A Terrible Beauty is Born by Ulick O’Connor (1975)

I grew up in a free country which was decolonised seven years before my birth. The reflexes of colonialism linger on for a time after the rulers have departed.
(page 14)

‘I defy anyone to study Irish history without getting a dislike and distrust of England.’
(Lady Gregory)

This is, in the old and best sense of the word, an amateur book. It is a highly personal perspective on the series of very famous events in Irish history. Ulick O’Connor had a long and successful life as a sportsman, lawyer, writer, poet, playwright, historian and biographer, summarised in his obituary:

As a sportsman he certainly excelled. As a lawyer I’ve no idea of his status. As a writer, apparently his biographies of Oliver St John Gogarty and Brendan Behan are still important. But he was definitely not a professional historian and it shows. This slim 180-page account of the leadup to and aftermath of the 1916 Easter Rising in Dublin is anecdotal and empassioned rather than detached and scholarly. It’s a handy enough introduction to the events, although there must be many far more rigorous and scholarly accounts.

And it seems to skip or gloss over complex details. Every time I looked up an aspect of the leadup to the rising on Wikipedia, I found it to be more complex and byzantine than O’Connor’s account. This appears to be a simplified and romanticised account.

What makes it stand out is O’Connor’s flashes of real anger against British imperial rule in Ireland and, in the later stages, the number of participants and eye-witnesses who O’Connor seems to have met and interviewed for this book and so quotes verbatim.

Introduction

Setting the personal tone of the book, it opens with O’Connor visiting the Public Records Office at Dublin Castle to see the file on his great-grandfather. This was Matthew Harris who fought in the Irish risings of 1848 and 1867 and became one of three members of the Supreme Council of the Fenians, who, even though he went on to be elected as an MP to Westminster, was in later life followed everywhere by detectives. O’Connor discovers his file is huge and could be compared to the Czarist authorities’ files on Lenin. So O’Connor is using his great-grandfather as an example of the huge amount of time and energy the British colonial system spent keeping tabs on anyone who spoke against it.

But the anecdote is also typical of O’Connor’s romanticising tendency: he is quick to say of his forebears, or of any notable Irishman he’s writing about, that tales were told of him round fireplaces and ballads sung in pubs. The heroes of his story are constantly being turned into tales and ballads sung wherever patriots assemble.

His name had passed into tradition so that as I grew up I heard him talked about with reverence. (p.8)

And it’s typical of O’Connor’s approach in a third way, in that he underpins it, not with scholarly documentary information or research, but with an anecdote told him by an eminent person. In this case it’s the novelist Liam O’Flaherty, who tells O’Connor that he remembered his father recalling Harris’s fiery speeches. And in another anecdote, a visitor to the West of Ireland tells O’Connor that the peasants still remembered his great-grandfather. This is how the book proceeds: by anecdotes about heroes.

And a fourth way in which the introduction sets the tone and approach is when O’Connor broadens out his theme to explain how the Irish patriots’ struggle for independence went on to inspire like-minded revolutionaries in Egypt, India and many other colonies of the British Empire, a point he repeats a number of times in the rest of the book.

Back to great-grandfather Harris: O’Connor tells us that in 1880 he was persuaded to moderate his beliefs enough to stand for Parliament. He was persuaded to do this by Charles Stewart Parnell whose strategy was to unite the three elements in Irish political life: the physical forcers, the Land league and the Parliamentary Party. It was Parnell’s great achievement to do this and make his parliamentary party into the deciding force in British politics.

1. Rise and fall of Charles Stewart Parnell

O’Connor steps back to give us the deep background: he says it was the Flight of the Earls in 1607 after defeat in battle which handed Ireland over to British control. His great-great-grandfather was alive at the time of the 1798 rebellion. His great-grandfather lived through the potato famine when up to a million died of starvation due to the incompetence of the British administration, and some 2 million emigrated, mostly to America.

In the four years after the famine, 58,000 families amounting to 316,000 people were evicted from their homes for non-payment of rent, saw their houses destroyed and were left destitute, living in caves or wooden huts or dying by the roadside.

In 1886, leader of the Liberal Party and Prime Minister William Ewart Gladstone introduced the first Home Rule Bill with a horrified description of the abject poverty found throughout rural Ireland.

At the turn of the century the British Empire was at its height. O’Connor quotes Louis Fischer, the biographer of Gandhi, as saying that imperialism is a sort of perpetual insult to the colonised and governed.

Charles Stewart Parnell was a Protestant, a member of the ‘Protestant ascendency’ born into a wealthy Anglo-Irish Protestant landowning family in County Wicklow in 1846. He was leader of the Home Rule League from 1880 to 1882, and then of the Irish Parliamentary Party from 1882 to 1891, by which time his party held the balance of power in the House of Commons.

In a typically family anecdote, O’Connor remembers his grandmother telling him how, as a small girl, she used to greet Parnell when he came to stay with her father in the west of Ireland. ‘She treasured the table on which he wrote his speeches as if it were the relic of one of her favourite saints’ (p.16).

She also taught O’Connor that it was incorrect to refer to the married woman Parnell had a ten-year affair with as ‘Kitty’ O’Shea, it should always be Mrs O’Shea. It is typical of the book that we see the whole Parnell tragedy through the eyes of an O’Connor family member.

What happened was when it looked likely the Liberals under Gladstone were going to win the 1892 general election and pass his Home Rule bill, some Tory leaders persuaded Captain O’Shea (who knew about his wife’s long-standing affair with Parnell) to divorce her, citing Parnell as the third party. As soon as this happened Gladstone, leading a party whose core was nonconformist, was forced to repudiate Parnell and withdraw his support for the Irish Party till it replaced its leader. Parnell refused to stand down and the furore split his party with the majority of its MPs, and all his senior colleagues, abandoning him to form a new party.

The following, much more recent, account suggests the train of events had more to do with Captain O’Shea’s greed than with scheming Tories. In this as everywhere else you can feel O’Connor’s 1) tendency to simplify the story and 2) burning animus against English rule.

The party split and Parnell went into exile in… England, dying the next year, 1891, of pneumonia, aged just 45. His body was brought back to Dublin. A crowd of some 200,000 watched the procession to Glasnevin Cemetery. Many people say a meteor (or shooting star as O’Connor puts it with characteristic romance) fall from the sky.

O’Connor quotes James Joyce’s famous quip about the Parnell ‘betrayal’ although, characteristically, he slightly misquotes him. Here’s the Joyce quote from his 1912 essay ‘The Shade of Parnell’:

In his final desperate appeal to his countrymen, he begged them not to throw him as a sop to the English wolves howling around them. It redounds to their honour that they did not fail this appeal. They did not throw him to the English wolves; they tore him to pieces themselves.

Joyce’s essay was written 21 years after Parnell’s fall and indicates how long-lasting the sense of failure and loss was, as described in vivid fictional form in 1) his short story ‘Ivy Day in the Committee Room’ and 2) the famous Christmas dinner argument scene in ‘A Portrait of the Artist as a Young Man’.

Rather than attempt a full historical perspective, O’Connor characteristically quotes the opinions of famous writers: Joyce, Dennis Ireland, W.B. Yeats, Sean O’Faolain, P.S. O’Hegarty, an old Sinn Fein writer who spoke to him. All the way through it’s these personal perspectives which O’Connor likes to give. And seeing as these writers or old-timers tend to romanticise and glamorise events, this contributes to the romanticising tendency of the whole book.

2. Celtic Revival

1884: foundation of the Gaelic Athletic Association: hurling, Gaelic football.

1893: Douglas Hyde, another son of the Protestant Ascendency, decided to set up the Gaelic League, an organisation to promote the Gaelic language, fast dying out in the cities but preserved among the peasantry. By 1906, over 3,000 branches.

An early convert was Lady Augusta Gregory, Anglo-Irish daughter of landed gentry (1852 to 1932). She was home schooled then married off to Sir William Henry Gregory, a widower with an estate at Coole Park, near Gort, in 1880. Sir William was 36 years older than her and had just retired from his position as Governor of Ceylon. He had a large house and estate at Coole Park which she, in the coming decades, turned into a major venue for nationalist writers. He also had a town house in London where she held literary soirées for leading figures of the time.

Throughout, O’Connor refers to the military element of the occupying power by the general term ‘the Garrison’.

Novelists George Moore and Edward Martyn were attracted to the Celtic Revival but it was the conversion of young William Butler Yeats which transformed things. Up till then he’d been writing fey pre-Raphaelite poetry under the influence of William Morris.

O’Connor fast forwards to the founding of the Abbey Theatre in 1904 and the renaissance of literary talent which constellated round it including J.M. Synge, James Stephens, George Russell A.E., Padraig Column, Katherine Tynan and more. O’Connor was to deal with the Celtic Revival separately in his 1984 group biography Celtic Dawn.

This all allows him to proceed by his favourite method which isn’t via documents or data, but by cherry-picking quotes from Famous Authors. On the upside, these are always chatty and anecdotal; on the downside, it’s the absence of any real historical context which gives the book its thin texture.

3. Portrait of turn-of-the-century Dublin

Parks, grand squares, the Season at the Castle, debutante balls. Population 400,000 with a small centre where it was easy to bump into people you knew (compare with London’s monstrous 6.5 million).

This leads him to Maud Gonne (1866 to 1953) ‘the most beautiful woman in Europe’ according to Wickham Stead, editor of the Times. Despite her claims she was of English descent on both sides but became a firebrand Irish revolutionary. Willie Yeats fell madly in love with her but she refused to become his lover.

In 1900, Gonne helped found Inghinidhe na hÉireann (Daughters of Ireland). Twenty-nine women attended the first meeting. They decided to ‘combat in every way English influence doing so much injury to the artistic taste and refinement of the Irish people’.

Lady Constance Gore-Booth (1868 to 1927) was an Irish revolutionary, nationalist, suffragist, and socialist, famous as the first woman elected to the UK Parliament (1918), though she did not take her seat. Born into Anglo-Irish aristocracy at Lissadell, she rejected her privileged background to fight for Irish independence, becoming a key figure in the 1916 Easter Rising. In 1900 she married Polish artist and playwright Casimir Dunin-Markievicz, and they styled themselves the Count and Countess = Constance Markievicz.

4. Arthur Griffith and Sinn Fein

Ireland was ruled by England from 1170. There was a short period of home rule from 1782 to 1800 which was put to an end by the 1800 Act of Union. Since 1800 nationalists had wanted to replace this foreign rule with home rule, some by constitutional means, some by violent uprising, as in 1848 and 1867.

In the early 1900s a journalist called Arthur Griffith came to prominence with a new strategy, passive resistance. In 1900 he founded the United Irishman which attracted top writers and became very influential.

Characteristically, O’Connor paints Griffith’s portrait by quoting other writers (Oliver St John Gogarty, James Joyce). Just as characteristically, he dwells on the way the short unprepossessing Griffith was madly in love with Gonne.

1903: Griffith starts publishing articles about how Hungary secured home rule within the Austro-Hungarian Empire under the Hungarian People’s Party led by Francis Deak. The next year he launched a political party to copy Deak’s strategy (the historical figure’s proper name appears to have been Ferenc Deák) – Sinn Fein, ‘Ourselves alone’.

Clause 14 of the Sinn Fein constitution: Non-recognition of the British Parliament. The plan was not just to abstain, but to set up a parallel Irish administration at all levels. However (in the book’s first mention of the Ulster problem) Griffith allowed for there to be a King of Ireland and a King of Britain.

Constance Markievicz joined Sinn Fein as did Maud Gonne.

Chapter 5. Roger Casement

Sir Roger Casement (1864 to 1916) worked for the British Foreign Office as a diplomat. He was honoured in 1905 for the Casement Report on the Congo Free State and knighted in 1911 for his investigations of human rights abuses in the rubber industry in Peru, sometimes credited as the ‘father of twentieth-century human rights investigations’.

Typically O’Connor conveys his importance by quoting writers – Joseph Conrad, who knew him in the Congo, and E.D. Morel who campaigned with Casement to end Belgium’s disgusting slave regime in the Belgian Congo (characteristically, the book incorrectly gives his initials as A.D.). See:

Resting in his native County Antrim, Casement heard about Griffith’s party and joined. He set out to learn Gaelic. He had seen imperialism at its most disgusting and had a shrewd feeling that Griffith’s strategy for freeing Ireland could work. He donated money to a school being run by a young Gaelic Leaguer called Eamon de Valera.

Chapter 6. The 1912 home rule bill

In 1910, though, the lead party was not Sinn Fein but the Irish Party led by Parnellite John Redmond. The Liberal Party returned to power in 1906 and, in order to pass its social legislation, needed the support of the Irish Party to pass its legislation neutering the House of Lords. In exchange its leader, Herbert Asquith, promised to sponsor another Irish Home Rule bill.

In March 1912, at a mass meeting in Dublin, Irish nationalists greeted the launch of an Irish Home Rule bill in Parliament but warned that if their hopes were dashed, Ireland would take arms.

 Chapter 7. Ulster

A quarter of the population of Ireland was Protestant, over a million living in the counties of Ulster. Two weeks after the Dublin nationalist meeting, a mass meeting was held in Ulster, with 100,000 men marching past Sir Edward Carson.

O’Connor analyses the Ulster Protestant as a typical colon in that his link to the imperial power gave him superiority. Even the poorest Protestant was, in a sense, superior to the richest Catholic. He compares them to the poor whites in the American South, persuaded of their racial superiority by their exploiters who thus kept the working class divided.

Carson had been Solicitor General in the Conservative government which fell in 1906 election. Next to him on the stand was Andrew Bonar Law, the Canadian-born new leader of the Conservative Party. In subsequent speeches Carson made it quite clear he was prepared to break the law and disobey officers of the Crown if home rule were passed.

In 1912 he and others set up the Solemn League and Covenant which was signed by hundreds of thousands (echoing the Covenants signed in Scotland during the civil wars).

Echoing Griffith, the Ulstermen set up their own provisional government. The Ulster Volunteer Force (UVF) was set up under a British Army general. F.E. Smith was a leading figure, who later became Attorney General of Britain.

In Britain, a British League for Ulster was set up and 120 MPs and 100 Lords joined it.

It became obvious that these Ulster refuseniks were the key issue in the Irish Question. Carson and the rest were openly declaring treason. Warrants were made out for their arrest, in Dublin but not issued. Prime Minister Asquith hoped Ulster resistance would die down.

Chapter 8. The Irish Volunteers

Mirroring the foundation of the Ulster Volunteers, in the south the Irish Volunteers were founded. It was founded by professor of Irish history Eoin MacNeill. Characteristically, O’Connor’s grandfather knew him. His mother told stories of going with her parents and MacNeill to the Aran Isles for the summer to learn Gaelic and come back with Gaelic-speaking nannies.

It was following an article about the Ulster volunteers, that MacNeill was approached to spearhead its southern equivalent. A committee of 30 was set up, including men from Redmond’s party. Roger Casement (returned from Peru) was made secretary.

By January 1914 there were 10,000 volunteers, by September 180,000.

Chapter 9. The Irish Republican Brotherhood (IRB)

Clann na Gael based in New York, run by old Feinian John Devoy. In 1907 he sent Thomas Clarke to Dublin to recruit for the IRB. Willie Yeats joined. And working class Catholic Sean O’Casey. They looked up to intellect and culture.

The (underground) IRB carefully infiltrated its members into the (aboveground) Irish Volunteers.

Chapter 10. The Citizen Army

In chapter 3 O’Connor gave us a very brief sense of upper class life in Dublin. This chapter emphasises the poverty. Dublin had the highest death rate of any city in Europe. The Irish Times compared living conditions of the poor to Dante’s Inferno.

August to Christmas 1913 Dublin saw a massive general strike, led by Jim Larkin (orator and journalist) and James Connolly (brilliant analyst who applied Marxist theory to Ireland, founder of the Irish Socialist Republican Party). He left for the States, then returned to become General Secretary of Larkin’s Transport Union.

The outcome of the long bitter violent general strike wasn’t concessions from the employers, but the creation of a Citizen Army which proceeded to arm itself. It came into being in November 1913 with a constitution drawn up by Sean O’Casey, who became its secretary and later wrote its history.

The Army Commander was Captain Jack White who had distinguished himself in the Boer War. He received a telegram of praise from Roger Casement.

Chapter 11. Guns for the Ulster Volunteers

In March 1914 a huge consignment of arms and ammunition arrived at Ulster to be distributed to the Ulster Volunteers. O’Connor describes how hundreds of cars owned by the landed gentry were parked along the route at night to light the lorries away from the port. Reading this, I was impressed by the commitment and organisation of these people, always painted as the baddies. I went looking for books about the Ulster Volunteers and only found two. History is written by the winners.

Its arrival triggered similar thoughts in the Irish Volunteers who arranged for Roger Casement. In July a yacht left Hamburg carrying 10,000 rifles. They docked at Howth, were met by Irish Volunteers, who marched with them back into Dublin.

Chapter 12. The Curragh Mutiny, then war

In March 1914 General Sir Arthur Paget, commander of British forces in Ireland, ordering to send detachments to protect depots in the north from raids by the Ulster Volunteers, firing on them if necessary. 60 officers and the leader of the 3rd cavalry brigade refused. This was regarded as a mutiny and rocked the British Army.

What it seemed to show everyone was that the British government would back down when faced with the threat of force. This triggers amusingly emotional rhetoric in O’Connor: ‘sordid intrigue… devious charade… ‘

O’Connor is quick to say in this rebellion of part of the Establishment against another, this splinter was the crack that foreshadowed the end of empire in violent independence movements around the world.

The Home Rule bill passed through the Commons in May 1914 and was scheduled to become law in September 1914. But in August the Great War broke out and all domestic legislation was suspended.

When war broke out, John Redmond, leader of the Irish Party which held the balance of power in the Commons, and with a force of some 180,000 trained men at his disposal, could have bargained with the Liberal government and witheld his support until the government absolutely promised to enact the bill. If an Irish government had been set up in Dublin, albeit with limited powers and still under ultimate British control, it is unlikely there would have been any Easter Rising.

But he didn’t. Without consulting his party he stood in the House of Commons and pledged the support of the entire nation of Ireland to the British in their time of need. This made the Irish immensely popular, even with the Conservative right, but at a stroke he handed over his trump card and had nothing left to bargain with.

The bill was placed on the statute book but only to come into force after the war. That was the rub. That was the cause.

Recruits flocked to volunteer. Some 300,000 Irish fought for the Empire, 40,000 of them were killed. But after the first flush of enthusiasm, many Irish found it difficult to win commissions in Irish regiments. The British Army establishment preferred Irish regiments to be officered by loyal British Protestant officers.

Chapter 13. Padraig Pearse and the military council

September 1914 the leadership of the Irish Republican Brotherhood decided that a nationalist uprising would take place before the war ended and began making plans.

James Connolly opposed the war from a Marxist point of view, as empires fighting over resources and markets.

Snapshots of: Padraig Pearse, at this point teaching at St Enda’s school; Thomas MacDonagh, English lecturer at the National University; Joseph Plunkett, poet and editor of the Irish Review. All three are members of the military council of the IRB. They didn’t expect a rising to defeat the British. They expected it to create an independent republic long enough for its case to be made at the conferences which would end the war. More poetically, the felt that they would revive the soul of their nation.

In March 1916 Clann na Gael contacted him to say they would be sending 20,000 rifles and 10 million rounds.

Meanwhile James Connolly, the socialist trade unionist, independent of the IRB, had concluded that an armed uprising was necessary, using his citizen army. Fearful lest the plans clash, the military council invited Connolly to a meeting in January 1916. He was delighted to hear the news from Joseph Plunkett and both sides agreed the uprising would happen at Easter 1916.

Chapter 14. The Easter Rising

Eoin MacNeill interferes MacNeill was the commander-in-chief of the Irish Volunteers but he was deliberately kept out of the loop by the IRB military council. Only on Good Friday did he learn about plans for an uprising on Monday. He strongly disapproved and went to St Enda’s to see Pearse. Pearse persuaded him plans were too far advanced and also a shipment of arms was arriving from Germany so MacNeill acquiesced.

But late on Saturday morning, he learned the arms shipment had been intercepted. Feeling he’d been fooled, MacNeill took out an advert in the Sunday papers telling his volunteers their traditional Easter weekend training manoeuvres were cancelled. Many read this and stayed at home. When the news of the uprising spread on Monday they weren’t ready. Pearse’s response was to send out envoys to Volunteer groups around the country and tell them to carry on, but the damage was done. On the Monday, most Volunteer groups did not rise along with Dublin. If they had the British Army would have been spread very thin. Instead they were able to concentrate their firepower in Dublin and end the uprising after a week (p.84).

