco during the war was therefore to see it in the last phase of its curiously abrupt transition from remoteness and danger to security and accessibility; at a moment when its aspect and its customs were still almost unaffected by European influences, and when the "Christian" might taste the transient joy of wandering unmolested in cities of ancient mystery and hostility, whose inhabitants seemed hardly aware of his intrusion.

With such opportunities ahead it was impossible, that brilliant morning of September, 1917, not to be off quickly from Tangier, impossible to do justice to the pale-blue town piled up within brown walls against the thickly-foliaged gardens of "the Mountain," to the animation of its market-place and the secret beauties of its steep Arab streets. For Tangier swarms with people in European clothes, there are English, French and Spanish signs above its shops, and cab-stands in its squares; it belongs, as much as Algiers, to the familiar dog-eared world of travel--and there, beyond the last dip of "the Mountain," lies the world of mystery, with the rosy dawn just breaking over it. The motor is at the door and we are off.

The so-called Spanish zone, which encloses internationalized Tangier in a wide circuit of territory, extends southward for a distance of about a hundred and fifteen kilometres. Consequently, when good roads traverse it, French Morocco will be reached in less than two hours by motor-travellers bound for the south. But for the present Spanish enterprise dies out after a few miles of macadam (as it does even between Madrid and Toledo), and the tourist is committed to the _piste_. These _pistes_--the old caravan-trails from the south--are more available to motors in Morocco than in southern Algeria and Tunisia, since they run mostly over soil which, though sandy in part, is bound together by a tough dwarf vegetation, and not over pure desert sand. This, however, is the utmost that can be said of the Spanish _pistes_. In the French protectorate constant efforts are made to keep the trails fit for wheeled traffic, but Spain shows no sense of a corresponding obligation.

After leaving the macadamized road which runs south from Tangier one seems to have embarked on a petrified ocean in a boat hardly equal to the adventure. Then, as one leaps and plunges over humps and ruts, down sheer banks into rivers, and up precipices into sand-pits, one gradually gains faith in one's conveyance and in one's spinal column; but both must be sound in every joint to resist the strain of the long miles to Arbaoua, the frontier post of the French protectorate.

Edith Wharton's In Morocco opens with a frank admission: the country still lacks a guide-book, and her own month-long journey—made possible by a military motor and the hospitality of General Lyautey—was too rushed for leisurely study. Yet the book's value lies precisely in its speed. Wharton traveled in 1918, when German submarines made sea routes hazardous and the rainy season limited overland travel. She saw Morocco on the cusp of transformation, before the 'Circular Ticket' brought mass tourism. The preface sets a tone of elegiac privilege: 'no eye will ever again see Moulay Idriss and Fez and Marrakech as I saw them.'

The Dust and the Dance

Wharton's descriptive power emerges in a Marrakech market scene where a sudden gale strips the square of its crowds, collapsing tents and scattering mules. The 'patient East' endures, she notes, until a circumcision procession cuts through—a rider clutching a boy in an orange caftan, an open book before him. The simile is characteristically literary: 'some Oriental prince trying to escape with his son from the fiery embraces of desert Erl-maidens.'

Later, the Chleuh dancing boys perform on a rooftop at sunset. Wharton emphasizes the gravity of their movements, comparing them to David dancing before the Ark. The dance is 'untouched by mirth or folly,' its magic borrowed from restraint. Only when the performers kneel for coins does she observe the moisture on their foreheads, revealing the effort behind the hieratic calm. The performance, like all things Oriental, 'seemed to have no beginning and no end.'

Architecture as Revelation

Wharton's access to the Saadian Tombs in Marrakech is granted 'almost mysteriously,' a phrase that underscores the secrecy surrounding the site even after French occupation since 1912. The tombs, she implies, were hidden from casual view, their existence barely acknowledged. This detail aligns with her broader interest in what the French administration chose to preserve—and what remained concealed.

Throughout the excerpts, Wharton's architectural observations are precise: she notes the Koutoubya minaret 'red in the sunset,' the terraced city 'circumscribed by palms,' and the 'celestial snows' of the Atlas. Her eye for color and form is matched by an awareness of how power shapes space. The French, she acknowledges, work to protect old monuments, but the 'impression of mystery and remoteness' will vanish with the approach of modern travel.

The Limits of a Month

Wharton repeatedly acknowledges the constraints of her journey. The preface lists them: the approach of rain, the need to conserve petrol, the impossibility of a second visit to any site. She calls a military motor 'the next best thing to a Djinn's carpet,' but admits that 'the multiplicity of impressions received would have made precise observation difficult.'

This self-awareness distinguishes In Morocco from a conventional travelogue. Wharton does not pretend to have mastered the country. Instead, she frames her account as a record of a unique moment—the 'brief moment of transition' between subjection to European authority and the 'banalities and promiscuities of modern travel.' The book is less a guide than a testament to what was about to disappear.

Readers should approach In Morocco not as a comprehensive survey but as a series of vivid, time-bound impressions. Wharton's prose rewards attention to her similes and architectural details, while her frankness about the limits of her trip invites skepticism of any sweeping claim. The book is best read alongside a map of the routes she describes, and with an awareness that the Morocco she saw was already vanishing as she wrote.

I found myself thinking of Edith Wharton’s Morocco—that brief, liminal moment when places still felt undiscovered—while rereading notes on Yorkshire—Coast and Moorland Scenes. Both capture landscapes on the cusp of change, where every stone and path holds a quiet weight. There’s something tender in recording what may soon shift. Yorkshire—Coast and Moorland Scenes — Context and Discussion feels like a companion memory to that journey, equally attentive to fragile, enduring beauty.

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