Muhsin J al-Musawi states that "Bennis’ articulations tend to validate his poetry in the first place, to encapsulate the overlapping and contestation of genres in a dialectic, that takes into account power politics whose tropes are special.

As a discursive threshold between Arab East and the Moroccan West, tradition and modernity, and also a site of contestation and configuration, Muhammad Bennis' self-justifications may reveal another poetic predilection, too.

At the Faculty of Letters and Human Sciences of the Mohammed V-Agdal University, Rabat, Bennis defended his PhD thesis, supervised by Abdelkebir Khatibi, on the Phenomenon of Contemporary Poetry in Morocco in 1978.

Since 1980, he has been professor of modern Arabic poetry at the Faculty of Letters and Human Sciences of Rabat's Mohammed V-Agdal University.

They include The Wound of the Proper Name (Abdelkebir Khatibi), The Rumor of the Air and other works of Bernard Noël, Tomb of Ibn Arabi, Les 99 Stations de Yale and The Malady of Islam (Abdelwahab Meddeb), A Throw of the Dice.

[citation needed] Through the concept of writing, Bennis has become involved in a plural textual practice where language, subject and society are put in a movement.

[10] The concept refers to European (Friedrich Nietzsche, Stéphane Mallarmé, Jacques Derrida and Roland Barthes) and Arabic (Abou Tammam, Ibn Arabi, Andalusian-Maghrebian calligraphy and manuscripts) texts with the purpose of adapting them to his own ends.

It "eludes the demarcation between poetry and prose", takes the passage opened between the different textual practices, devotes attention to "the appeal of place",[11] and urges the reader to change his interaction with the poem, making his reading active.

Bennis writes in this connection: "The construction of the poem, worked by the infinity of the subjectivity, by the stranger and the impure, undergoes unpredictable transformations.

And so the poetic word, written in the margin of literature, does not stop destabilizing the syntax, diverting the image, decomposing the metrics and deforming the order, making itself clean and pure.

It is described by the English poet James Kirkup in a letter addressed to Mohammed Bennis: "You allow every word that enters yours poetic consciousness to achieve its full expressive force, and they all manifest themselves as true movements from the heart of poetry.

Kirkup adds: "You use poetic language as if it were some elemental matter which you carve as a sculptor does – the artist who, like a blind man, can feel beneath his chisel the forms he hammers from blocks of marble or granite.

And you discover your poem-status without premeditation, by bringing to light and inscribing each line, each verse embedded in the rock of consciousness, in the dark of dreams.

"[13] In the same way, the Spanish poet, Antonio Gamoneda writes: "Mohammed Bennis, strange angel who enters in my veins and flows in them like the waters of the instants and you ignite the friendship of light: take me with you to the gardens of the dead, to the place of palms glimpsed between two fugitive abysses.

Enter the hole of my chest and show me the gift of the void incandescent and the pupils of animals conceived in crying, those who come to the doors of intoxication to inject us with the passion of light, that substance which birds cross and makes us crazy in the happiness of the sweet contemplation of death.

The ban caused him to take up the challenge and to create in 1985, with writers and academic friends Mohammed Diouri, Abdeltif Menouni and Abdeljalil Nadem, the Publishing house Dar Toubkal, with the aim of contributing to the modernization of Moroccan culture.

[15] Bennis was also a founding member, with Mohammed Bentalha, Hassan Nejmi and Salah Bousrif, of the "House of Poetry in Morocco"[16] in 1996, and was its president until 2003.