O’Connor tells us that his grandfather knew MacNeill and once told him he wasn’t a bad man. Hard to see how he doesn’t come out of this as the fall guy.

The uprising began at 12 noon on Monday 24 April 1916 and continued for 6 days. At 11 Pearse and Connolly marched their men from Liberty Hall over to the poorly defended Post Office and seized it. Pearse stood between the huge Greek columns and read out a declaration of independence. O’Connor gives a good enough account but I’m not sure it’s worth my summarising his summary. Instead here’s the Wikipedia article:

Chapter 15. The uprising continues

The British put Brigadier Lowe in charge of suppressing the uprising. He brought a gunboat up the river which bombarded Liberty Hall then the GPO. Houses on both sides were set on fire. Eight or so other buildings had been seized so sporadic sniping and shelling took place round those, too.

The weirdest thing about it was the way most Dubliners strolled around watching it take place. O’Connor quotes the usual suspects, Gogarty, James Stephens, George Moore, Sean O’Casey, strolling round the city, listening to the shellfire, observing other citizens going about their business.

Chapter 16. The uprising ends; the executions

On Friday 28 April 1916 General Maxwell arrived and began investing the key sites in a rigorous way. At 2.30pm the next day, Saturday 29 April, Pearse surrendered to General Lowe.

Four days later the executions began. Sixteen rebel leaders were shot:

Signatories of the Proclamation of Independence: Patrick Pearse, Tom Clarke, Thomas MacDonagh, Joseph Plunkett, Sean Mac Diarmada, Éamonn Ceannt, and James Connolly.

Other leaders: Willie Pearse (brother of Patrick), Edward Daly, Michael O’Hanrahan, John MacBride, Seán Heuston, Con Colbert, and Michael Mallin.

MacBride was husband to Maud Gonne, the dazzling beauty who bewitched Willie Yeats.

Remember dashing Lady Constance Markievicz? She had been deputy of the troop which held Stephen’s Green then pulled back to the College of Surgeons. She was sentenced to death, too, which was commuted to life imprisonment as she was a woman. In fact she was released after less than a year when the British government offered a general amnesty.

About 1,350 people were killed or wounded, mostly civilians. The centre of Dublin had been gutted. The general population was furious with the rebels. Elsewhere life went on as normal with business carried out while the middle classes played golf and tennis.

Chapter 17. Poetic reactions

Characteristically, O’Connor summarises the aftermath by quoting the usual suspects: W.B. Yeats, George Russell, James Stephens, Lady Gregory, Tom Kettle.

He has a romantic notion of poets, that they are the first to notice the changes in a nation’s soul, that these poets grasped the rising’s significance way before the silly politicians.

Chapter 18. Roger Casement

In the last few years before the war Casement developed a pathological hatred of Britain’s rule in Ireland. Just before the Great War broke out he went to New York to work with Clann na Gael. In December 1914 he persuaded its leader, John Devoy, to Germany, as an envoy from independent Ireland and to secure arms. In fact Casement spent two weary years getting nowhere, and eventually asked to be returned to Ireland (with no guns). The Germans laid on a submarine which took him to the south coast but due to a SNAFU in the arrangements he was put into a canvas boat with two others, while the U-boat departed. The canvas boat overturned in high seas and Casement barely made it ashore. he staggered to the nearest house where he was resting when he was arrested by the local bobby, sent to Dublin and then to the Tower of London.

Chapter 19. The trial of Roger Casement

O’Connor was a practicing lawyer and so gives a brief but vivid account of Casement’s trial. As usual, a trial had nothing to do with ‘justice’ but entirely practical wrangles and politicking. Casement’s defence lawyer, Serjeant Sullivan, had himself recruited in Ireland for the British Army i.e was on the opposite side of the political cause. (O’Connor remembers seeing the 90-something old lawyer still beetling around the Dublin Inns of Court when your man was just a young barrister.)

Not just that, but the prosecuting counsel was F.E. Smith who had been active in the setting up of the Ulster Volunteers back in 1912 i.e. was extremely anti-Casement’s independence position and also, as O’Connor emphasises, arguably more guilty of treason than Casement.

The case revolved round the accusation that casement tried to recruit Irish prisoners of war held in Germany to join the German Army and fight against Britain. The defence argued that the treason act only applied to activities here in England, and Casement’s activities had taken place abroad.

Throughout the trial the authorities made available to the police, lawyers and senior figures in the Establishment the so-called black diaries in which Casement appeared to describe his personal homosexual activities in great detail. For a long time these were thought to be fakes but in the 1990s were apparently confirmed as true.

Poor Casement, a hero of international human rights, a principled nationalist and patriot, he was found guilty and hanged on 3 August 1916. He made a condemned man’s speech from the dock. O’Connor points out that so many Irish patriots did this that it is virtually a literary genre in itself. He made the point that the creation of the Ulster Volunteers created the atmosphere of violence, and the Curragh Mutiny in effect condoned disobedience to the Crown (although all that was fine if you were on the Protestant side).

(True to his recurring attempts to portray the rising as the having international impacts on other freedom struggles of other imperial colonies, O’Connor claims that Casement’s speech had a profound impact on the young Pandit Nehru.)

High Treason, Court of Criminal Appeal: the Trial of Sir Roger Casement 1916 - Government Art Collection

The Trial of Sir Roger Casement by Sir John Lavery (1916)

With the end of the Casement trial we reach the en of the build-up to and events of, the Easter Rising, on page 114 of this 180-page book. The rest of O’Connor’s book describes events over the next 4 years, the rise of Sinn Fein, the success of Arthur Griffith’s abstentionist policy, the granting of home rule and then the bitter civil war of 1921 to ’22.

Chapter 20. Sinn Fein

Some 3,000 people were interned after the rising. Over the next 12 months they were released in batches. By June 1917 the public mood had changed to become more sympathetic to the rising leaders who were coming to be seen as martyrs. In by-elections that year, Sinn Fein candidates won but refused to take their seats in the London Parliament, a tradition which continues to this day.

Eamon de Valera was the only commander who wasn’t executed. Upon release he contested a by-election and defeated the Irish Party candidate. Sinn Fein was replacing Redmond’s party.

Thomas Ashe, president of the IRB, went on hunger strike in prison. When he died, Michael Collins, who’d been released from internment at Christmas 1916, decided to organise a vast funeral for him. Characteristically, O’Connor tells us Sean O’Casey wrote a ballad requiem for Ashe, and quotes a hymn by Ashe himself.

Chapter 21. Conscription and the Dail

Most Irish still favoured the constitutional party of John Redmond and expected the home rule bill, which was on the statute books, to be implemented as soon as the war ended.

Then in spring 1918 the British made the latest in a long line of blunders when the Army Chiefs of Staff prevailed on Lloyd George to pass an act compelling the conscription of all able-bodied men in Ireland into the British Army. Not only Sinn Fein and the Irish Party but the Catholic party opposed it, though O’Connor skips completely over its implementation. He quotes A.J.P. Taylor as saying it was the decisive moment in Ireland’s seceding from the Union.

In the December 1918 general election the Irish Party was obliterated by Sinn Fein, winning just 6 seats to the nationalists’ 73. John Redmond had died in March.

The Sinn Fein MPs promptly set up their own government in the Mansion House in Dublin and called it the Dail. No fewer than 36 of the 73 MPs were in British prisons. A Declaration of Independence was read out.

Three delegates were chosen to attend the Peace Conference in Versailles. In April 1919 a President was elected and a Cabinet chosen. Griffith stood down in favour of de Valera who was beginning to acquire charisma and status, although the latter was in prison in England. Republican courts of justice were set up in the counties of Ireland and slowly these began to replace the British institutions.

When physical force was used later, it was important that the Volunteers and others derived genuine legitimacy by acting as the Army of an elected government rather than a paramilitary force.

Michael Collins, who was becoming chief fixer, organised the escape of de Valera from Lincoln prison.

Chapter 22.

The British banned the Dail and set about arresting nationalists. The cabinet ministers went into hiding. Collins had been made Director of Intelligence. Now he turned out to be a spymaster and guerrilla organiser of genius. O’Connor makes his recurring point that the strategy Collins developed went on to be copied by independence movements around the globe.

Collins knew they couldn’t fight the British soldier for soldier. But imperial rule rested on a network of spies and he could kill these spies. He got his own men on the inside of Dublin Castle and access to government files. He drew up lists of informers, and then he created a cadre of cold-hearted killers who began a campaign of targets assassinations starting in July 1919.

I noted that O’Connor mentioned when he had personal connections with various figures in the story. Now these become more frequent. He appears to have interviewed quite a few of these informers and assassins (Bill Stapleton, Joe Dolan) who give him vivid descriptions of actual assassinations they took part in.

The squad operated out of a decorators’ shop in Abbey Street. It’s difficult to credit, hard to believe, that this gang of assassins operated just a few minutes’ walk from Dublin Castle, the centre of the British police effort. How?

Chapter 23. The IRA in the countryside

At some point the Irish Volunteers morphed into the Irish Republican Army although, apparently, it’s difficult to pinpoint exactly when. O’Connor describes the spread of volunteers through towns around Ireland. Often these were dominated by Big Houses and/or British Army barracks, along with schools, Protestant churches and so on.

As so often, the authorities found it difficult to deal with an enemy which was part of the local population, appeared suddenly to assassinate someone or blow something up, then melted back into the general population. Also they knew the country better than the occupier, and where to hide out.

The strategy of ambushing British Army troops, convoys and so on, sometimes throwing grenades, sometimes mining roads, followed by rifle fusillades. The Brits called it ‘ditch murder’, but in his internationalist mode. O’ Connor points out how it went on to be copied by Mao Tse Tung, Tito, General Guap, Che Guevara and many others (p.140).

These attacks continued through 1920, with sometimes large-scaled engagements leaving 10 to 20 British soldiers dead. It was a real guerrilla war On Easter Sunday 1920 these flying squads set fire to 100 Inland Revenue buildings and 350 empty police stations.

Inevitably the British retaliated with a heavy hand. If a police station was attacked, neighbouring houses were to be burned down. Hunger strikers were to be helped to die. This not only embittered local populations but led to widespread resignations by Irishmen from the Royal Irish Constabulary.

Chapter 24. The Black and Tans

Many servicemen demobilised after the Great War were still unemployed. The British government launched a recruitment drive and many signed up to go and serve in Ireland. There was a shortage of uniforms so they were given dark green tunics and khaki trousers. So the locals nicknamed the Black and Tans. The first arrived in Ireland in March 1920. A few months later they were joined by Auxiliaries, ex-Army officers paid £7 a week. They were given licence to embark on savage, undisciplined reprisals .

Every media outlet was soon condemning their activities which came to be described as a terror campaign. They arrived in force in a town, made all the inhabitants assemble in the street, humiliated and beat them, set some houses on fire, occasionally bayoneted or shot anyone who resisted, then drove off leaving generations of bitterness behind them. Stupid stupid stupid.

The worst burning was in Cork where the Black and Tans went berserk, burning down key buildings including the City Hall. For weeks after they suspended burned corks from their hats. Who authorised this? Whose bright idea was this?

O’Connor gives a particular anecdote. On 15 December 1920 Canon Magnar of Dunmanway County Cork was in the street talking to a man. A lorryload of Auxies drew up, some jumped out, and shot the man dead. When the Canon protested, he was shot dead too.

O’Connor notes how they often destroyed local dairies and creameries in an effort to destroy local economies, prompting a letter of protest from AE who had spent many years setting up dairy co-operatives precisely to support locals. O’Connor quotes Yeats’ poem Nineteen nineteen:

Now days are dragon-ridden, the nightmare
Rides upon sleep: a drunken soldiery
Can leave the mother, murdered at her door,
To crawl in her own blood, and go scot-free;
The night can sweat with terror as before
We pieced our thoughts into philosophy,
And planned to bring the world under a rule,
Who are but weasels fighting in a hole.

Chapter 25. de Valera

Back in June 1919 de Valera was smuggled onto a ship to New York. Here he held press conferences as the spokesman of the new (not yet existent) republic. New York, Boston, Chicago, San Francisco, he spread the word in a calm and dignified manner, boosting his own profile in the process. He took a financier with him and together they raised over a million dollars by the time he returned in January 1921.

Meanwhile the Dail continued to set up an alternative governance infrastructure with land courts, district courts etc, complete with lawyers and judges. People stopped using the British courts and used the nationalist ones. O’Connor quotes landowners and senior figures praising the new regime for its fairness and efficiency.

As usual, O’Connor internationalises it to say that just these tactics would be used in other colonies under the phrase ‘civil disobedience’ (p.152).

Chapter 26. Michael Collins

By the autumn of 1920 Dublin was under curfew. Lorries of soldiers patrolled the streets, with wire netting so grenades thrown at them bounced off. Houses were subject to random searches and maybe burning by the Black and Tans and citizens hauled off to prison. A police state. Officials and Auxies were assassinated in the streets. The press had uniformly turned against the government.

Meanwhile Michael Collins held four portfolios within the unofficial government and maintained an intricate network of spies, informers and assassination squads. He kept scrupulous records and accounts which O’Connor has perused.

The government put a bounty of £10,000 on his head but, incredibly, he remained not only at liberty but calmly cycled around central Dublin between his various offices. One of Collins’s key spies in Dublin Castle, Eamonn Broy, personally told O’Connor of some of his escapades with Collins.

O’Connor gives a brief impressionistic pen portrait, admiring Collins’s meticulous way with figures and accounting, his head rammed with facts and details which helped him make intelligence connections, his absolute cold-bloodedness when it came to assassinations, his courage in facing out numerous dicey situations and, alongside, what O’Connor sees as a typically Irish strain of romantic patriotism (he spends a page attributing the same thing to Casement, earlier).

Chapter 27. Martyrs

25 October 1920 Terence MacSwiney, Lord Mayor of Cork, died after a prolonged hunger strike in Brixton Prison. His lingering death was given international coverage, along with his claims for Irish freedom. He had actually written a play about a nationalist hunger striker but here, as elsewhere, O’Connor says the British authorities didn’t pay enough attention to Irish poetry, plays and literature. Here’s just one example of O’Connor’s personal and ripe prose style.

As with the death of Thomas Ashe, a shudder ran through the Nation’s being. (p.160)

If you wanted objective history, O’Connor is not your man. Facts yes, but also plenty of melodrama, passion, bitterness and romanticisation, along with quite a few personal confidences from eye witnesses, that’s what this brief book provides.

MacSweeney was afforded a magnificent funeral at Southwark cathedral in London. Sir John Lavery made this preparatory sketch for a large-scale painting.

Sketch for the Funeral of Terence MacSwiney, Lord Mayor of Cork, at Southwark cathedral by Sir John Lavery (1920)

On 1 November good looking, 18-year-old medical student Keven Barry was hanged for his involvement in an ambush in which a British soldier was killed. According to O’Connor his name became a symbol around the world, and:

There are few places in the English-speaking world where ‘Keven Barry’ is not sung. (p.162)

I’d never heard of it till I read this book. 1) Times change 2) it’s a typical example of O’Connor’s chauvinism, which I use to mean ‘excessive or prejudiced support for one’s own cause or group’, which crops up throughout the book. I don’t really mean that in a bad sense – just to mean that he is very strongly biased indeed.

Yeats had been booked to debate at the Oxford Union and apparently walked up and down the central aisle railing against the British government’s stupidity and mismanagement. A.E. lobbied Lord Northcliffe to get his American newspapers to print opinion pieces decrying British atrocities in Ireland. What with this and de Valera and their own anti-British history, American opinion swung behind the nationalists. It played an important part in negotiations between Britain and Ireland as it was to do for the rest of the century.

O’Connor quotes a very effective letter from Yeats to the Times saying the British spent the entire Great War railing against Germany’s atrocities against civilians in Belgium and philistine burning of cultural centres and now they were doing exactly the same in Ireland.

Chapter 28. The Cairo gang

Set up by Sir Henry Wilson in autumn 1920 to identify and assassinate all key Sinn Fein and IRA personnel. In one night one of these death squads murdered the current and former Lord Mayor of Limerick. The latter was Alderman George Clancy who had been a close friend of James Joyce and appears in ‘A Portrait of the Artist as a Young Man’ as Davin, the peasant nationalist.

Collins used his intelligence network to identify members of the Cairo gang. O’Connor spoke with General Richard Mulcahy, Chief of Staff of the IRA, who is forthright about the need to destroy the death squads. So after much planning, Collins launched Black Sunday, when his death squads assassinated their death squads. 9am on the morning of 21 November 1920. A total of 14 British spies were executed.

O’Connor gives several pages detailed descriptions of men kicking in doors, shooting unarmed men in the back, as they nipped out of windows, taking them to a cellar and shooting them in the side of the head, the British torturing captives.

Lieutenant Aimes and Bennet were pulled out of bed by a group of armed men, placed standing together, both were then shot.

Some of the men refused to come out and were shot in bed. Others came to the door and were shot as they opened it. Two agents were shot on the landing, the stairs were covered in blood.

Flanagan took four Englishmen down to the cellar and after asking their names, shot them in the side of the head.

[Ordered to track down an Irishman identified as a snitch, Bill Stapleton tells O’Connor] We found him in a pub, a big burly man. He blustered at first: then we took him out and shot him.

O’Connor and other nationalists see this as the price of freedom. I see it as the inevitable outcome of the ethnic nationalist way of thinking. Compare the similar accounts I’ve summarised of the civil wars in Yugoslavia or the chaos in Iraq: perfectly decent educated men convinced that in order to make a better world they have to torture and execute other unarmed men, sometimes women, and burn their houses down.

In retaliation for the Bloody Sunday assassinations, later the same day a detachment of Black and Tans drove to Croke Park Sports ground where a Gaelic football match was in progress. They set up a machine gun and started firing into the panic-stricken crowd. A drunk Black and Tan lined up both teams and was going to execute them all until a sober regular British Army officer intervened.

And there are people who still insist that humanity is a rational creature.

O’Connor suggests Bloody Sunday was the day British rule broke in Ireland, although I thought he said the same about the introduction of conscription in 1917. Maybe it broke repeatedly. As I’ve said, O’Connor links Ireland to the independence struggles of other British colonies.

Not only was Bloody Sunday to mark the end of Britain’s rule in the greater part of Ireland, it was to be the beginning of the break-up of British rule throughout the Empire.

In Kenya, in Cyprus, in Egypt, Palestine and Burma, for the next forty years, guerrilla leaders were to claim Collins as their prototype and adapt the strategy he had designed for evacuating the colonial power. (p.175)

What beggars belief is that Collins organised the funeral of his friend Dick McKee who the British had tortured to death to get information about Collins’s operation, and attended the funeral in person, even though the entire British operation in Ireland was obsessed with finding and arresting him. How was that possible?

Epilogue

The last four pages of O’Connor’s book give a very brisk account of the peace talks which led to the Treaty and then the intense civil war between pro and anti-treaty Irish forces which followed, in which Collins himself (pro-treaty) was killed by anti-treaty forces.

He jumps to January 1922 when the British flag was taken down over Dublin Castle and the last troops marched down to the quay to take ship back to England. Negotiations had taken place from September to December 1921 and a treaty signed with the Dail in January 1922. The 6 northern counties were excluded although everyone expected them to join the Irish Free State within a few years. Civil war broke out between pro and anti treaty nationalists and lasted till May 1922. Griffith died of a stroke. W.T. Cosgrave became the independent nation’s first president.

A Senate was formed which at Griffith’s suggestion reached out to specifically invite the Protestant landed gentry. The new nation had to include everyone. W.B. Yeats was nominated and given the job of designing the states new coinage.

1927: De Valera had been anti the treaty but in 1927 was persuaded to attend the Dail.

1932: Five years later the party he created, known as Fianna Fail, won the 1932 general election.

1937: De Valera set about removing the last vestiges of British rule, in 1937 passing a new constitution.

1938: De Valera persuaded the British government to evacuate its three treaty ports.

1939-45: Thus cleansed of British presence it was easy for the Irish Free State to maintain independence in the war against Nazi Germany. So many Irishmen had died defending the Empire which treated them so poorly in 1914-18.

1948: Fianna Fail lost the general election but the new coalition government promptly removed Ireland from the Commonwealth. Non serviam.

In a throwaway last page, he says the tragic legacy of Northern Ireland was a result of Carson and his ilk refusing to accept the home rule movement and being prepared to go to war to preserve their economic and social status. If only they had thrown in their lot with the nationalists, together they could have forced the British government to give independence 1) much earlier and 2) on more inclusive terms to include the Ulster Protestants. Instead they insisted on holing up in their ghetto which, at the time of O’Connor’s writing (1975) was in chaos.

Thoughts

England’s crimes

It goes without saying that it makes me ashamed to be English to read (yet again) the litany of exploitation, repression, spying, corruption and naked violence with which the English mismanaged Ireland for centuries. But a few other thoughts as well:

History is written by the winners

They say history is written by the victors. The irony here is that the victors were the Irish nationalists who won their free state, with the result that thousands of books, papers, presentations, school syllabuses, TV series and movies have been made about Ireland’s heroic struggle for independence, and not least the dramatic events surrounding the Easter Rising. Supported by latterday English progressives, in the same way that we English now retrospectively (and safely) root for the independence movements in India, Kenya and scores of other places, taking a masochistic pleasure in seeing our own men shot and blown up and our own government covered in ignominy.

What about the losers? With no motive except idle curiosity I went looking to see if there are any books about the Ulster Volunteers and discovered there appear to be just three in print: Carson’s Army, a boringly specialised one about the precise configuration, training etc of the UVF; Friends in High Places; and Ulster will Fight, a series of three books which are prohibitively expensive and aren’t stocked by my London library. Of accounts of the Easter Rising and the long centuries of struggle behind it, there will be no end, as a proud nation promotes itself and mythologisers line up to retell the romantic story. Of the much less glamorous but in its way just as important obstinacy of the Ulster Protestants, very little. They’ll always be the ugly sisters in the fairy tale.

(An impression confirmed by contemporary historian Charles Townshend in his recent book ‘The Partition’ (2021) where he mentions ‘the dearth of significant historical studies of Ulster, certainly in comparison with the plethora of nationalist histories of Ireland (p.265).)

Nationalism

As I’ve read my way across the history of the nineteenth century I’ve come to think of nationalism as a mental virus, like something out of a zombie movie. It spreads across entire nations converting everyone to the belief that they must be ‘free’, no matter how much pain is caused and blood is shed in the process. The problem is that forging a nationalist identity almost instantly requires identifying the enemies within, the protestants or Jews or Roma or Muslims who are tainting ‘the purity of the Nation’.

Nationalism gave birth to the utter catastrophes of the 20th century, to the Great War and the collapse of empires which followed it, and led to the rise of fascism and its turbo-charged mission to liquidate the enemies of the People, all of which led up to the catastrophic Second World War.

The fever of nationalism spread far and wide as scores of imperial colonies fought for their freedom and independence: Israel, the partition of India, the long struggles in Algeria or Malaya or Kenya or Vietnam to name obvious ones.

In the 1970s the struggle of self-defined communities to be free led to ruinous civil wars in Cyprus and Lebanon and countless African nations.

And then after the long freeze of the Cold War, ethnic nationalism led to disasters in Rwanda and the Yugoslav civil wars. Then in this century the rise of ISIS in post-war Iraq, the Arab Spring which led to the ruinous Syrian civil war, and now here we are in 2026 with bloody rebellion in Iran, Israel’s brutal suppression of Palestine, the triumph of the Taliban in Afghanistan and the resurgence of ISIS in Syria. My barbers in south London are all Iraqi Kurds. For as long as I’ve been getting my hair cut there I’ve listened to them giving me the latest on their small nation’s struggle to be free.

Everywhere peoples conceiving of themselves as a nation which needs to be free, or needs to expel the enemy within (as in contemporary Myanmar needs to eliminate its Muslim Rohynga minority). There has been no end of young nationalist zealots who are prepared to die for the Fatherland and take quite a few people along with them.

Irish independence was no doubt a righteous cause, the repressive and incompetent rule of the pompous British needed to be overthrown, and the Irish patriots’ struggle for freedom is no doubt inspiring when viewed from the patriotic angle.

But read now, in 2026, after a century of any-level-of-violence-is-justified-to-free-my-people nationalism, and the hecatombs of atrocities it has inspired, a big part of my response to all of these stories is a shiver of horror at humanity’s utter inability to manage itself.

Now more than ever, Stephen Dedalus’s cry, ‘History is a nightmare from which I am trying to awake’, rings true.


Credit

‘A Terrible Beauty is Born’ by Ulick O’Connor was published by Hamish Hamilton in 1975.

Related reviews

Extraction/Abstraction by Edward Burtynsky @ the Saatchi Gallery

This is an epic, awesome exhibition, maybe the best exhibition currently on in London, certainly the most visually stunning one I’ve been to this year. It is not just a ‘photography exhibition’ but a display of masterpieces by a photographer of genius.

Typically awesome aerial photograph of Thjorsá River #1, Iceland (2012) photo © Edward Burtynsky. Courtesy Flowers Gallery, London

Largest ever Burtynsky exhibition

It is the largest exhibition ever mounted of the work of world-renowned photographic artist, Edward Burtynsky. Born in Canada in 1955, Burtynsky has spent over 40 years documenting the generally ruinous impact of human industry around the planet, in series of projects focused on environment-changing human activities such as mining, oil production, agriculture and so on.

Nickel Tailings #34, Sudbury, Ontario, Canada (1996) photo © Edward Burtynsky. Courtesy Flowers Gallery, London

It’s a big exhibition in every sense. They’ve brought together 94 of Burtynsky’s large-format photographs and the thing to grasp is that his photos are not just big, they’re massive, huge, enormous. You can only fit so many of these monsters into one space so the show is spread across 6 big galleries over two floors.

Uralkali Potash Mine #1, Berezniki, Russia (2017) photo © Edward Burtynsky. Courtesy Flowers Gallery, London

In addition to the 80 or so enormous digital prints there are 13 high-resolution murals i.e. photos blown up to cover entire walls, which overawe you with their scale and then draw you in to study the incredibly fine digital detailing.

Example of a wall-size ‘mural’ photo at ‘Burtynsky: Extraction/Abstraction’ giving a sense of the size of the ‘mural’ photos. Photo © Justin Piperger (2024) Image courtesy of the Saatchi Gallery, London

Factual captions

Each photo comes with a fact-packed wall label which explains the human activity we’re looking at. Often curatorial wall labels are barely worth reading or contain tiresome lectures from the curators about the tired old subjects of race or gender. By complete contrast, the wall labels in this exhibition are head and shoulders above the usual ruck because every one tells a fascinating story and gives you the hard facts without moralising. The facts are enough.

So, for example, the piece below is an aerial photo taken just outside the Atlantic port city of Cadiz in south-west Spain. The city is surrounded by salt marshes which once brought prosperity to the region by making it a major producer of sea salt. Snaking through the salt marshes are streams of turquoise sea water. Around these are a complex series of ridges which divide the marshes into ‘fields’ where salt can be harvested, some of which date from 1,200 BC. At the start of the 20th century some 160 artisanal sea salt producers worked these salt pans, now it’s down to just a handful.

Salinas #2, Cádiz, Spain (2013) photo © Edward Burtynsky. Courtesy Flowers Gallery, London

Extraction and the environment

It is a highly environmentalist exhibition (where environmentalist is defined as ‘concerned with or advocating the protection of the environment.’) Almost all the pieces show the catastrophic impact of human activity on the natural world, each image accompanied by fascinating, often profoundly dismaying information. Because every exhibition needs organising principles, the pictures, and so the accompanying information captions, are divided into themes, being:

  • Agriculture
  • Extraction
  • Manufacturing and infrastructure
  • Waste

The facts described in the picture captions are often mind-boggling. For example, there’s a photo of a vast array of plastic greenhouses in Ziway, Ethiopia, which covers an enormous 450 hectares in total. Up to 4 million roses are cut and shipped each day from here, almost all destined for the European market, where unknowing consumers buy bunches of Ethiopian-grown roses for their impressionable partners, both heedless of the enormous environmental cost behind every one of them.

Or take the wall label introducing the gallery devoted to Agriculture. This tells us that there are over 8 billion people on the planet and we all need to eat, preferably several meals a day. Approximately 75% of the global population eats meat, which corresponds to roughly 23 billion animals kept as livestock. Adding up all the people, livestock and, of course, pets, global agriculture must feed over 31 billion hungry creatures every day.

Creating enough agricultural land to cater to this vast, relentless need is the cause of endless environmental catastrophe:

  • mass cutting down of ancient forests
  • devastation of biodiversity
  • depletion of one-off resources such as aquifers
  • leaching of toxic pesticides and fertilisers into the water supplies
  • constant emission of greenhouse gases at every step of production, processing and transport

Abstraction

So far, so environmentalist. But there’s another whole layer to the exhibition and to Burtynsky’s practice, which is indicated in the exhibition title (Extraction/Abstraction) and underpins much of his work. This is that, from the early days of his career he came to realise that large-scale photographs of landscapes, taken from high vantage points like mountains or from helicopters or drones, often look very like the abstract art produced by the various movements of abstract art in the twentieth century, from Paul Klee teaching at the Bauhaus in the 1920s to Jackson Pollock getting drunk in New Jersey in the 1950s.

Installation view of ‘Burtynsky: Extraction/Abstraction’ showing two works which look like mid-20th century abstract paintings but are in fact 21st century aerial photos of the Texas panhandle. Photo by the author

The curators have some characteristically clear and intelligent things to say about this:

Abstract art emerged in the early twentieth century as a radical break with the old ways of making pictures. Rather than depicting recognisable figures, objects or landscapes, abstract painting explores form, texture and colour for their own sakes.

Over the same period industrial agriculture, mass production, surface mining and the internal combustion engine also emerged, changing our way of life forever. Today technology is rapidly propelling us into the future in every sector…

While modern artists invented new expressive and emotional languages, modern engineers, technicians and industrialists were developing a new reality, divorced from the ancient ways of being, alien to the natural world and wholly unsustainable.

Among the appealing elements of Burtynsky’s thrilling photos is his invocation of and toying with the conventions of abstract art. Many of his photos can be appreciated for their abstract beauty first, before we delve further into the ruined landscapes and human toil which lies behind them.

And it’s true. Look at the photos I’ve included so far in this review and you can see how the vivid, colourful landscapes often approach or fully appear as abstract designs. To be honest, this turns out to be more true of the first floor of works, less true of the second floor which depicts more ‘realistic’ scenes, such as vast waste mountains in Nigeria, the world’s biggest dump of used tyres in America, dehumanisingly vast factories in China and Bangladesh, and so on.

So this abstract aspect is not to be found in all of his works, but the abstract qualities which are to the fore in the early rooms continue to haunt the later, more realistic works, appearing round their edges so to speak, hinting at the deeper, unexpressed patterns and subtle regularities which emerge from the chaos of human activity.

Oil Bunkering #9, Niger Delta, Nigeria (2016) Photo © Edward Burtynsky. Courtesy Flowers Gallery, London

‘In the Wake of Progress’

In between the two floors of big stunning photographs, on a mezzanine floor, is a large room which has been blacked out in order to host what the curators call an augmented reality (AR) experience but you and I might think of as an old-fashioned film, the gimmick being that it is divided into three separate screens alongside each other, sometimes depicting the same subject, sometimes showing different angles of the same thing, sometimes changing and moving on before the other two screens can catch up, a dynamic triptych. It is a musical and rhythmic way of presenting moving images.

Installation view of ‘In the Wake of Progress’ showing on three screens at ‘Burtynsky: Extraction/Abstraction’ showing the viewing room for ‘In the Wake of Progress’. Photo © Justin Piperger (2024) Image courtesy of the Saatchi Gallery, London

The film is titled ‘In the Wake of Progress’ and, as the name suggests, shows the vast wake of destruction and dehumanisation left by the unstoppable exploitation of the planet’s natural resources. Unusually for me, I sat and watched the entire half-hour thing through in its entirety. It is an absolutely stunning, commentary-free, wordless series of beautifully shot sequences depicting the same kinds of scenes we’ve seen in the photos, devastation, waste and pollution everywhere.

It starts with four or five minutes of a static shot in an unspoiled northern forest (as captured in the photo above), all moss-covered trees and hovering insects, calming the viewer and lulling us into a false sense of security (it was actually shot in a place called Avatar Grove on Vancouver island, British Columbia, Canada).

But then the destruction commences, with shots of forests much like this being logged and reduced to muddy bare hillsides; vast numbers of logs being floated downriver to huge lumber yards; and on to open cast mining; dynamiting rocks in quarries; oil spills rainbowing rivers; vast dumps of rusting oil cans, plastic phones, used tyres; terrifyingly huge inhuman factories; oil production; vast megacities criss-crossed by urban freeways choked with traffic – a bombardment of images of human destructiveness.

The promotional material makes much of the fact that the film and music were created with the help of ‘legendary’ Canadian music producer Bob Ezrin. I thought this phrasing was a tad counter-productive and made it sound like a self-congratulatory speech at the Oscars (‘And now ladies and gentleman,  the one and only, the legendary music producer, Boooob Ezrin!‘). The wall label also explains that the haunting wordless vocals which thread through the soundtrack are by ‘award-winning Cree Métis artist iskwē’, which is interesting enough, I suppose.

But the single most obvious thing about ‘In the Wake of Progress’ is how very similar it is, in visual themes and in even the repetitive, arpeggio-heavy soundtrack, to the great 1982 film Koyaanisqatsi, by ‘legendary’ director Godfrey Reggio, with music by ‘legendary’ minimalist composer Philip Glass. All it needed was the slow-motion sequence of Las Vegas casino workers and it would have become virtually the same film.

My point is nothing about plagiarism or anything like that, in fact I have two points. 1) What the similarity of both films suggest is that if you set off with the aim of depicting mankind’s destruction of the natural world, you’re going to end up shooting the same kinds of sequences (open cast mining, oil production, hyper-highways in mega-cities) i.e. there will be an inevitable sameyness about films like this because they are covering the same subject.

Secondly 2) the two films were produced and released exactly forty years apart (1982, 2022). Me and my like-minded liberal friends were obsessed with Koyaanisqatsi – I went to see it in the cinema at least five times when it came out. Being young, we thought immensely powerful cultural products like this would change the world and bring its rulers to their senses. Now, being old, I know that’s never going to happen. Films like this are nice to look at, trigger strong emotions, and change absolutely nothing.

Burtynsky the technological innovator

For photography buffs there’s a section of the show devoted to listing and explaining Burtynsky’s technical innovations. It turns out that he has not only adapted to the huge changes which have taken place in the technical side of photography over the past 40 years (the arrival of digital technology revolutionising everything) but has often been at the forefront of that innovation – working with the technical teams who accompany him on his projects to develop engineering and design solutions to the challenges of creating such huge photos, often taken from a great height.

This latter fact (height) explains the presence of not one but several drones in the display case, along with interesting explanations of how his engineers have changed and adapted them to fly stably and horizontally, while carrying ever-more powerful digital cameras.

Installation view of ‘Burtynsky: Extraction/Abstraction’ showing the display case of cameras and drones used by Burtynsky over the years. Photo © Justin Piperger (2024) Image courtesy of the Saatchi Gallery, London

In the photo above, on the wall on the right you can see a timeline of Burtynsky’s projects, starting with the earliest while he was still at Ryerson Polytechnic (1979 to 1981) and then listing each of his major projects and publications, year by year, with a paragraph or so detailing what technical innovations he brought to each of them.

Self overcoming

Years ago I read half a dozen books by the German philosopher Friedrich Nietzsche. I wouldn’t pretend to be any kind of expert but my understanding is that a fundamental principle of Nietzsche’s philosophy is the notion of ‘self overcoming’. It’s the idea that in order to become who you want to be, you first need to overcome who you are. In order to realise your full potential, you must consciously conquer the aspects of your character and mind which limit and hold you back.

So far, so much like a Californian self-help video. Where Nietzsche pushes on is in holding the view that most of us are held back from a full understanding of the world we live in by a whole network of conventional thinking, commonplace morality, sentimental attitudes, wishful thinking, moral cowardice and intellectual weakness. In a thousand ways we hide from the truth of who we are and what we are doing.

Nietzsche said we should face the truth about ourselves and embrace it no matter how negative and destructive it may appear. Only by embracing the totality of our real natures can we live in truth.

Well, OK, then. All the facts indicate that we are destroying the planet, wrecking every ecosystem we’ve ever encountered and exterminating our fellow life forms at an unprecedented rate – and, following Nietzsche, I think we should embrace the fact. We should fully admit to being world killers and planet destroyers. We should own it and admit to being the nature-hating, species-exterminating, habitat-trashing creatures that all the evidence suggests we are.

In my opinion most people, especially in the pampered West, live in complete denial about what monsters the human race are – as my recent reviews of modern African or Middle Eastern history show time and time again, or the situation in Ukraine or Gaza demonstrate beyond dispute – we are planet-destroying locusts but locusts with machine guns and nukes, committed to the devastation of the planet and the mass killing of our own species.

I would rather it isn’t so, but it is so and any attempt to deal with the situation must start by acknowledging this truth. This position explains why, for me, the only weak point in the exhibition was where Burtynsky, disappointingly, joined in with the chorus of trite truisms, the sentimental bromides, and the wilful optimism of the wishy-washy liberal who still has hope:

‘I have spent over 40 years bearing witness to how modern civilization has dramatically transformed our planet. At this time, the awareness of these issues presented by my large format images has never felt more urgent… I hope the exhibition experience will continue to provide inflection points for diverse conversations on these issues and move us all to a place of positive action.’

‘Diverse conversations’ – does he really think ‘diverse conversations’, at dinner parties, down the pub or on social media, even at high-level gatherings like the COP conferences, are going to make a blind bit of difference to anything, because they absolutely aren’t and it’s disappointing that an artist who’s made such original art out of the disaster, still holds such weakly conventional opinions about it.

‘Add your thoughts to the conversation’

In the spirit of sentimental optimism which I’ve just explained why I despise, the exhibition contains two big blackboards with cups of white chalk sticks, and encourages us to write uplifting messages on the boards and ‘add your thoughts to the conversation’. Examples included: ‘Turn your phone off now’, ‘It’s easy to be green,’ ‘Be nice to the environment’ and other such gift card slogans. True to my blunt Nietzschean approach, I wrote ‘Exterminate all the brutes’.

To anybody who doesn’t get the reference, these are the words scrawled at the end of the high-minded missionary pamphlet written by the deranged colonial ivory agent, Kurtz, in Joseph Conrad’s novella ‘Heart of Darkness’. I wrote it in a spirit of Swiftian satire, for in the novel Kurtz has been driven completely mad by the sub-human savagery he encountered in the heart of the Congo, which he has assimilated and then taken to a whole new level of nihilistic destructiveness. He started out with the highest aims of bringing ‘civilisation’ to the heart of Africa and ended up with a mad vision of killing every one of the local people.

Everything I’ve read about the Congo backs up Kurtz’s feelings about the human race. If in any doubt you should make a study the Rwanda genocide and its aftermath in the two Congo wars and the Great War of Africa, which, even after the loss of up to 5 million lives, in eastern Congo lingers on to this day. And what lay behind this series of disasters? Greed to rape Congo of its natural resources.

First it was white Europeans enslaving, mutilating and massacring Africans in order to extract Congo’s vast rubber production; but then it was Africans looting, impoverishing, massacring and murdering each other in order to loot Congo’s other, mineral, resources. The colours of the skin and the names of the rulers (Leopold, Lumumba, Mobutu, Kabila), the ideologies they used to justify themselves (Christianity, communism, pan-Africanism, capitalism), all changed with the passing decades, but one constant remained the same: the murderous, nature-killing intensity of human greed. Vast wars were fought, immense human suffering caused, and large areas of the country ravaged by man’s endless quest for the blood diamonds, copper, gold and the rare metals which the world needs to carry on its course of untrammeled consumption.

Which is why bromides like ‘Save Earth, Save Life!’, ‘Protect Our Planet, Preserve Our Future’ and ‘There is no planet B’ seem to me wholly inadequate to capture the brutal truth of the world we live in, the terrible violence man deals out to man every day (and worse to unprotected women and children), the appalling misery endured by the slaves who produce the components of our luxury goods, the daily murder of tens of millions of dumb animals so we can eat them, and the relentless degradation of every ecosystem on the planet.

Hence the saeva indignatio of my crayoned comment, scrawled across the blackboard in the same way that Kurtz, driven mad by seeing into the complete darkness of the human heart, ended his utopian pamphlet with the most nihilistic comment he could conceive of – ‘Exterminate all the brutes’ – a comment less on the natives of Congo than on the shallow, inadequate Christian ‘civilisation’ he was meant to be representing.

(The phrase saeva indignatio popped into my memory at this point and prompted me to look it up. It is Latin for ‘savage indignation’ and is a phrase used in the Latin epitaph of the great 18th century satirist Jonathan Swift, to denote his ‘intense feeling of contemptuous anger at human folly’.

So that’s what I wrote on the blackboard of this powerful, terrifying exhibition, and why – the last words of a deranged idealist, quoted to express my ‘intense feeling of contemptuous anger at human folly’.)

The merch irony

A last point about those exhibition blackboards: the way children, or those with a childlike understanding of the world, had covered them with infant-school slogans like ‘End consumerism’ and ‘Just stop buying stuff’ meant I couldn’t help laughing out loud when this breath-taking exhibition shunted me out, at the end, into the huge, clean and well-stocked Saatchi Gallery shop, a big room overflowing with classy merchandise and shiny products.

Here, as at all art exhibitions, you can find a range of posters and postcards and bags and books relating to the exhibition, which all lead up to a collectable box set of stylishly produced Burtynksy books and memorabilia. This will set back the well-heeled art fan a tidy £15,000.

As I reeled from the cognitive dissonance between everything I’d just been seeing and reading, between all those high-minded ‘green’ sentiments on the blackboards, and this riot of unashamed consumerism – a posh couple sauntered by and stopped at the pile of exhibition catalogues (a snip at £38). ‘Oh my God,’ gushed the young lady, flicking through the pictures of ruination made beautiful, ‘this would make such a fabulous coffee table book!’

And there, in a nutshell, you have it. Middle-class people queuing up to buy postcards, t-shirts, tote bags, fridge magnets, mobiles, videos and earnest books all advocating the end of the consumerism. Swift would be looking on, nodding and chuckling.

Thoughts

This is an awesome, amazing, must-see exhibition for at least four reasons:

1) Every single photo is a masterpiece. Each one of them is breath-takingly beautiful.

2) Each photo is accompanied by short but hugely informative wall captions which are all fascinating in their own right but also build up into an astonishingly encyclopedic overview of all types of human activity around the planet – hugely interesting and mercifully devoid of the moralistic hectoring you are subjected to at so many other exhibitions.

3) It is about the most important subject on earth, which is the way we humans are destroying it.

4) Unlike most art films, ‘In the Wake of Progress’, is a powerful, thrilling, devastating, hopeless, exhilarating watch.

I emerged reeling. I wanted to shake someone’s hand for organising such an overwhelming experience and bow down before Burtynsky’s awesome genius. ‘Extraction/Abstraction’ is quite brilliant.

Our hero at work on location in Belridge, California, site of hundreds of small oil wells (2003) Photo by Noah Weinzweig, courtesy of the Studio of Edward Burtynsky


Related links

Environment-related reviews

Exhibitions

Books

Blood River: A Journey To Africa’s Broken Heart by Tim Butcher (2007)

I walked inside [the former Belgian restaurant in the Congo town of Kalemie] to find a wreck. A wooden bar ran along one wall and a Congolese lady stood behind it.
‘Do you have anything I could drink?’
‘No.’
‘Do you have anything I could eat?’
‘No.’
(Blood River: A Journey To Africa’s Broken Heart, page 103)

In the 1960s it was in Maniema that thirteen Italian airmen of the United Nations were killed and eaten, their body parts smoked and made available at local markets for weeks after the slaughter.
(Blood River: A Journey To Africa’s Broken Heart, p.134)

The Congo river system is potentially one of the most valuable assets in all of Africa, but in recent years it has been choked to a standstill by war and mismanagement.
(Blood River: A Journey To Africa’s Broken Heart, p.295)

As the lurid title suggests, Butcher is a journalist, not a historian or scholar. He was appointed Africa correspondent of the Daily Telegraph in 2000 and this book is a colourful description of his self-appointed task of repeating Henry Morton Stanley’s famous expedition across central Africa, from Kalemie on Lake Tanganyika, across country for 500 kilometres until he hit the River Congo, and then 3,000 or so kilometres down Africa’s second longest river, right down to the sea, beyond Boma – a journey he undertook in August 2004 (just as the Athens Olympics were about to start, p.322).

Limited use as a reference

Early on, Butcher inadvertently indicates the limits of his journalistic style or knowledge or interest or research, when he knocks off a description of the Rwanda genocide and how it unravelled into the two Congo Wars, which themselves degenerated into the Great War of Africa, in a mere two pages (13 to 14).

As it happens I’ve read about six book-length or chapter-length accounts of the Rwandan genocide and the wars which followed, all of which go into vastly more detail about this complicated and terrible sequence of events, and so I flinched a bit at the superficiality and, in my opinion, errors in Butcher’s brief summary. He has an interviewee say that Mobutu ‘invited’ ‘the Hutu gunmen’, the interahamwe, to flee into Zaire. He writes that ‘the Tutsi-dominated Rwandan government’ then sent troops to support Laurent Kabila’s insurgency (p.13).

This is not only very simplified but, in my opinion, actively misleading. It wasn’t just the interahamwe that fled into Zaire but the entire Hutu government and administration which had planned and carried out the appalling genocide of the Tutsi minority. Justifiably terrified of being captured and punished for their crimes, the Hutu administration terrified millions of Hutus into thinking the invading Tutsi-dominated Rwandan Patriotic Front would take revenge on them for the genocide, and so it turned into a mass exodus of a large part (about a quarter) of Rwanda’s population across the border into Congo.

It’s true that Mobutu had a long-standing close relationship with the Hutu leadership of Rwanda, but he didn’t ‘invite’ the fleeing génocidaires nor their million peasant compatriots into his country, they just crossed the border and presented Mobutu with a crisis (and an opportunity).

Butcher skips any explanation of the pre-existing civil war in Rwanda which was the context for the genocide and helps to explain it. Nowhere in the book does he mention the Rwandan Patriotic Front (RPF), or its leader and still the current president of Rwanda, Paul Kagame, or the key role the RPF played in ending the genocide when the entire international community (the UN, Britain, America, France) was standing by and letting it happen (to our eternal shame).

He nowhere explains that the Hutu génocidaires established an iron control of the vast refugee camps just inside the Zaire border and used them as bases to launch attacks against Tutsi villages inside Rwanda, continuing the genocide on a small scale while marshalling their resources to launch a re-invasion with the aim of completing the job of exterminating all the Tutsis.

He nowhere explains that the new Rwandan government of national unity repeatedly complained about the Hutu exiles to the Congo government of Mobutu, and begged the UN and international partners to step in and stop the raids and to rein in the Hutu génocidaires but that, once again, the international community did nothing.

He doesn’t explain that this was why, after a year of putting up with this destabilising presence on its western border, the RPF-backed Rwanda government decided to do something about it: to send its army into the Congo, dismantle the refugee camps, force the Hutu population to return to their country with promise of safe passage and that they would be unpunished if they just returned to their villages, while at the same time chasing the genocidal Hutu leaders and their mass-murdering militia, the interahamwe, deeper into Congo with the aim of killing them and putting an end to their genocidal plans once and for all.

He doesn’t explain how Kigali found a willing partner in the government of Uganda, which contributed its own forces, and suggested they use as a fig leaf and front man for their invasion, the drunken, womanising guerrilla leader Laurent-Désiré Kabila, who had been ‘fighting’ a small-scale insurgency against the Mobutu regime for 30 years and who they now put at the head of a new rebel force concocted for the purpose (the Alliance of Democratic Forces for the Liberation of Congo). Nor that the initial operation was so successful that Rwanda and Uganda decided to send their forces on right across Congo to the capital, Kinshasa, forcing the ageing ailing dictator Mobutu to flee the country (May 1996) and  installing their puppet, Kabila, as new president of Congo.

Butcher’s narrative gives the rough shape of these events but is, on my reading of the sources, wrong in most of its details, for example claiming that Rwanda and Uganda ‘backed’ a pre-existing military campaign by Kabila rather than Kabila being a convenient front man for an armed group invented for the purpose to cover an invasion entirely planned and led by Uganda-Rwanda.

It was when Kabila, safely established in power as the new president of Congo in 1997, began attacking his own Rwandan and Ugandan backers, ordering their troops to leave the capital, refusing to obey their orders any more, that Uganda and Rwanda, infuriated that their puppet had turned against them, mounted a second invasion, in 1998, to overthrow him.

This is why people refer to two Congo wars. The First Congo War, from 1996 to 1997 was the Rwanda-Uganda invasion to a) empty the Hutu refugee camps and b) overthrow Mobutu. The Second Congo War started in 1998 and was Rwanda-Uganda’s attempt to overthrow Kabila and impose a regime more friendly to them. It was this second invasion which got seriously bogged down because many of Congo’s neighbouring countries sent forces to support either the Kabila government or to ally with Uganda-Rwanda. Generally the alliances were influenced by deals to get their hands on Congo’s mineral resources. Thus Zimbabwe’s Robert Mugabe supported Kabila in exchange for access to minerals in Congo’s south-east, and so units of the Zimbabwean army found themselves fighting units from other nations in the tropical jungles of Congo, an expensive and bewildering waste of men and resources which distanced the Zimbabwe army from the regime (as described in Douglas Rogers’s account of the coup which eventually overthrew Mugabe).

This second conflict unravelled as not only forces from ten or so neighbouring countries got involved, but as regional warlords arose and seized control of different parts of the huge country. This is the complicated, multi-party conflict which is sometimes referred to as the Great War of Africa. Theoretically it ended with a peace treaty in 2003 but, on the ground, much violence continued in the form of roving bands of ‘soldiers’ or warlord-led militias, who emerged from the jungle, massacred villages, terrorised towns, looted all the food, raped all the women, murdered the men, then disappeared back into the jungle.

This, then, was the deeply insecure and scary environment in which Butcher planned to stage his recreation of Henry Morton Stanley’s epic journey down the Congo river. In the event, although he hears many rumours of roving warbands, although he hears from inhabitants of towns and villages of past attacks, and although he and his travelling companions race past small guard posts, he never in fact meets or has any encounters with any of the terrifying army, militia or tribal warriors.

I’ve summarised the events of the Congo wars in such detail because they are the vital backdrop to Butcher’s adventure, and because he refers to them again and again throughout the book, but mostly in what I regard as a misleadingly simplistic way. In particular I went from being puzzled to feeling a bit disturbed by his complete omission of the context of the genocide (i.e. the Rwandan civil war) and its cause (a deliberate policy of mass extermination in the name of Hutu Power), by his systematic downplaying of the genocide itself, by his complete omission of the name of the key organisation in both the civil war, the ending of the genocide, and the Congo wars i.e. the Rwandan Patriotic Front, and his preference for using the phrase ‘the Tutsi-dominated’ Rwandan government. The repeated use of this phrase cumulatively gives the impression that the source of all the disruption and violence in the region was the RPF-backed government in Kigali.

Now it is definitely true that the two Rwanda-Uganda invasions of Congo, first to overthrow Mobutu, and then to overthrow Kabila, massively destabilised the whole centre of Africa. But you have to understand that the RPF’s aim was to dismantle the Hutu regime which had just carried out the worst genocide of modern times, and then to overthrow the génocidaires’ main supporter, Mobutu, and install a government which would ensure that such a genocide never took place again. Unless you grasp that underlying motive for their actions you make it seem as if the Tutsi government was the unmotivated source of the disorder in the region. It certainly evolved into that situation, especially once all Congo’s neighbours piled in, but that wasn’t their initial motive.

The general thrust of Butcher’s account is correct and he repeats the outline of events several more times throughout the book, but almost all the fine details and the deeper background, which would help you make more sense of these tumultuous events, are either wrong or just missing.

In particular I found Butcher’s underplaying of the genocide (he mentions it but never dwells on what a truly horrific and regionally seismic event it was), his casting of the Hutus as helpless victims, and his continual nudging references to the violence across the region being caused by the ‘Tutsis-dominated’ government in Kigali, build up into a misleadingly incomplete and worryingly biased account of events. A casual reading of the book would lead you to believe that the Tutsis are the bad guys in the story and behind all the violence.

What I’ve just written is based on the following sources:

And, of course, Wikipedia:

But the same goes for Butcher’s versions of earlier events. On pages 58 to 59 he gives a brisk summary of the murder of Congo’s first president, Patrice Lumumba, which is heavy on gruesome detail (the acid used to dissolve the corpse) but very light indeed on the complex international and domestic crises Lumumba found himself facing and made considerably worse by his own troubled character and his chaotic and rash decisions, alienating the Americans who found him impossible to work with, then inviting the Soviet Union to send armed forces to help him put down secessionist movements, which alarmed all the Western powers, the Americans and the UN.

Again, Butcher’s account isn’t wrong, as far as it goes, but by focusing narrowly on Lumumba’s murder and heavily blaming the colonial power, the Belgians (Belgian army officers helped kidnap Lumumba then fly him to a remote part of the country, were present when he was badly beaten, then shot dead and buried in a shallow grave) Butcher’s account omits the six months of hectic crises which preceded it, and Lumumba’s role in exacerbating it.

He gives no sense of how Lumumba’s difficult character worsened the crises and, eventually, led everyone concerned (including many of his own ministers and his army) to believe that Congo would be better off with him out of the way and replaced by someone more stable and predictable.

I’m not defending these events. I’m just pointing out that Butcher’s zippy two-page account, focusing (like a thriller) on the gruesome events of the murder itself, omits the complexity of the context and so militates against a proper understanding.

For all these reasons I would actively advise against reading this book as any kind of authoritative source for the geopolitics of the region and the period. For that, the best place to start would be the outstanding ‘Congo: The Epic History of a People’ by David Van Reybrouck (2010).

Chaps in Africa

So, having established Butcher as a poor source of historical description or analysis, I was, in a sense, freed up to read the book for what it really is: a boy’s own adventure story, a ripping yarn, a white man’s tale of derring-do in the heart of Africa etc.

The ripping yarn tone of the story explains the praise on the cover from an impressive list of white, public school-educated, male Africa hands who recognise one of their own. These include: Alexander McCall Smith, Giles Foden, John le Carré and William Boyd. Boyd is quoted as saying: ‘The day of the intrepid traveller is not over’, which can be translated as: ‘White chaps can still have ripping adventures in the jungle’, a slice of cheery public school optimism which, once you’ve actually read the book with its bleak descriptions of super violence, social collapse and cannibalism, you might come to regard as pretty inappropriate.

Look at me, I’m woke

Butcher is at pains to stay on the right side of the reviewers and modern woke opinion by lambasting the wicked colonialists who exploited Africa during the wicked colonial period (the evils of wicked colonialism are described or referred to scores and scores of time) with a vehemence typical of a certain sort of middle-aged, middle-class, literary white man.

But I found the same is true of his dogged insistence on the evils of colonialism as of his references to the origins of the Congo wars, namely he’s not wrong, but, after a while, you start to realise he’s not describing the issue in its full complexity. He is, after all, a journalist, and so he’s writing in catchy headlines and peppy phrases.

For example, in several places he elides the truly evil, wicked, genocidal regime of the disgusting King Leopold in the 1880s and 1890s with the much more benign rule of the Belgian colonialists after the Second World War. OK, maybe they still had the same racist, white supremacist beliefs, but, as his actual narrative makes abundantly clear, they no longer massacred entire villages and cut people’s hands off; instead the post-war colonial regime built airports and railways and roads, and ports and docks, and ran mines and plantations and businesses and, above all, maintained the peace, creating the basis of a potentially prosperous country. Eliding the two eras and their policies into one thing struck me as morally dubious but also historically and politically misleading.

At one point, in a typically jeering throwaway remark, Butcher says it was one of Belgium’s most notable blunders that they didn’t train up a cohort of educated native politicians and administrators to take over the running of the country when they left. This sounds fine but it’s really a cheap shot because the Belgian colonial authorities, just like the French and British ones, thought they would be running Africa for decades to come and so had plenty of time to create an infrastructure and slowly train up the indigenes.

None of them anticipated the sudden rush for independence which was triggered by the independence of Ghana (in 1957). In particular none of them anticipated a key factor, which I’ve highlighted in my reviews of, for example, Martin Meredith’s bleakly hilarious book, ‘The State of Africa: A History of the Continent Since Independence’, which was that, once negotiations started, the African nationalist parties tried to outdo each other in demanding independence, soon, sooner, NOW!

With the result that the fiery nationalists at the conference called to discuss the future of the Belgian Congo demanded they be given independence within three months of the conference ending. Many commentators at the time thought this was wildly rash but they were, of course, all denounced as racist imperialists.

Ronan Bennett’s novel The Catastrophist is set against the backdrop of the crisis of 1960 and gives a lot of  factual detail about the lead-up to Lumumba’s murder. Some of the secondary characters who the impeccably liberal protagonist meets at cocktail parties etc point out that the Africans are nowhere near being able to run a country, that handing over rule to them will lead to massacres, white flight and the collapse of the country into civil war and…they are treated as racist bigots, disliked by the woke hero, ignored by the politicians. Trouble is, those racist bigots turned out to be 100% correct and then some. Rushed independence turned out to be an unmitigated disaster for the people of the Congo.

White privilege

Butcher takes every possible opportunity to slag off the wicked Belgian colonialists, but he is considerably less attuned to the way that he, a middle-class, well-connected white westerner, with thousands of dollars stashed in his kit, along with zippy technology (laptop and satellite phone) and possessor of tiptop connections to government authorities, numerous non-governmental organisations (NGOs) and the press (his employer, The Telegraph newspaper) is only able to undertake the journey because of his (relative) wealth, his white privilege and his western privilege.

Quite a few times he walks into the offices of bureaucrats or confronts African officials who are notably more respectful of him than of their fellow Africans who they’ve just been bullying, simply because he is a white man. The entire journey is only possible because he is, by Congo standards, rich, because he has thousands of dollars stashed in his clothes and so is able to pay Africans hard cash to drive him through the jungle, canoe him down the river, and generally bribe his way out of trouble.

That William Boyd quote could more accurately be rewritten as: ‘The day of the intrepid [western white male] traveller [with lots of cash and connections] is not over’.

In the footsteps of Stanley

Butcher’s entire expedition is an attempt to recreate Henry Morton Stanley’s great expedition across country to, and then down, the mighty Congo River, in which he was accompanied by three white companions and over 300 African porters, and which took three long gruelling years, from 1874 to 1877.

As you might expect, this inevitably entails several summaries of Stanley’s biography and character, of the great expedition (pages 44 to 49), and Stanley’s narrative (and illustrations) are referenced throughout the book, in particular whenever Butcher arrives at a place which Stanley first visited, or a town he in fact founded (for example, the settlement of Stanleyville which he founded at the end of the series of treacherous rapids which he modestly named, the Stanley Falls). Inevitably, Butcher also references Stanley’s central role in opening up central Africa for the murderous genocidal regime of the truly evil King Leopold of Belgium.

But again, I found Butcher’s account good as far as it went, but it never goes much beyond the stereotype of the wicked, brutal racist Victorian explorer. Butcher takes the standard journalistic view that Stanley was a wicked, violent, racist who treated his hundreds of native porters with appalling brutality and didn’t hesitate to open fire on tribespeople who got in his way. All the subtlety and complexity about the man and his achievements to be found in the (obviously much longer) biographies like that of Tim Jeal (2007) are simply absent. Jeal doesn’t gloss over Stanley’s brutality, but places him in the context of his time, compares him with other explorers, and explains the challenges he faced, from the treacherous Arab slave traders who dominated the region, to the often violent and sometimes cannibal tribes Stanley had to deal with.

I’m not in the slightest exonerating Stanley: the work he went on to do for King Leopold, systematically swindling scores of tribal leaders out of their ancestral lands by making them sign contract with Leopold which they obviously didn’t understand and had no legal validity, was obviously wicked and inexcusable. I’m just saying that, as with the Congo wars and Lumumba’s murder, Butcher’s journalistic summaries of Stanley gloss over the far more complex, more fascinating and therefore more useful facts.

Butcher’s mum

The blurb, the preface and much of the text all emphasise that Butcher is setting out to recreate Stanley’s epic voyage of explanation down the Congo – but on pages 8 to 11 we learn of a much more homely, domestic motive for his trip. His mother did it.

Butcher’s mum was a jolly hockey sticks daughter of the empire who, aged 21 in 1958, was packed off to southern Africa, with a friend, as a sort of finishing school. She travelled from Cape Town to Salisbury (modern Harare in Zimbabwe). It was the very end of the colonial era and so all the countries she travelled through – South Africa, Rhodesia – were still run by white colonial administrations, and so there was law and order and a good travel infrastructure: planes and trains and ferries ran on time and regularly.

This applied just as much to the 1958 Belgian Congo which the two young gells crossed as the final part of their journey. Leopoldville was the hub of one of Africa’s largest airline and the Congo’s chief port, Matadi, was served by a fleet of ocean liners. Everything – trains, planes, ferries – worked like clockwork , staffed by polite porters and obliging stewards – and so Butcher’s mother, when he used to question her, had little or no memory of it.

Now, 45 or so years later (2004), the countries she travelled through have collapsed into dictatorship (Zimbabwe) or chaos (Congo), most of the infrastructure of the latter having collapsed and disappeared back into the jungle (railway lines and railway sleepers long ago dismantled and sold for scrap or burned as firewood; stations derelict; docks abandoned, as in a dystopian sci fi movie).

Butcher’s mum kept brochures and posters and timetables from her trip which Butcher describes poring over lovingly as a boy and young man. And so Butcher’s adventure has this second level, not only retracing the steps of the man who ‘discovered’, mapped, named and revealed central Africa to western readers in the 1870s and 80s – but at the same time moving through the surreal ruins of what had once been the thriving and efficient colonial infrastructure remembered by his mum and recorded in the various brochures and timetables she kept, circa 1958 (plus other 1950s documents and guides he acquired in preparation for his trip).

So: two sets of ghosts, and that’s just the white ghosts. Obviously Butcher discovers, once he enters the country, that he is also moving among spirits of all the African tribes who lived and died, fought and were enslaved, and, more recently, burned and looted, their way through the same terrain. (See Ryszard Kapuściński’s excellent book, The Shadow of The Sun, for extended descriptions of how belief in the spirits of the dead continue to saturate African culture.)

So Butcher’s trip is alive with resonances and echoes.

Kalemie

Butcher starts his journey in the port of Kalemie on the west bank of Lake Tanganyika, which is where Stanley arrived with his huge expedition of over 300 porters, after having crossed country from Zanzibar and then crossed the lake from east to west. Instead Butcher kicks off his journey by flying there, direct from South Africa. I thought this was a slightly odd decision. To fully recreate the Stanley expedition he ought to have travelled overland from the Tanzanian coast to Lake Tanganyika, as Stanley did. It would have been interesting to have his description of modern-day Zanzibar and Tanzania, and would have maybe provided a useful contrast between one African country and another.

So anyway, Butcher flies direct to Kalemie on the western, Congo, side of Lake Tanganyika and it’s here that, after quite a few digressions about Stanley, his mum, the contacts he has drummed up in preparation for the trip, and the briefings he’s had, that he finally gets the journey started.

Kalemie straightaway provides a good example of the decline and decay all of Congo has fallen into, after 32 years of Mobutu’s systematic looting of his own country, zero investment and appalling corrupt local administration, followed by seven years (1997 to the time of his visit, 2004) of increasingly chaotic and widespread conflict. From a distance it looks like a modern town but once he’s landed and looks more closely:

What I had taken to be an estate of factories, damaged in the recent war in the Congo, turned out to be a ruin dating from a much earlier age. Faded advertisements could just be made out on the walls…Grass grew long and untroubled through the railway sleepers on the approaches to the disused station…An old railway carriage…stood rusting in the tropical heat. In one of the compartments someone had made a small cooking fire on the floor, now surrounded by various dirty pots…Instead of a functioning high street what I found was a dusty space filled by gaggles of meandering locals…Of the buildings themselves there was little beyond the fronts. Rust had not just coloured the roofs but eaten out huge holes through which tropical rain had flooded for countless rainy seasons…Pipes that once brought mains water to each building lay broken and there was not one working lightbulb…Without cobalt or diamonds or gold to draw outsiders’ interest here, Kelamie had been hollowed out by the years. Where there had once been a substantial settlement, nothing but the husk remained. (pages 85 to 85)

And this in ‘one of the biggest towns in the Congo’, a town with no state radio or TV, no newspaper, no landline phones and no internet, no petrol stations or cars, where the 1950s airport the Belgians built has become a bullet-riddled ruin (p.88).

This is what decades of neglect, lack of investment, lack of law and lack of local government produce, in a place ‘run by’ officials and administrators who do nothing but loot and steal and demand bribes for every transaction, a place where the state fails to provide either teachers or doctors or police (p.105). A key word or theme or image which threads through the text is ‘ruin’, along with its cousins, ‘derelict’, ‘wreck’, ‘decline’, ‘decay’ and ‘abandoned’.

Going backwards

Butcher hires some guys to take him by motorbike (two bikes and their owners for security’s sake, and because they know the route) inland from Kalemie. The key fact to grasp is that there are no roads any more, let alone railways. In the 1950s guides and the memory of his mother (and other accounts from the 1950s, which he cites) the major cities and many of the towns were connected by good asphalt roads which the Belgians built. Every single one of these has disappeared and been swallowed back into the jungle. Several times he comes across vehicles buried under decades of tropical foliage and realises that the narrow track through the jungle where he’s standing was, 50 years previously, an open, asphalt highway busy with cars and lorries. Now all gone, disappeared.

Similarly, Congo’s main cities were joined by railway lines and all of these have disappeared. In some cases the metal rails have been removed along with the sleepers and all that’s left is a track worn flat by the trudging of African feet. In town after town he comes across derelict, abandoned railway stations. In one particularly vivid moment he’s struggling through thick tropical forest, the sky blocked out by interlocking trees swaying high above him, dense foliage pressing right up against the narrow path he’s pushing his motorbike through when his boot clunks against something metallic. When he squats down and scrapes away at the thick soil and undergrowth at his feet he is stunned to reveal a metal rail. Beneath his feet and completely swallowed up by raw jungle is a railway which was part of thriving, developing country just 40 years previously. He is staggered by how quickly, and how totally all these infrastructures have been utterly lost, by how swiftly the country has unravelled and gone backwards.

Butcher’s journey

So Butcher rides pillion on the back of a motorbike from Kalemie heading directly west, roughly following the old abandoned overgrown railway line which once ran alongside the River Lukuga and linked Kalemie on Lake Tanganyika to join the River Lualaba between Kabalo and Kongolo. But after a 110k or so they take an abrupt right turn, heading north towards Mukumbo, then onto Kabambarre, and then to Kasongo, a now-ruined port on the River Congo.

This journey doesn’t look much on the (very good) map in the book, but it was in fact a mind-boggling 500 kilometres. (The book contains one master map of the entire route, done in a professional cartographic style, and then each chapter of the actual narrative starts with a charming hand-drawn map of that particular leg of the journey, complete with hand-drawn dotted lines, place names, and distances. Sweet. And handy.)

Anyway, Butcher covered this awesome 500k on the back of a motorbike! Along rutted, narrow, earth tracks bounded by tropical rainforest and continually littered with tree roots, bumps and ravines, streams, gulley and occasional rivers. No wonder he got a sore bum!

He takes a (very basic) ferry across the river and, on the other side, contracts more motorcyclists to drive him through 200km more narrow winding jungle paths, via the (ruined) town of Kibombo and on to another riverside port, Kindu. It’s on this leg that he comes across the wreckage of an armoured car which was shelled and destroyed during a firefight on a major road paralleling the river. Now the road has completely disappeared and all that’s left is a rusting metal hulk, almost completely overgrown by jungle.

In Kindu he contacts the local UN station (‘Hi, I’m a white jounralist’) which agrees to convey him in one of their river patrol boats 150k north, to the riverside settlement (not a town, just a few huts on the muddy bank) of Lowa. Here the friendly, civilised UN sailors set him ashore, with much shaking of heads over his folly, and Butcher, very scared, approaches some local Congolese lounging near huge wooden canoes. He is greatly relieved when one of them agrees to take him by canoe, or pirogue, the 200k by river further north to the town of Ubundu. This man, Malike Bade, quickly recruits three other oarsmen and off they set.

Ubundu, the ruined town which had once been the thriving Belgian port of Ponthierville, marks the start of the 150k or so of rapids and waterfalls collectively (still) named the Stanley Falls. Butcher has to transfer from the river to dry land and hitches a ride with some motorcyclists who work for a western charity (‘Hi, I’m a white journalist’), who have just delivered supplies to Ubundu and are now returning to their base at Kisangani, the big settlement which marks the end of the Stanley Falls.

It’s on this leg that he has the haunting experience of stumbling across a rail from the railway the Belgians built running north-south parallel to the river, now not only abandoned but completely buried by the tropical jungle (pages 248 to 249).

It was one of the defining moments of my journey through the Congo. I was travelling through a country with more past than future, a place where the hands of the clock spin not forwards, but backwards. (p.249)

Kisangani is the first town in nearly 1,000 kilometres which has proper roads, car, electric power, hotels worth the name, and running water, and bed with clean sheets, so he has an orgy of showers and sleeping and eating proper food, and then more showers and more eating and sleeping.

He discovers Kisangani may look like a big functioning town but most of the infrastructure here, as everywhere else in Congo, is in ruins – the ruined railway station and the ruined harbour, the riverside cranes which look so impressive from a distance but haven’t worked for decades, broken beyond repair:

a shell, prone to spasms of political anarchy and chaotically administered by inept, corrupt local politicians…It owed what little stability it had to the artificial props of a large UN force and foreign aid workers. (p.255)

And the local politicians do everything they can to undermine even these fragile elements of stability. A few months before he arrived in Congo there had been conflict in the profoundly unstable Bukavu region far to the east on the Rwandan border, with reports of Rwandan forces massacring Congolese. Instead of calming opinion, Kisangani’s officials inflamed it and blamed the deaths on the UN for failing to protect the Bukavese, with the result that angry mobs went on the rampage, looting then setting fire to UN buildings, ransacking aid organisations’ offices and warehouses, while the so-called police stood by or even joined in.

When you read of events like this you wonder, why are we bothering to give money to help people who are so absolutely determined to ruin themselves?

I heard heartbreaking stories about corrupt Congolese officials pocketing aid money intended for local public-health workers, and local soldiers not just looting aid equipment, but brazenly asking for cash to hand it back to its rightful owners. Many in the aid community spent their time counting the days until their contracts were up and they could go back to the real world. (p.285)

A Catholic missionary, Father Leon, tells him about the notorious massacre of monks and gang rape of nuns which took place here in 1964 (24 November 1964, to be precise), was widely reported, and helped crystallise world opinion that Congo was slipping back into Stone Age barbarism (pages 270 to 274).

After five days Butcher moves out of his hotel and into the last large mission being run in the city, by the Missionaries of the Sacred Heart of Jesus. After two weeks of sounding out local ship crews and NGOs, trying to find a boat which will take him down the river, after numerous disappointments, Butcher eventually secures a ride on a UN patrol boat (‘Hi, I’m a white journalist’) which will take him the 1,000 kilometres down the river to the port of Mbandaka.

On the way he becomes ill and weak with fever so that by the time he arrives at Mbandaka, he just can’t face another week or two or three hustling for his next ride down the river. Mbandaka is much smaller and more ruinous than Kisanagani was, so there isn’t even a hotel. God knows where he’d stay. Whereas the UN riverboat captain had told him that a UN helicopter service left the following morning for Kinshasa.

Reluctantly, but with great relief, Butcher travels the 600k from Mbandaka to the country’s capital, Kinshasa by helicopter. Here he is put up in the amazingly luxurious gated compound owned by a major international mining company, which won lucrative contracts by helping with the smooth transition of power after wily old Laurent Kabila was unexpectedly assassinated (16 January 2001) and succeeded by his completely inexperienced son, Joseph Kabila, aged just 30 at the time.

Only after days of showers, lots of sleep, taking a variety of medicines, eating proper food and drinking clean water in this rich, privileged western enclave, does Butcher feel human again, and in a position to decide what to do next. He consults with the senior guy minding the mining company compound who explains that there are no buses or taxis in Kinshasa. The only possible option is to pay to have one of the mining company’s cars and driver drive him along the only remaining road in the entire country (recently refurbished with foreign aid money) the 350k to the Atlantic port at Boma. So that is what he does.

In total the journey took him ‘six harrowing weeks’, 44 days, and was a dazzling, deeply depressing insight into the state of contemporary Africa.

Butcher’s bleak view of Africa

As the Telegraph‘s Africa correspondent, Butcher is amusingly blunt: Africa is fucked, that’s his basic position. African nations were screwed by the colonial powers from the Congress of Berlin to independence (the 1880s to the 1960s); then suffered epic civil wars and/or the extended rule of vicious kleptocrats; and have now mostly fallen into states of disrepair, degradation, police states, autocracies, characterised by epic corruption, horrible everyday violence, and the regular occurrence of coups or civil wars.

The one constant through all these episodes was the heavy undertow of human suffering. It gnawed away at every African epoch I read about, no matter whether it was caused by nineteenth-century colonial brutes or twenty-first century despots. Generations of Africans have suffered the triumph of disappointment over potential, creating the only continent on the planet where the normal rules of human development and advancement simply don’t apply.

It was this sense of stagnation that troubled me most as I worked my way through my reading list. Sub-Saharan Africa has forty-one separate countries of stunning variety – from parched desert to sweaty rainforest, from wide savannah to snow-tipped volcano – and yet as I did my background research, the history of these varied countries merged into a single, pro forma analysis…as crude as the underlying assumption: that African nations are doomed to victim status.

By the time I started working in Africa as a journalist in 2000, its patina of despair had thickened to impenetrability… (p.4)

Certainly, when it comes to Congo, Butcher regards it as a country which has comprehensively gone to ruin, a place which has not only ceased developing but is actively undeveloping, moving at speed back into pre-20th century, pre-industrial times.

The failure of the Congo is so complete that its silent majority – tens of millions of people with no connections to the gangster government or the corrupt state machinery – are trapped in a fight to stay where they are and not become worse off. Thoughts of development, advancement or improvement are irrelevant when the fabric of your country is slipping backwards around you. (p.289)

Butcher has a map from 1961 which shows all the railways, roads, airports, mines and towns built by the Belgians. Now almost all of them are abandoned and have faded back into the jungle. The Great War has left the huge territory divided between regional powers, armies and militias or just local bandits, any of whom might stop and shoot you for no reason.

Butcher is continually, vehemently rude about the white man, about colonialists, about outsiders who came into Congo, and is much consumed by the white supremacist, racist, arrogance which thought it knew what was best for the Congolese. Again and again he makes the same point.

And yet very often, in the very next paragraph, he goes on to describe at great length, and very upsettingly, just how completely Congo was devastated by its kleptocratic rulers, by Mobutu and his clique in faraway Kinshasa, who developed the cult of the leader of the nation while all the while stealing every last dollar from their people, building grotesquely luxurious palaces and villas, buying scores of properties around the world, while the infrastructure of entire provinces such as Katanga collapsed and disappeared back into the jungle.

And then he goes on to describe the work of the United Nations which strives hard to bring the warring sides in Congo’s endless conflicts to the negotiating table, which expends a small fortune trying to police the ceasefire at locations all across this country as large as a continent. For example, the story of Kisangani which saw horrific levels of violence in various civil conflicts, whose infrastructure and economy collapsed, and is nowadays only just about propped up by the UN and western NGOs, when the local population aren’t ransacking them.

The point being that, no matter how woke, anti-colonial and politically correct Butcher tries to be in his editorialising, the blindingly clear conclusion from his long, gripping narrative is that the Congolese simply cannot rule themselves. (p.319).

As soon as they tried to (June 1960) the place collapsed into a series of civil wars along with tribal massacres on a hair-raising scale, and now, as he writes (2004), 43 years after independence, Butcher’s journey amounts to an odyssey through a country which has not only failed to develop but is, to use his powerful neologism, undeveloping, with communities all across the country deprived of the clean water, electricity, communications, industry, travel infrastructure, even minimal education, even the most basic medical facilities, all things they took for granted under the Belgians.

Now it’s all gone, decayed, corroded, overgrown, crumbled to dust, and the country has reverted to its African origins: impenetrably difficult to travel across, riddled with disease (cholera from the water, malaria from the ubiquitous mosquitos) and infested with blood-thirsty, savage warrior bands, who arrive out of nowhere, kill all the men, rape all the women, burn the village to the ground, then disappear back into the jungle.

It’s a tropical hell. It’s Hieronymus Bosch in the jungle.

Summary

As I’ve probably stated at too great a length, I was unhappy with Butcher’s journalistic and rather superficial descriptions of many key aspects of Congo’s modern history. And I am gently mocking of the contradiction that, despite his insistent criticism of colonialism and white racism and imperial exploitation etc, it is only because he is a white westerner and (relatively) rich that he can pay the locals to ferry him wherever he wants, waltz into UN offices anywhere in the country and not only get their attention but persuade them to help him out (by boat, by bike, by helicopter). He’s a white man. Of course they’ll help.

But what I haven’t emphasised enough is that Butcher is also a cracking writer, with a great eye for detail. His descriptions of the jungle, the ruined settlements, primitive villages or scary cities (like Kisangani) are vivid and compelling. It’s a gripping, exciting read.

And also, Butcher has a knack for interviewing people or getting them to tell him about themselves and stories about their trade, village, town, or local history. Obviously these stories are tidied up and made fit for western consumption, he’s a journalist, that’s what he does. But he talks to a wide range of people who begin to build up a sense of opinions and experiences from right across this vast country.

(There are obvious omissions: he never speaks to anyone from any of the armed militias which, according to his interviewees, roam so much of the jungle, emerging to carry out unspeakable atrocities, but then journalists rarely do. They’re not the kind of people who make for compliant and articulate interviewees and so their voices are consistently absent from most western accounts.)

So although there are better books to go to in order to to understand the recent political and military history of the Congo, Butcher’s sweaty, fearful, sleepless, buttock-bruising account gives you a really vivid feel for what the country and its actual population – thousands of miles from the slick government spokesmen and official narratives of downtown Kinshasa – are really like. And a vivid and almost overwhelming sense of the dreadful fate, almost complete social collapse back into the Stone Age, which so much of it has undergone.

On the long slow journey down the river aboard a UN patrol boat (more accurately, a primitive tug or ‘pusher’) Butcher finds himself audience to an impassioned diatribe by the Malaysian captain, Mohammed Yusoff Sazali, who explains that Malaysia, like Congo, was colonised for centuries; Malaysia like Congo was subject to a cruel racist colonial masters (the British); Malaysia gained independence about the same time as Congo (1957 and 1960); Malaysia like Congo was dragged into Cold War conflicts. And yet, 50 years later, Malaysia is part of the world, has achieved great things in education and health, has a booming economy, they even host a Grand Prix every year. While Congo is collapsing year by year into pre-industrial, Stone Age poverty. Why? Why has Malaysia stormed ahead and Congo fallen so far behind? The skipper:

had distilled the quintessential problem of Africa that generations of academics, intellectuals and observers have danced around since the colonial powers withdrew. Why are Africans so bad at running Africa? (p.310)


Credit

Blood River: A Journey To Africa’s Broken Heart by Tim Butcher was first published by Chatto and Windus in 2007. References are to the 2008 Vintage paperback edition.

More Africa reviews

A World In Common: Contemporary African Photography @ Tate Modern

This is an outstanding, wonderful exhibition bringing together some 150 photographs (and a few installations and videos) by no fewer than 36 photographers and artists from across Africa. It is full of breath-taking and beautiful works, suggesting a continent alive with wonderfully creative, innovative artists.

It’s divided into three ‘chapters’, each of which are sub-divided into themes. To quote the curators:

The first chapter is rooted in ancient African cultures and traditions which have survived periods of struggle and resistance. Inspired by Pan-African liberation movements, the second chapter looks at photography’s ability to produce counter histories – archival practices and the agency of photographer and subject are brought into focus. The third chapter explores the impact of globalisation and the climate emergency.

Chapter 1: Identity and tradition

Queens, Kings and Gods

For centuries Africa was conquered and colonised by European countries. The artists in room one pay tribute to the monarchs and matriarchs who resisted colonial conquest and occupation. The photographers here invoke the heritage of kingdoms such as the Asante of Ghana and the Yoruba of Nigeria, who are descended from the goddesses and gods of the ancient spiritual capital, Ilé-Ifẹ̀. Thus a series of big, beautifully clear portraits of traditional monarchs of the present day by George Osodi (born Nigeria 1974).

Installation view of ‘Nigerian Monarchs’ series by George Osodi (2012 to 2022) in ‘World in Common’ at Tate Modern (photo by the author)

There is a set from the ‘We Live in Silence; sequence by Kudzanai Chiurai (born 1981, Zimbabwe) which elaborately recreates biblical narratives, history painting and Christian iconography which themselves turn out to be scenes from the 1967 film, ‘Soleil Ô’, by Mauritanian-born French filmmaker Med Hondo. So, worlds within worlds…

We Live in Silence IV by Kudzanai Chiurai (2017) courtesy of the artist and the Goodman Gallery © Kudzanai Chiurai

Spiritual worlds

The next room gestures towards the complex and diverse history of religion across this vast continent. There’s a set of photographic self portraits by Khadija Saye (1992 to 2017, born and worked in the UK, of Gambian heritage). You might recall that it was one of these photos that British artist Chris Ofili used as the centrepiece for his huge new site-specific Requiem for Grenfell Tower at Tate Britain. In this sequence Saye photographed herself performs a series of rituals using sacred objects that combine her African, Christian and Islamic heritage.

Installation view of the ‘Dwelling: in the space we breathe’ series by Khadija Saye (2017) (photo by the author)

At the end of the room is a stunning work, a set of five huge digital photos arranged to create a striking tableau by Maïmouna Guerresi (born 1951, born in Italy, works in Senegal). Titled ‘M-eating – Students and Teacher’ it shows four girls and an older man sitting around a long table draped in a yellow cloth. The wall behind the table is inscribed with the Basmala, a Muslim prayer recited to elicit God’s blessings. It’s a huge and really powerful image of absorption and contemplation but, more than that, it’s just a beautifully clear and vividly coloured composition.

‘M-eating – students and teacher’ by Maïmouna Guerresi (2012) Courtesy of the artist and Mariane Ibrahim

Masks

The next room is devoted to the role of masks in African religion, ritual, folklore and culture. There’s a stunning series by Edson Chagas (born 1977 in Angola), the Tipo Passe series of sitters wearing contemporary clothes but traditional Bantu masks. ‘Tipo passe’ is Portuguese for passport and the frontal composition references passport photography.

Installation view of the ‘Tipo Passe’ series by Edson Chagas (2014) (Photo by the author)

Opposite these is a series of really wonderful photos by Leonce Raphael Agbodjélou (born 1965, works in Benin), instances from the Egungun series.

Installation view of ‘Egungun’ series by Leonce Raphael Agbodjélou (photo by the author)

As the curators explain:

Egungun is a Yoruba masquerade practice which calls upon the spirits of departed ancestors. Through ceremonial drumming and dance, ancestral spirits inhabit the bodies of Egungun practitioners to pass on blessings and guide the passage of the dead to the spirit world. Clothing plays an important role in Egungun masquerade – elaborate masks and fabrics must completely seal the performer’s body. Agbodjélou’s performers wear costumes which layer expensive foreign materials and traditional Yoruba cloth. This combination of the traditional and the contemporary parallels the Egungun’s complex role as mediators between the world of the living and the dead.

They’re absolutely stunning, vivid photos.

Untitled from the ‘Egungun’ series by Leonce Raphael Agbodjélou

There’s a massive video piece by Wura-Natasha Ogunji titled ‘Will I still carry water when I am a dead woman?’ and showing women dressed in colourful (traditional?) clothes, dragging kegs of water roped to their ankles through the backstreets of Lagos. Here’s a clip:

You may not be altogether surprised to learn that it’s a feminist piece. Their costumes evoke images of Egungun masquerade, a Yoruba practice that manifests ancestors’ spirits and is traditionally reserved for men, and Ogunji explains the piece is designed to question the heavy labour still done by many women in traditional societies.

Chapter 2: Counter Histories

The next room is big with a lot going on. Along one wall is a series of relatively small ‘family portraits’. These loving portraits of family members gesture towards the long history of studio portraiture that gave agency to African photographers and their sitters, letting them create domestic alternatives to the imperial rhetoric of colonial postcards, posters and magazines. These included pioneering photographers such as James Barnor in Ghana and Lazhar Mansouri in Algeria, photographing families and individuals who would gather proudly to have their portraits taken, often for the first time. All fair enough, but they’re relatively small and struggle to compete with the other, enormous offerings in the same space.

Most striking is the large assembly of old box files arranged on a pebbly red base. This is ‘A History of a City in a Box’ by Ndidi Dike (born UK, works in Nigeria). These old file boxes are filled with archival documents, including colonial-era postcards and photographs, and then carefully choreographed on sand and soil. It is a general metaphor for the way information was power for the old colonial authorities and was hidden away in files and folders but then, during the period of independence, colonial archives were abandoned, hidden and destroyed. And yet…that information decayed, became irrelevant, barely concealing the true earth of the country, its geological bedrock, symbolising the country’s real roots.

Installation view of ‘A History of a City in a Box’ by Ndidi Dike in room 4 of ‘World in Common’ at Tate Modern © Tate (Lucy Green)

In the centre, at the back of n this photo, you can see a set of four figures, blown-up and pasted onto cardboard bases, these are the work of Samson Kambalu (born 1975 in Malawi, works in the UK). They’re actually cardboard cut-outs of African soldiers use photographs sourced from the Weston Library in Oxford, UK. They represent the unnamed infantry who fought for the British Empire during the First and Second World Wars and were known as the King’s African Rifles. The cardboard indicates the soldiers’ expendable status to colonial powers. Behind them is a patchwork of quilts inspired by Kambalu’s childhood memories of collecting bubblegum cards of world flags.

Next to them, on the right, you can see a sequence of three big pieces. These are from the sequence ‘Figures’ by Malala Andrialavidrazana (born 1971 in Madagascar, works in France). These are collages of maps, fragments of bank notes, record sleeves and other archival documents which build up into complex, evocative collages. The maps are, as you might expect, old-style colonial-era maps, the idea being that maps were used by the imperial countries to define and control; while the images are of strong African figures, including striking portraits of ancient Egyptian queen Nefertiti and Zairean dictator Mobutu Sese Seko. These are strong, highly impactful images.

‘Figures 1861’ by Malala Andrialavidrazana (2016) at ‘World in Common’ at Tate Modern © Malala Andrialavidrazana

Away on the opposite side of the room is a large alcove with a distinctive black-and-white tiled floor, containing three big vivid sets of photographs by three different photographers.

They are, from left to right, four photos by Ruth Ginika Ossai (Nigeria), three by Hassan Hajjaj (Morocco) and four by Atong Atem (born 1994 in South Sudan, works in Australia).

Ruth Ginika Ossai’s portraits are carefully staged on floormats made of Astroturf and parquet-style laminate flooring. The backdrops are inspired by the special effects featured in Igbo gospel music videos and Nollywood films and give them a super-real feel.

The central three are by Hassan Hajjaj in a series called ‘Kesh Angels’ (named after the Hells Angels and the city’s motorbike culture). These are brilliant. The women are not only wearing vivid djellabas and veils but are posed in deliberately in-yer-face, take-no-**** attitudes. To cap it all, the frames are inset with tins of popular products, one appears to be lamb meat, another of tomato juice. So they’re stylish, stroppy, modern and funny.

Installation view of ‘Kesh Angels’ by Hassan Hajjaj (photo by the author)

To the right of the Kesh Angels are four portraits by Atong Atem. Atem portrays friends who are fellow members of Australia’s African diaspora. She says: This body of work honours the South Sudanese Dinka tradition of record-keeping and archiving as an intimate cultural practice.’ Aren’t they beautiful, brightly colourful, densely patterned, vibrantly alive?

‘Adut and Bigoa’ by Atong Atem (2015) courtesy of the artist and MARS Gallery © Atong Atem

Chapter 3: Imagined Futures

The final room contains yet more series of really strong photographs. The theme is the environmental challenges facing Africa, specifically its overpopulated cities and its degraded environment plus, of course, the heating up and drying out caused by global warming.

Kiripi Katembo (1979 to 2015, born and worked the Democratic Republic of the Congo) discovered that people in his home town of Kinshasa, capital of the Democratic Republic of the Congo, didn’t like being photographed. But he could get away with photographing their reflections in the city’s countless large puddles and pools of water. Often these contained rocks or building rubble, but Katembo discovered that the intrusion of these objects into the crystal clear reflections created an interesting disturbance. As the curators describe it: usually depicted as a chaotic and busy capital, ‘here Kinshasa appears as a dream-like landscape populated by shadows and unidentified objects.’

Installation view of ‘Un regard’ by Kiripi Katembo (photo by the author)

There’s a striking series of large black and white photos by Mário Macilau (born 1984, born and works in Mozambique). These, as the images instantly convey, document the workers of the Hulene landfill site in Maputo, Mozambique. Obviously it shows human beings reduced to picking through rubbish to glean a living, and, of course, affected by the toxic substances released into the air and soil by the widespread practice of burning.

‘Breaking News’ from ‘The Profit Corner’ series by Mário Macilau (2015) © Mário Macilau, Courtesy Ed Cross Fine Art

Related to the same topic of environmental destruction, but in a completely different register, is a series of 3 wonderful photos by Fabrice Monteiro (born 1972 in Belgium, works in Senegal). They’re from his ‘Prophecies’ series and they are absolutely brilliant.

Untitled #1 (2013) from ‘The Prophecy’ series 2013 to 2015 by Fabrice Monteiro in ‘World in Common’ at Tate Modern

‘The Prophecy’ series captures environmental issues facing communities in Dakar, Senegal, from forest fires to coastal erosion. Spookily tall spiritual figures, inspired by West African masquerade and animism, rise up out of the rubbish dumps, themselves made of rubbish and detritus. They’re stunning.

And next to them is arguably the best set in the show, the ones the curators have (wisely) chosen as the posters, a set of four quite stunning, beautifully, staged, semi-abstract photos by Aïda Muluneh (born and works in Ethiopia, 1974).

Installation view of ‘Water Life’ series by Aïda Muluneh, being (top row): The Shackles of Limitation, Steps (bottom row): Star Shine Moon Glow and The Sorrows We Bear

These were commissioned by the charity Water Aid and depict – in an obviously highly stylised way – ‘rural water access and its impact on women’s rights, well-being and education.’ The impact of global warming will obviously further degrade access to drinking water for hundreds of millions of people in the poorest countries. But clearly the thing here is Muluneh’s stunning use of a limited palette of bright blue and red, and her incorporation of traditional African body painting and dress.

Epilogue

The final (small-ish, corridor-like) room in the exhibition hosts videos by two artists. On the whole I don’t like videos. I don’t have the patience – the photos I’ve highlighted earlier in the show all make their impacts with dramatic immediacy whereas art videos are, by and large, extremely slow.

The most striking is ‘In Praise of Still Boys’ by Julianknxx (born 1988 in Sierra Leone, works in the UK).

The 3 or 4 minutes of this I sat and watched featured lots of footage of a very young Queen Elizabeth II visiting somewhere in Africa (Freetown?), white British sailors steering a motor launch through canoes rowed by local Africans, then British troops from the (I’m guessing) 2000 intervention in Sierra Leone (almost none of this is shown in the trailer, above). And this harking on about the British colonial legacy prompted the train of thought which follows in my political commentary on the exhibition.

Political commentary

I hugely enjoyed this impressive, wide-ranging exhibition about African photography as an aesthetic i.e. visual and psychological experience. But aesthetics and politics are far apart, at least in this exhibition and Tateworld more generally. As political analysis or commentary, this exhibition was rubbish. Dire. Seriously misleading. On and on and on and on and on the curators go about ‘colonialism’ which, for most of these countries, ended in the 1960s, 60 years ago, and on and on and on the curators and the artists go about the Atlantic Slave Trade, which Britain banned in 1807, 216 years ago.

In chapter 3 the curators optimistically claim that the featured artists ‘imagine multiple futures’ and cite Senegalese academic, musician and writer Felwine Sarr (born 1972) who calls for ‘Africans to think and formulate their own future’. In his 2016 book Afrotopia, Sarr writes:

‘Africa has always been the object of discourse by others. Now is the time to dream this utopia in Africa itself, to design Africa ourselves, to think, and to act for ourselves.’

Which immediately prompts two objections. 1) Dreaming isn’t going to get you anywhere, buddy. Practical policies might. See Paul Collier’s list of practical steps in his hard-headed book ‘The Bottom Billion’.

But more relevantly to this exhibition, 2) there’s almost nothing about the future, instead there is a sustained, deep immersion in the legacy of colonialism. Loads of the 36 photographers’ work is directly about colonialism, the colonial legacy, colonial control, colonial archives, ‘the colonial gaze’, colonial images, colonial photography, colonial identity cards, colonial posters, colonial postcards. The word ‘colonial’ occurs 26 times on the wall labels. Even if the artist isn’t themselves addressing it, you can bet the curators will drag in a reference to slavery or colonialism or both in their wall labels.

In other words, the overall effect of the exhibition is immensely backward-looking. It’s like a traumatised adult condemned to act out the abuse of their childhood again and again, with no hope of escape. Maps of colonial Africa, footage of colonial Africa, old box files from colonial Africa, old derelict buildings from colonial Africa, trying to escape from the Christian religion imposed by colonial Africa. Backwards backwards, everything relates backwards to a lost era of 60 years ago.

Here’s a timeline of the year and date African nations gained independence, just to make clear how long ago this all was.

24 December 1951: Libya
1 January 1956: Sudan
2 March 1956: Morocco
20 March 1956: Tunisia
6 March 1957: Ghana
2 October 1958: Guinea

1 January 1960: Cameroon
27 April 1960: Togo
26 June 1960: Madagascar
30 June 1960: DR Congo
1 July 1960: Somalia
1 August 1960: Benin
3 August 1960: Niger
5 August 1960: Burkina Faso
7 August 1960: Côte d’Ivoire
11 August 1960: Chad
13 August 1960: Central African Republic
15 August 1960: Congo
17 August 1960: Gabon
20 August 1960: Senegal
22 September 1960: Mali
1 October 1960: Nigeria
28 November 1960: Mauritania

27 April 1961: Sierra Leone
31 May 1961: South Africa

1 July 1962: Rwanda
1 July 1962: Burundi
3 July 1962: Algeria
9 October 1962: Uganda

12 December 1963: Kenya

24 April 1964: Tanzani (Tanganyika 9 December 1961 – Zanzibar 10 December 1963)
6 July 1964: Malawi
24 October 1964: Zambia

18 February 1965: Gambia

30 September 1966: Botswana
4 October 1966: Lesotho

We’re talking about the era of Sputnik. The era when the Berlin Wall was going upBefore the Beatles’ first LP. That is the era, of the 1940s and 50s, which so many of these artists, at least in their Tate interpretation, are harking back to, again and again and again.

This obviously indicates a glaring great gap, two gaps if you like, which are: 1) what happened in Africa during the 60 years since independence and 2) what is happening in Africa today?

Sixty years of mismanagement, civil war, famine and genocide

One wall label sports a quote from Kwame Nkrumah, first Prime Minister of Ghana, the first British African colony to become independent in 1957.

‘We believe in the rights of all peoples to govern themselves. We affirm the right of all colonial peoples to control their own destiny. All colonies must be free from foreign imperialist control.’

Nkrumah overflowed with utopian quotes about how socialism would bring peace and plenty to Africa, he was full of them (see the references to Nkrumah in my review of ‘The State of Africa: A History of the Continent Since Independence‘ by Martin Meredith).

What the Tate wall label does not mention is that Nkrumah went on to become a steadily more repressive figure, passing emergency laws, outlawing the opposition, creating a cult of personality, having himself referred to as the ‘the Man of Destiny’, ‘the Star of Africa’, ‘His High Dedication of Redeemer’ and so on. He was an outspoken supporter of the Soviet Union and Mao’s China, receiving a Lenin Prize, tried to abolish tribalism and wasted money on vast white elephant building schemes. He made himself very unpopular with the rulers of neighbouring African countries when it was discovered that he was supporting various communist and guerrilla movements to overthrow their capitalist governments. In 1966 Nkrumah was himself overthrown in a coup by the army which set about de-Sovietising the economy and reversing most of his calamitous economic policies. At independence Ghana had a GDP on a par with South Korea, but decades of political instability, military coups and economic mismanagement brought the country to the brink of ruin. Ghana is now 83rd in the world rankings of GDP compared to South Korea at 13.

NONE of this is in the Tate exhibition, none of it, no politics, no economics, no contemporary history at all. Africa’s desperate history of secessions, civil wars, genocides, famines, economic mismanagement, rule by brutal Marxist murderers, by kleptocrats and homicidal dictators, NONE of that is here, none. It is all erased, made invisible, ignored, brushed under the carpet.

Instead what the wall labels repeat again and again and again are the only two tunes they know, the evils of colonialism (ended in the 1960s) and of the slave trade (ended 200 years ago). Simplistic binaries.

Why artists and curators simplify history and politics to make them more acceptable

In my review of Paul Danahar’s irritating book about the aftermath of the Arab Spring, I sketched out four reasons why even high-end (BBC, Channel 4) coverage of foreign affairs tends to be simplified and sanitised. These are:

1. Logistically easy It’s easier to get stories out of countries where journalists and film crews can operate freely, so countries with good infrastructure, like Israel or America, tend to be over-represented.

2. Familiar narratives Editors prefer sticking to super-familiar, easy narratives, my examples being the Arab-Israeli conflict and the (now defunct) struggle against the apartheid regime in South Africa. Absolutely everyone was familiar with the outline of those stories which had taken on the simplicity of fairy tales. Pantomime narratives with pantomime goodies and baddies. Easy to understand, easy to write about, easy to feel moral indignation about, easy to go on marches about, all your emotions pre-packaged and ready to take away.

To give an example, bad stuff is happening in various parts of China (Xinjiang, Tibet) but my points 1 and 2 apply in that: 1) it’s difficult to get access to those places, and 2) the issues are complicated. But, for the sake of argument, say that a protest march in Hong Kong is broken up by riot police and – because it’s easy to access and easy to cover – it’s all over the front pages for days. Easy access. Easy issues. Somewhere we know about. Easy to relate to.

3. Britain-related Some places matter more to Brits than others because they used to be colonies or places where Brits lived and feel a residual attachment to, thus India, Hong Kong, Egypt, Kenya – or which we feel some kind of special responsibility for (the Middle East, all those lines on the map, the Balfour Declaration yadda yadda yadda). The result is that these countries are over-represented in British foreign news at the expense of everywhere else.

4. Student causes Lastly, there’s what you could call student politics. Some of these places are associated with big, simple-minded political causes. All good progressive people marched against apartheid in the 1980s. All good progressive people are outraged by Israel’s bombing of Gaza today. All good progressive people agree that China is not keeping to its bargain of letting Hong Kong remain a democracy. Etc.

In the same kind of way all good progressive people are shocked and disgusted by anything to do with the European empires. And all good progressive people are shocked etc by the slave trade.

These are hot button topics, guaranteed to win over the audience, please the crowd, which can’t fail to unite artists, curators and visitors in a cosy feeling of moral righteousness, moral superiority, grievance from the artists and grovelling apology by white gallery goers.

Slavery and the evils of empire are the new consensus topics – everyone agrees that they were utterly evil and that they explain everything about modern Africa.

All the artists chosen for this exhibition stick to the narrow line adopted by the curators that African history ceased some time in the 1960s, at the moment of independence, that nothing whatsoever has happened since then, that all Africans are still trying to cope with the trauma of imperialism or the trauma of the slave trade – and that absolutely nothing significant has happened since.

No military coups, civil wars, mad rulers, stupid socialist economics, thieving stealing looting leaders like Mobutu, psychopaths like Idi Amin, mass murderers like the Hutu regime in Rwanda, cannibals like the Emperor Bokassa, ruinous rebel leaders in Angola or Mozambique, warlord chaos in the Congo.

No African history beyond the 1960s is present in this exhibition because it doesn’t fit the simple-minded, pantomime-level narrative which many of the artists address and the curators almost obsessively promote – white slave traders / colonialists = evil, all black people = saintly victims.

I’m not saying the slave trade wasn’t bad or that colonialism wasn’t wretched, humiliating and shamelessly exploitative. Of course they were. And forms of neo-colonialism are obviously still alive and constraining African nations in all kinds of ways today. But that’s just the starting position: that’s the obvious stuff you need to process before moving on to a more sophisticated understanding of the situation.

You’re not going to begin to understand the plight of modern African countries unless you move on from the 1960s and engage with the 60 years of history since then. And then, once you’ve processed the 60 years since independence, it requires a further effort to engage with the host of military, economic and security issues which plague Africa today, in 2023.

Africa today

And what about the political and economic and social issues which face Africa today? Are these addressed in this exhibition? Is there any mention of the rise of Islamic fundamentalism across North Africa, of the havoc being wrought by al Qaeda, or Boko Haram, or al Shabaab? No. Nothing.

Is there any mention of China’s involvement in Africa over the last 20 years, buying up raw materials and rare metals and food in exchange for infrastructure projects? Mention of China’s ‘Belt and Road’ initiatives all across Africa? Nothing.

Any mention of Russia’s growing involvement in North Africa, specifically through the Russian mercenary outfit, the Wagner Group? Nothing.

Mention of the US’s surprisingly extensive investment in army, navy and air force bases across the region in efforts to combat Islamic terrorists? Nothing.

Lots of complicated geopolitical, military, strategic and economic manoeuvring is going on all across Africa, right now, as we speak, and none of it is discussed, described or even mentioned in this immensely backward-looking exhibition.

Conclusion

So I really liked lots of the art on display, a lot of these photos are stunning and breath-taking, world class, outstanding, and it is such a relief to get away from America and the usual suspects of the art world. Congratulations to Tate for staging this exhibition so beautifully and bringing so many great photographers to our attention.

But as politics this show is a washout, a whitewash, a travesty, a systematic erasure of African history for the last 60 years in favour of a fairy-tale story about colonialism. It not only takes absolutely no account of Africa’s 60 years of troubled tragic post-colonial history but presents a complete blank when it comes to the complex, difficult, multi-sided political issues faced by Africa today. An artistic triumph  but when it comes to any serious discussion of the political, economic and social challenges of contemporary Africa, this exhibition is a travesty, seriously misleading in its omissions, elisions and simplifications of a long inconveniently complex history.


Related links

Tate Modern reviews

Orientalism by Edward Said, Afterword (1995) and Preface (2003)

This blog post is a summary of the 1995 Afterword and 2003 Preface which Edward Said added to his classic work of cultural criticism, ‘Orientalism’, itself first published in 1978.

Afterword (1995)

Said starts off by remarking on the surprising success of the book, which had become a bestseller and been translated, as he wrote, into at least 10 languages, having an influence and life far greater than he ever expected.

Then he sets out to address several misconceptions. One is that the book aims to be a comprehensive attack on the West. The other is that it is an unquestioning defence of Islam or the Arab world. This second one couldn’t be further from the truth for the simple reason that he is not qualified:

I explicitly say that I have no interest in, much less capacity for, showing what the true Orient or Islam are really like. (p.331)

Nonetheless, Muslim fundamentalists apparently welcomed the book as it was a huge indictment of Western Islamophobia. Said is not thrilled to find himself in this company which he regards as being as essentialist as its opposite, Orientalism. By essentialism he means the belief in fixed, unaltered, almost Platonic ideals or essences, in Islamic fundamentalism’s case, a belief in the timeless, unchanging, eternal truths of a primeval and pristine Islam.

Whereas Said again and again says he believes the opposite. He is anti-essentialist, he is trying to deliver the anti-essentialist message that history is made by people, that ideas are created, invented, nurtured and adapted by people who are themselves the products of societies with intellectual constraints and ideological pressures and so on. This view underpins his scepticism about academic world in general and the disciplines connected with Orientalism in particular.

My objection to what I’ve called Orientalism is not that it is just the antiquarian study of Oriental languages, societies and peoples, but that as a system of thought it approaches a heterogeneous, dynamic and complex human reality from an uncritically essentialist standpoint; suggesting both an enduring Oriental reality and an opposing but no less enduring Western essence which observes that Orient from afar and, so to speak, from above. This false position hides historical change. (p.333)

(The fact that he keeps having to restate his position reinforces my experience of his book as being slippery, obtuse, imprecise and hard to understand. He’s a desperately poor communicator. He sounds good, he sounds like he’s making awesome sense, but, in the end, there’s just a handful of ideas which he restates in countless ways.)

So he spends nearly a page recapping the facts about Napoleon’s Description of Egypt, the starting point of modern Orientalism, and the subtlety of its interplay with local Arab accounts of the same events because this is what he’s trying to achieve, a subtle sense of the complex interplay of texts and ideology which are continually changing ideologies and ideas, an ongoing dialectic – before repeating that he was not about something as vulgar and simplistic, as binary, as just pitting East and West against each other, let alone creating either an anti-Western or a pro-Islamic work.

Hmm. He can tell us that he intended it to be a subtle and sophisticated account all he likes (he flatters himself that his account is ‘nuanced and discriminating’) but, to be honest, I thought Said’s book was profoundly and howlingly anti-Western, fierce criticism of Western attitudes mentioned on every page, occasionally rising up to really angry diatribes against Western prejudice and racism and colonialism. One Arab reviewer, he tells us, described the author as:

a champion of the downtrodden and abused, whose mission was to engage Western authorities in a kind of epic and romantic mano-a-mano

The second reason why he thinks his subtle, ‘nuanced and discriminating’ message has been overlooked is the brutality of contemporary politics. Little did he know that the year after it was published Iran would witness the great Islamic Revolution and that this would be followed by new depths of brutality in the Arab-Israeli conflict i.e. the 1982 invasion of Lebanon and the 1987 start of the Palestinian intifada. Then there was the 1979 Soviet invasion of Afghanistan to which the West responded by arming the mujihadeen, then the rise of Gorbachev, then the collapse of the Soviet Union, the end of the Cold War, alongside the First Gulf War against Saddam Hussein.

The thing is, Edward, if you tie your book to highly contentious issues in international affairs (Israel, Palestine, Islamic fundamentalism, Western neo-imperialism) then your book will inevitably get caught up in the maelstrom surrounding all these complex, continually changing events, with two results:

  1. People on all sides will try to co-opt you for their cause.
  2. ‘Events, dear boy, events’; the world carries on its violent unpredictable way and, if you’ve tied your text to the tiger’s tail, you’ll find yourself being dragged along behind it.

Like all his writings, this Afterword is long but goes round and round in circles, repeating that he wanted to avoid an ‘Orient-versus-Occident opposition’ and yet insisting on using the simple binary terms ‘the Orient’ and ‘the West’ that litter the main text; insisting that he thought he was offering ‘a multicultural critique of power using knowledge to advance itself’ while anyone who reads the book encounters impassioned protests against the abuse and exploitation of ‘the Orient’ and ‘Orientals’ at every turn.

He talks bravely about ‘crossing’ the barriers of the ‘imperial East-West divide’ in his own life, and seeking to rise above it, and yet…what has he just called it, what does he call it throughout the book? An ‘East-West’ divide. He insists that his analyses of each different author and each different era are distinctive, different, nuanced etc, but that’s not how I read it. Whatever distinctions he thinks he makes between eras and authors are continually being collapsed when he claims that they all are based on the same, basic latent Orientalism which underpins prejudicial views of ‘the East’ in 1780, 1860 or 1910.

In fact, the reader struggling to the end of this 350-page book emerges with a hugely expanded sense of a much deeper divide between East and West than I previously appreciated. Said’s book seems to me to exacerbate the very problem he claims to be curing.

He has an entertaining passage criticising (insulting) the eminent Arabist Bernard Lewis, an expert in the field who, nonetheless, despises the Arab world and Islam he knows so much about, and who, predictably, wrote a scathing and personal review of Orientalism when it came out. Now Said returns the favour with some biting criticism.

The second part of the Afterword is much more understandable and interesting. It is a pithy overview of developments which had taken place between 1978 and 1994 in academia, in studies of culture and history. These were the rise of feminism, black studies, post-colonial studies and subaltern studies (a history-from-below perspective applied to south Asia i.e. India, Pakistan etc).

What they all had in common was the aim of restoring the voices of types of people erased or overlooked by the traditional white European male narratives of history and culture. And, as part of this, overturning monolothic and essentialist narratives. of East and West etc. Modern developments in all these fields have all tended to show that history is far more complex, mongrel and interactive than previously thought. And Said is (justifiably) proud that his book (profoundly flawed and difficult though I, personally, found it to be) has contributed to these developments.

Preface (2003)

Born in 1935, Said was 43 when Orientalism was published, 50 years old when he wrote the Afterword, and 68 when he wrote this Preface. He says he feels old. He was to die later the same year from leukaemia.

Said begins by expressing his ongoing amazement that a book he produced as a personal project has gone on to become a worldwide (academic) bestseller, translated into 40 languages, and hugely influencing the new(ish) disciplines of post-colonial and subaltern studies.

Then, as W.H. Auden wrote, ‘Let your last thinks all be thanks,’ and so Said generously thanks colleagues and the entire American university system, specifically Columbia University, New York, his employer for 30 years. He says in his entire career he published plenty of articles about Palestine, but never actually taught anything about the Middle East. His day job was teaching comparative literature for all those years, his first love and the profession he was trained to.

Whereupon he picks up the cudgels again to repeat all his arguments. He tells us (as he did in the Introduction and in his 1999 memoir, ‘Out of Place’) that he grew up between two contradictory worlds, the Arab world and the West.

One fundamental thing I find puzzling about Said’s entire schtick is that he repeatedly says he wrote Orientalism to try and abolish the naive binary of East and West, yet he invokes it every turn, as here, in the rather tired trope of growing up ‘between two worlds’. He asserts for the umpteenth time that neither term ‘the Orient’ nor ‘the West’ have any ontological stability and yet here he is, using them both in exactly the same way he did 25 years earlier, and as we do today (2023) i.e. as if they have exactly the ontological stability he claims they don’t have.

Back to current affairs and he tells us the fairly obvious fact that 2003 was an even more politically turbulent time than 1978 or 1994. Again I bridle at this idea, it’s a classic example of two tropes ever-present in our culture. One is presentism, which is where a political commentator claims that the present moment is more critical, urgent and crisis-ridden than ever before, evah!

Check out any one of the daily articles in the liberal press wringing their hands at the prospect that Donald Trump might be elected president again and that this time it will mean the end for democracy in America. In other words, fostering the same atmosphere of panic that they all did last time, for the long year of the presidential campaign and then the gruelling four years of Trump’s presidency, when the liberal press overflowed with outraged articles about every single presidential tweet.

But of course, a properly historical perspective, such as Said is always saying we must take, militates against the view that the present is somehow uniquely and unprecedently critical and urgent: the outbreak of World War Two was a pretty critical moment, the attack on Pearl Harbour, the dropping of the atom bomb, the outbreak of the Korean War, the Suez Crisis, the Cuban Missile Crisis when the world nearly ended, I could go on.

To take one of cardinal years in Orientalism‘s publishing history, 1978 wasn’t a particularly turbulent year, but 1979 was the year of the Iranian Revolution and the Soviet invasion of Afghanistan, which are both having repercussions to this day. To look closer at the year of the Afterword, 1995, this was just a year after the Rwanda genocide, a pretty turbulent year if you lived in Rwanda, and the terrible war in Bosnia and siege of Sarajevo was still ongoing, a running sore in Europe’s conscience.

Today, as this is published, is day 579 of the war in Ukraine, I don’t know how many days into the civil wars in Syria, Yemen and Libya, a month of more into the civil war in Sudan, and month into the coup in Niger, and so on.

Plus climate change plus the Conservative government plus the collapse of the NHS plus the threat of another pandemic etc etc etc.

So my point is simple: it’s always terrible times.

The second reason this is such a tiresomely common trope is because political commentators have to make a living and so have a vested interest in persuading their editors and readers that we live in times of unprecedented jeopardy and that, if you want to understand why, you simply have to buy my article / magazine / book.

Quite obviously 9/11 was an epoch-making event which created a genuine sense of crisis around the world (or the Western world, anyway) and Said, writing in 2003, was doing so against the backdrop of a campaign of anti-Arab rhetoric being orchestrated by the Bush administration to justify its upcoming invasion of Iraq. It was a bad time for anyone trying to improve relations between ‘the West’ and ‘the Arab world’.

Trying to be even-handed, he laments that this is all taking place against a resurgence of pride and arrogance in both the West and the Arab world. It was definitely a bad time to be the kind of liberal exponent of calm and reason which Said tried to be and very bad to be the guy trying to speak up for the Arab world, or at least the Palestinian people, in the midst of such an avalanche of anti-Arab propaganda.

But, as he goes on to concede, the really interesting thing (for me) about all of this impassioned discourse is the question that, after 25 years of academic effort put into creating and teaching post-colonial and subaltern studies and the widespread dissemination of all the anti-racist, anti-colonial teachings promoted by Orientalism, had all this effort improved America’s image of the Arab world or Islam?

No, Said has to concede that, tragically – for the country soon to be invaded and ruined and for the region as a whole – the reverse is true, the situation has, if anything, gotten worse, with:

the hardening of attitudes, the tightening of the grip of demeaning generalisation and triumphalist cliché (p.xiii)

This interests me because it highlights the limitations of academic discourse, particularly the kind of critical theory Said made such a big contribution to, a discourse which overflows with bombastic claims to be ‘interrogating norms’ and ‘subverting stereotypes’ and ‘questioning prevailing ideologies’ etc etc and yet, when push comes to shove, turns out to have precisely zero effect in the wider world.

There’s something deeply comic about the massive discrepancy between the world-shattering rhetoric of so much critical theory, that it is ‘subjecting the discourse of power to radical scrutiny’ etc etc, and its actual impact on the world of power: zero.

Anyway, Said is right to nail the ignorant arrogance of the Bush administration which thought that a quick surgical invasion of Iraq could change the map of the Middle East, plant democracy and transform the entire region as if its ‘ancient societies and myriad peoples can be shaken up like so many peanuts in a jar’.

He’s right to wail that he Arabists, Islamists and ‘experts’ Bush’s White House gathered round itself were just the latest incarnation of the ‘Orientalist’ scholars who had produced 200 years of stereotypes designed to empower conquest and colonialism, who had provided power with ‘expedient forms of knowledge’ (p.xiii).

But I had the usual experience, in reading Said, of swinging from total agreement with his political analysis to coming up short and disagreeing with other aspects of his commentary.

For example, he mentions the terrible looting of Baghdad not once but twice, predictably, for an arts professor, dwelling on the ruination of the museums and their artefacts and for anyone who loves art and archaeology and history, it was of course a catastrophe.

But he irked me by implying that it was the direct fault of the invading Allies. It was the Iraqis who, the second there were no police on the street, looted everything from every possible public building, including all schools, ministries, factories, power stations, dams, water purification facilities, destroying their own country far more extensively than any conquering army could have done (see my reviews of detailed accounts of the Iraq War).

Certainly all the looting occurred because an army had invaded and overthrown the dictator, and in particular because the irresponsible moron Donald Rumsfeld ignorantly forbade the American army to take along enough military police to restore law and order to the streets once the Saddam regime was overthrown. The invading Americans certainly carry a huge burden of responsibility.

But, in the end, that invading army didn’t make the Iraqis loot their own country. When the Allies liberated France, the French population didn’t embark on an orgy of looting and destruction, burning down the Louvre and stealing everything they could from every single public building. The Iraqis did that to themselves.

Because Said sees absolutely everything through the spectacles of his obsessive monomania that ‘the West’ is responsible for everything bad that ever happened in the Middle East, his thought isn’t free, isn’t flexible enough to acknowledge real complexity. Which is ironic because it’s precisely this kind of ideological inflexibility that he continually accuses Orientalists and the West of displaying.

Said is right to castigate the intellectual bankruptcy of the American administration which, in its bottomless ignorance, not only of the country it was invading but of its own country, of the complex economic, religious, ideological and political roots of its own ideas, thought that ‘democracy’ and ‘free market capitalism’ are things you can take out of a suitcase and hand around like Smarties.

Said proceeds to name some of the guilty men, modern Orientalists who lent their ‘learning’ to neo-imperialism, singling out the egregious Bernard Lewis (see the his earlier criticism of Lewis in the 1995 Afterword) and Fouad Ajami, plus an army of journalists, shock jocks, right wing radio hosts, Fox News and so on, the vast mediascape of ignorance, prejudice and belligerence. Without the basic lies of Orientalism – those people aren’t like us, they don’t understand our values, we have to ‘liberate’ them, educate them, raise them up to be like us etc – the invasion couldn’t have happened.

This Preface is definitely the clearest thing, the most easily comprehensible 17 pages, in the whole book because a) his subject is so simple and universally known – the US invasion of Iraq is an act of gross imperialism justified by shameful lackey intellectuals – so b) his style is unusually frank and accessible; it reads more like a magazine article than the more gnarly and obtuse prose of the main text itself.

Said makes some good points. He refutes all the apologists who tell the formerly colonised people to stop belly aching about their imperial oppression and get on with building their countries (singling out the Anglo-Indian write V.S. Naipaul as guilty of this) and points out that the disastrous impacts of empire live on for generations, continuing to impact the impoverished lives of hundreds of millions of the voiceless and oppressed, in Algeria, the Congo, Iraq and Palestine. In his characteristically eccentric prose he makes the point that:

We allow justly that the Holocaust has permanently altered the consciousness of our time: why do we not accord the same epistemological mutation in what imperialism has done, and what Orientalism continues to do? (p.xvii) (cf Orientalism p.262)

That’s a telling point, and he attributes the tragic succession across the Third World of colonisation, nationalist movements, liberation, the era of military coups, insurgencies against them, civil wars, the rise of religious fanaticism and the descent into ever more brutal chaos – in his view all of these disasters were the direct result of a century or more of European imperialism, which hasn’t just altered the consciousness of our time but makes up the consciousness of our time, for everyone, for the entire world, colonisers and colonised alike.

Said tells us that he wanted to use critical analysis to reveal the cultural and intellectual power structures which enabled and then justified imperialism. He did so in the name of ‘humanism’ i.e. the hope that calm, rational enlightened study creates its own environment of sympathy and inclusiveness, undermines idées recues and idées fixes, lets people escape from the tropes and clichés, ‘the reductive formulae’ of the past, confront the realities of the present, and establish a basis on which discussion and negotiation can take place for a better future. It’s incumbent on independent intellectuals such as him ‘to provide alternative models to the simplifying and confining ones, that have prevailed in the Middle East and elsewhere for so long’ (p.xvii).

See what I mean by this is the clearest part of the book? Possibly you could read just these 17 pages and pick up virtually all you need to know about the book and Said’s political stance.

Then, unexpectedly, he shifts his ground entirely to mount a defence of philology as ‘the most basic and creative of the interpretive arts’. That’s the tradition he was raised in and he singles out as the peak of its achievement Erich Auerbach and his great book Mimesis. In this book Auerbach takes passages from the entire history of European literature, from the Iliad to Virginia Woolf, and enters into their worlds via a very close reading of the actual text, the words and their meanings and histories and connotations. That’s what Auerbach, and Said, mean by philology.

Huh. This is identical to what I feel and what I value about literature. Fully committing yourself to literary texts means entering into these other worlds, opening a space in your mind for other worlds, other peoples, other languages, other values, other stories.

Said then goes into grumpy old man mode and laments that this practice of wholesale immersion in books which he loves so much has disappeared from the academy of his time (2003). He accuses modern (2003) academia of  a) having become compartmentalised into ever smaller specialisms, while b) students are encouraged to get bite-sized snips of information off the internet and no-one reads books any more – nothing like the expansive, curious, enquiring and committed way that he, Said, obviously grew up reading. God, what would he have made of the world of TikTok and Instagram?

But then, after this charming interlude, it’s back to contemporary politics, to 2003 and the war in Iraq and Said is warning his readers against the viciously simplistic influence of the handful of zealots (Dick Cheney, Donald Rumsfeld, Paul Wolfowitz) who have taken control of the White House and disseminate the most appallingly simplistic messages about ‘Arabs’ and ‘Islam’. (See my forthcoming reviews of the wars in Iraq and Afghanistan.)

But then, in an effort to be even-handed, Said goes on to be just as hard on the Muslim world where, he says, repressive rulers (often backed by the West) crush their populations, who in response turn to simplistic slogans and rebellion, among which is an anti-Westernism every bit as stereotyped as Western Orientalism. In particular he laments the crushing of the Islamic tradition of free and flexible enquiry which he says has been replaced by fanaticism, purism and rote learning. Interesting that he concedes the charge of fanaticism which, throughout the main book, is viewed as an unjustifiable stereotype and slur. Now he’s admitting that it’s an empirical fact.

He concludes with a hymn of praise for humanism, for a humanism:

centred upon the agency of human individuality and subjective intuition, rather than on received ideas and approved authority. Texts have to be read as texts that were produced and live on in the historical realm in all sorts of what I have called worldly ways. (p.xxii)

Yes. I am in complete sympathy. That is what I try to do, how I try to approach texts, in this blog, and with the same motive: to set them in their historical context, to pay close attention to individual sentences and words, but also to be aware of how words and phrases are shaped by contemporary politics and have changed meanings over time as history has shifted our frames of reference. Paying attention to all of this, in my opinion, helps to broaden and widen and increase imaginative spaces and sympathies, for other times and places and people.

Practical criticism

See if you can identify the kind of essentialising Orientalist stereotypes about the Middle East, Arabs and Islam which Said describes, in Western (British) coverage of the recent Hamas attack on Israel (I’m just giving the BBC as a starting point):


Credit

Orientalism by Edward Said was first published by Routledge and Kegan Paul in 1978. References are to the 2003 Penguin paperback edition (with new Afterword and Preface).

Related reviews

King Leopold’s Ghost by Adam Hochschild (1998) – part three

‘To gather rubber in the district… one must cut off hands, noses and ears.’
(Charles Lemaire, Belgian commissioner of the Equator District of the Congo Free State)

William Sheppard

Following his coverage of the black American Baptist minister George Washington Williams, who was appalled by what he witnessed in the Congo in 1890 and wrote an open letter of protest to the Belgian king, Leopold II, Hochschild goes on to describes the career of another black pioneer.

This is William Sheppard, a Baptist minister born in Virginia in 1865, who was sent by the Southern Baptists to the Free State, thus becoming the first black American missionary to the Congo. Hochschild emphasises that the church hierarchy ensured he was supervised every step of the way by a white superior, how it was the white man who actually met Leopold in Belgium while Shepherd was excluded, but how it was Shepherd who built up the mission on the river Kasai. Here he won the respect of the local BaKuba tribe whose language he was the only missionary to bother to learn, by his hard work and sympathetic understanding of their lives. They nicknamed him Mundéle Ndom, meaning ‘the black white man’.

Sheppard was the first Westerner to reach the Kuba capital, Ifuca, whose king usually ordered any outsider to be beheaded. But because he was black and spoke some BaKuba Sheppard was allowed to keep his head and stayed for four months, making detailed ethnographical records of their culture, art and religion (‘The Kuba are among Africa’s greatest artists,’ p.156). When he presented his findings to the Royal Geographic Society in London he was made a fellow, and back in the states presented the President with Kuba artefacts.

(Hochschild also mentions the spangling fact that Shepherd’s arrival at the mouth of the Congo coincided exactly with that of Joseph Conrad who was taking up the position of steamboat captain, and that Shepherd’s diary contains numerous references to the gentlemanly bearing of the exiled Pole who he spent some weeks with (p.154).)

Leopold’s grand plans

Leopold had impractically megalomaniac ambitions. He dreamed of linking his Congo possessions with the upper Nile and leasing Uganda from the British, both ideas gently rejected by Prime Minister Gladstone. He suggested raising a Congolese army to protect the Armenians who were being massacred by the Turks. When there was disturbance in Crete he offered Congolese troops as peacekeepers. His cousin, Queen Victoria’ thought Leopold was becoming delusional (p.168). But about one thing he was never deluded: maximising profit from his personal fiefdom in the Congo.

The rubber terror

‘Botofé bo le iwa!’, meaning ‘Rubber is Death!’ — Congo Proverb

Initially Leopold wanted to colonise the Congo because of ivory. As Frank McLynn makes clear in his chapter on the subject in Hearts of Darkness, ivory was the most valuable product of central Africa next to slaves, and the two trades were inextricably intertwined. Arab slavers destroyed native villages not only to enslave their women (killing most of the men) but also to loot the reserves of ivory many villages held, and use the newly acquired slaves to carry the plundered ivory the hundreds of miles to the coast.

It was the invention of the pneumatic tyre by John Dunlop, who set up the company of the same name in 1890, which made bicycling significantly more comfortable than before, which led to the outbreak of the ‘bicycling craze’ and which then led to a sudden spike in demand for rubber, that Leopold realised he was sitting on a goldmine, and that the farming of rubber from the huge rubber vines which twined up trees in the tropical rainforest almost overnight became a very profitable business (p.158). The West’s appetite for rubber grew for use not only in pneumatic tyres for bicycles and then cars, but for a myriad other uses, for example as insulation on electrical cabling which was undergoing an explosion of use around the world.

It is about this point, exactly half way through the book, and after a fair amount of relatively ‘ordinary’ historical and biographical stuff about Leopold and Stanley and so on, that the text takes a very dark turn and the reader is now plunged into the world of disgusting terror, massacre and mutilation created by the authorities who ran Leopold’s Congo Free State.

Force Publique officials were ordered to fulfil rubber quotas. They did this by kidnapping wives or children of villagers and threatening to mutilate or kill their hostages unless villagers handed in the correct and very onerous quotas of rubber. Natives who resisted were beaten, tortured, mutilated and murdered, had their families held hostage, their wives and daughters raped, or their houses and villages burned. If villages failed to fulfil the quota or showed any resistance, they were burned to the ground. The British traveller Ewart S. Grogan, crossing northeastern Congo, wrote: ‘Every village has been burned to the ground, and as I fled from the country I saw skeletons, skeletons everywhere’ (p.230). The Belgians turned Congo into a charnel house.

Most of the food the locals grew was confiscated by European officials leading to poor diet or starvation in many areas. State official Léon Féviez explained to a visiting official that when the local village didn’t supply enough fish and manioc to feed his troops he had a hundred of them beheaded. After that the villagers supplied sufficient food alright, even at the cost of themselves starving (p.166).

The incursions of black troops from one area into another spread diseases many had never previously been exposed to. Smallpox was carried from the coast where it was endemic, inland to populations who had no resistance to it. Worse was sleeping sickness, which is estimated to have killed half a million Congolese in 1901 alone (p.231).

The net effect of all these factors was a collapse in population. Missionaries and travellers through the Congo spoke again and again of entire regions laid waste and depopulated.

Hochschild singles out four factors and then gives copious evidence for each of them, being:

  • Murder
  • Starvation, exhaustion and exposure
  • Disease
  • Plummeting birth rate

The Reverend A.E. Scrivener was just one of many eye witnesses:

Lying about in the grass within a few yards of the house I was occupying were a number of human bones, in some cases complete skeletons. I counted 36 skulls, and saw many sets of bones from which the skull was missing. I called some of the men and asked the meaning of it. ‘When the rubber palaver began,’ said one, ‘the soldiers shot so many we grew tired of burying, and very often we were not allowed to bury and so just dragged the bodies out into the grass and left them.’

There was no census before Leopold’s murderous regime began but the best estimate is that 10 million Congolese lost their lives. This is based on the fact that in areas where population was known, it fell by a half between 1890 and 1910. Since the first detailed population estimate, in 1924, estimated the current population at around ten million, and most experts estimated that it was half the original number, that gives you some 10 million victims of Leopold’s regime, directly murdered or killed by overwork, famine or disease. (In fact at the end of the book, Hochschild devotes a passage to the estimates of modern demographers, who also agree with the 10 million figure.) More, in other words, than the Nazi Holocaust.

Chopping off Africans’ hands

Hands were used as proof that villages had been punished for failing to fulfil their quotas or rebelling. Force Publique soldiers had to prove that every bullet they were issued with was used to kill a villager (and not going off on hunting expeditions) by bringing in a hand for every bullet fired. Hands became a form of proof of discipline. Many soldiers couldn’t be bothered to wait for all the rubber to be counted and just hacked off a few hands at random to impress their superiors with how zealous they were.

But cutting off hands was also a form of punishment and incentive. Hostages – women and children –had their hands cut off unless their menfolk brought in the required quota of rubber. Some villagers, in desperation, instead of slicing a rubber vine and patiently waiting for the drops of sap to ooze out of it, were so panic-stricken that they cut down the entire vine and squeezed every drop of rubber out of it. This killed the vine rendering it unavailable for future use and so in turn was punished by the authorities, in the form which was now becoming universal – the men or their womenfolk or children having their hands cut off. Hochschild quotes scores of officials and soldiers who boasted about how many hands they collected per day.

‘Many fled and some were mutilated. I myself saw a man at Likange who had had both his hands cut off. Sometimes they cut them at the wrist, sometimes farther up . . . with a machete.’

In some military units there was a job, ‘keeper of the hands’ (p.165). Some units smoked severed hands over fires in order to keep them as decorations to hang on poles or over doors as a constant reminder to the locals of what even the slightest infringement would trigger.

Bestand:MutilatedChildrenFromCongo.jpg - Wikipedia

Mutilated Congolese children and adults. Photos taken between 1900 and 1905 by the English missionary Alice Seeley Harris

Hochschild brings out how atrocity acquires a momentum of its own. As in the Nazi genocide or the Soviet labour camps, cruelty and sadism, once permitted, become endemic. Thus René de Permentier, a Force Publique officer in the Equator district, had all the trees and bushes around his house cut down so he could use passing Africans as target practice for his rifle. If he found so much as a stray leaf in the courtyard swept by women prisoners he had one of them beheaded. If he found a forest path poorly maintained, he ordered a child in a local village executed. That kind of megalomaniac momentum.

Two Force Publique officers ordered a man hung by his feet and a fire lit underneath so he was cooked to death. Morel quoted a message from district commissioner Jules Jacques telling his underlings to warn the locals that if they cut down another vine he will exterminate them to the last man (quoted page 229). As the Reverend Scrivener testified:

A man bringing rather under the proper amount [of rubber to a collecting post], the white-man flies into a rage and seizing a rifle from one of the guards shoots him dead on the spot. Very rarely did rubber come but one or more were shot in that way at the door of the store.

There are hundreds of examples of this kind of psychopathic behaviour. Late in the book Hochschild says speakers of the Mongo language refer to the period as lokeli, the overwhelming (p.300).

Edmund Dene Morel

We know so much about the evil practices of Leopold’s state because of the obsessive work of one man, Edmund Dene Morel, who became a one-man international human rights dynamo.

In the late 1890s Morel was a relatively lowly clerk working for the Liverpool-based trading company Elder Dempster (p.177). He began travelling back and forth across the Channel as his company’s liaison with officials of the Congo Free State. Slowly he began to realise something was wrong. Hochschild attributes his revelation to three elements which he saw or, as a clerk handling the official paperwork for the cargoes, was able to calculate for himself while spending time at the State’s docks in Antwerp:

  1. He learned that huge amounts of arms and ammunition were being shipped to the Congo along with surprising amounts of chains and shackles. Why?
  2. The amount of ivory and rubber brought back by the ships greatly exceeded the amount stated on the manifests and paperwork. Someone was creaming off millions in profit. Who?
  3. Over 80% of the goods being shipped to the Congo were remote from trade purposes. In other words, a huge amount of goods were being brought out but very little was going in to pay for them. So how was this wealth of ivory and rubber being generated. Dene realised there could be only one explanation: slave labour.

‘These figures told their own story…Forced labour of a terrible and continuous kind could alone explain such unheard-of profits…forced labour in which the Congo government was the immediate beneficiary; forced labour directed by the closest associates of the king.’ (Morel, quoted page 180)

He called it: ‘the most gigantic fraud and wickedness that our generation has known’ (p.206).

Morel made his fears known to his superiors who told him to keep quiet. The Free State was a major client of Elder Dempster’s. They tried to coerce him into keeping silent. The company offered him a pay rise, then the role of highly paid consultant. Free State officials in Brussels stopped talking to him. He refused all bribes and insisted on speaking out.

Eventually, in 1901, Morel quit Elder Dempster and, after pondering what to do, set up a newspaper, the West Africa Mail in 1903, backed by philanthropic sponsors. It consisted of Morel’s articles, letters from missionaries, maps, cartoons, and pictures. Morel didn’t hold back:

‘Blood is smeared all over the Congo State, its history is blood-stained, its deeds are bloody, the edifice it has reared is cemented in blood—the blood of unfortunate negroes, spilled freely with the most sordid of all motives, monetary gain.’

Morel intended the West Africa Mail to publish everything he knew about the Congo and encouraged all-comers to send him their reports about ‘the shootings, shackles, beheadings, mutilations and kidnappings of a slave labour system’ they witnessed – and they did, in increasing numbers (p.270).

Morel tapped into the resources of existing anti-slavery organisations, namely the Anti-Slavery Society and the Aborigenes Protection Society, as well as roping in influential figures such as the politician Sir Charles Dilke and the author Mary Kingsley. He became a writing phenomenon, working 16 or even 18 hours a day to produce books, speeches, articles and pamphlets about the Congo (p.209). In the first six months of 1906 alone, he wrote 3,700 letters (p.214).

Morel requested information from all and any sources, and developed a remarkable knack for getting inside information from all kinds of people, not only missionaries and travellers in the region, but dissident military officers such as Raymond de Grez, who secretly fed him reports and statistics for many years, as well as people involved in the various shipping companies and testimony from their agents in-country, such as the American business agent Edgar Canisius (p.192).

The more Morel’s reputation grew as the doughty opponent of the evil being perpetrated in the Congo, the more people knew he was the man to slip confidential information (p.188).

It snowballed into a vast publicity campaign, featuring hundreds of public meetings, thousands of letters, he received thousands of letters full of facts and figures which Morel was then able to use in his articles or feed to sympathetic journalists and politicians.

With the aid of the charities and sympathetic politicians Morel secured a debate in the House of Commons which was held on 20 May 1903. At its conclusion the British Parliament passed a resolution to allow the British government to negotiate with the other Great Powers over the matter, avowing that the native Congolese ‘should be governed with humanity’ and, incidentally, noting that ‘great gratitude was due’ to Morel for creating public awareness (p.194). It was a truly impressive achievement. As Hochschild summarises:

Almost never has one man, possessed of no wealth, title of government post, caused so much trouble for the governments of several major countries. (p.209)

Pamphlets were followed by excoriating books, namely:

  • Affairs of West Africa (1902)
  • The British Case in French Congo (1903)
  • King Leopold’s Rule in Africa (1904)
  • Red Rubber – The story of the rubber slave trade that flourished in Congo in the year of grace 1906 (1906)
  • Great Britain and the Congo: the Pillage of the Congo Basin

When I read the title of Red Rubber I immediately saw the link with the campaign against ‘blood diamonds’ originating in Africa under war-torn or oppressive conditions from much the same region of Africa, in our own time.

Roger Casement

The Parliamentary debate directly affected another major figure. Parliament set up a commission to investigate the accusations and ordered the British consul to the Congo, Roger Casement, to go in-country to find out more.

Casement evaded the beady eye of Leopold’s officials, paid his own way and independently interviewed missionaries, natives, riverboat captains, and railroad workers. He then wrote up and submitted to Parliament a report containing 39 pages of testimony and a 23-page index of facts, what has been called ‘the most damning exposure ever of exploitation in Africa’. Morel published the ‘Casement Report’ in full in the West Africa Mail and it was picked up and syndicated around the world.

Hochschild devotes a chapter to Casement who is a fascinating figure in his own right, not least because of his principled but ill-fated support for Irish independence a decade later. (Unfortunately, no modern biographer can abstain from prying into the sex lives of their subject, and so we learn quite a lot about the fact that Casement was gay and kept a detailed log of his sexual encounters wherever he went, with Europeans or Africans. Great – and utterly beside the point.)

When they met they instantly clicked. Both respected each other’s fierce integrity and utter devotion to exposing the evil of Leopold’s regime. Casement was a government employee and so had to go where his superiors sent him, but they kept in touch and he offered Morel important confirmation and moral support, becoming a vital colleague and sounding board for Morel’s campaigns. Morel nicknamed him the Tiger; Casement called Morel the Bulldog (p.207). Chaps.

Congo Reform Association (CRA)

Casement and Morel met again, in Dublin, and agreed that it needed more than a newspaper to bring about the change needed. Casement convinced Morel they needed to set up an organisation and so in November 1903 Dene announced the establishment of the Congo Reform Association (CRA) with a founding manifesto filled with names of the great and good and calling for ‘just and humane treatment of the inhabitants of the Congo State, and restoration of the rights to the land and of their individual freedom’.

An American branch was quickly set up which garnered support from such notables as Mark Twain, Booker T. Washington and W. E. B. Du Bois. Twain was motivated to write a pamphlet, King Leopold’s Soliloquy: A defence of his Congo rule, in 1905, a satirical portrayal of Leopold as a self-pitying old man rambling on, making feeble excuses for the blood on his hands:

‘They burst out and call me “the king with ten million murders on his soul”.’

(It’s interesting that, even at this early point, the figure of 10 million dead was widely accepted. It’s a suspiciously round figure, isn’t it, but one Hochschild backs up with expert testimony at the end of his book)

Illustration from King Leopold’s Soliloquy by Mark Twain (1905)

Arthur Conan Doyle was inspired by his indignation to write The Crime of the Congo in 1908, while Joseph Conrad, in addition to the world famous novella about Leopold’s Congo, Heart of Darkness, co-wrote a novel with Ford Madox Ford, The Inheritors, which contains a devastating parody of Leopold’s greed and mendaciousness and personal oddities (p.257).

In 1904 Morel visited America, meeting with the President and members of Congress, before addressing large audiences around the nation. It took a while for the American campaign to gain traction, but in 1906 public pressure forced Congress to take a stand against Leopold and demand an end to the Congo Free State.

Alice Seeley Harris

Wife of the Reverend John Harris and a Baptist missionary in her own right, it was Alice Seeley Harris who took most of the photos of mutilated Africans which Morel distributed so widely and had such a devastating effect.

The couple had witnessed at first hand numerous atrocities, joined the Congo Reform Association and threw themselves into public activity. One or other of them made over 600 speeches in their first two years with the CRA, displaying implements like the shackles used to chain Congolese and the feared chicotte or whip made of hippopotamus hide, which was used to punish Africans who failed to meet their quotas and sometimes whip them to death (pages 120 and 216). Eventually John and Alice’s activism led to them running the newly combined Anti-Slavery and Aborigenes Protection Society (p.273).

Herbert Strang

The impact of the campaign spread far and wide. Hochschild mentions a British boys’ adventure writer, Herbert Strang, who wrote an adventure story set in the beastly Congo where a stout-hearted English teenager saves the day, titled Samba: A Story of the Rubber Slaves of the Congo. The preface he wrote to his novel is long but gives a fascinating insight into how the issue was seen at the time (1908).

Nearly a generation has passed since King Leopold was entrusted by the great Powers with the sovereignty of the Congo Free State. The conscience of Christendom had been shocked by the stories, brought back by Stanley and other travellers, of Arab slave raids on the Upper Congo; King Leopold, coming forward with the strongest assurances of philanthropic motive, was welcomed as the champion of the negro, who should bring peace and the highest blessings of civilization to the vast territory thus placed under his sway. For many succeeding years it was supposed that this work of deliverance, of regeneration, was being prosecuted with all diligence; the power of the slave traders was broken, towns were built, roads made, railways opened—none of the outward signs of material progress were wanting.

But of late the civilized world has been horrified to find that this imposing structure has been cemented with the life blood of the Congo races; that the material improvements to which the administrators of Congoland can point, have been purchased by an appalling amount of suffering inflicted upon the hapless negroes. The collection of rubber, on which the whole fabric of Congo finance rests, involves a disregard of liberty, an indifference to suffering, a destruction of human life, almost inconceivable. Those who best know the country estimate that the population is annually reduced, under King Leopold’s rule, by at least a hundred thousand. No great war, no famine, no pestilence in the world’s history has been so merciless a scourge as civilization in Congoland.

Yet owing to mutual jealousies, the Powers are slow to take action, and while they hesitate to intervene, the population of this great region, nearly as large as Europe, is fast disappearing.

It has been my aim in this book to show, within necessary limitations, what the effect of the white man’s rule has been.

If any reader should be tempted to imagine that the picture here drawn is overcoloured, I would commend him to the publications issued by Mr E. D. Morel and his co-workers of the Congo Reform Association, with every confidence that the cause of the Congo native will thereby gain a new adherent.

I must express my very great thanks to the Rev. J. H. Harris and Mrs. Harris, who have spent several years on the Upper Congo, for their kindness in reading the manuscript and revising the proofs of this book, and for many most helpful suggestions and criticisms.

By this point the atrocities were so widely known that Leopold had become associated with severed hands and blood in large parts of the press. Countless caricatures in European and American magazines satirised him as a mass murderer, his hands or beard dripping with blood while he hugged his sacks full of blood money (p.222).

Leopold II's Heart of Darkness, by David White | Open History Society

When Leopold’s second wife bore his second child, it was born with a withered hand and Punch magazine published a cartoon with the caption Vengeance from on high. Harsh but an indication of how universally he was despised.

What did Leopold spend his blood money on?

And how did Leopold spend the huge personal wealth he accrued from all this forced labour, slavery, murder and extortion? On grandiose building schemes and his teenage mistress.

1. Buildings

Leopold invested a huge amount of his blood money on buying, building or renovating grand properties. Wikipedia gives a handy summary of a subject which is spread across numerous passages in Hochschild’s book:

The public buildings were mainly in Brussels, Ostend and Antwerp, and include the Hippodrome Wellington racetrack, the Royal Galleries and Maria Hendrikapark in Ostend; the Royal Museum for Central Africa and its surrounding park in Tervuren; the Cinquantenaire park, triumphal arch and complex, and the Duden Park in Brussels, and the 1895–1905 Antwerpen-Centraal railway station.

In addition to his public works, Leopold acquired and built numerous private properties for himself inside and outside Belgium. He expanded the grounds of the Royal Castle of Laeken [one of Europe’s most luxurious royal homes] and built the Royal Greenhouses, the Japanese Tower and the Chinese Pavilion near the palace. In the Ardennes his domains consisted of 6,700 hectares (17,000 acres) of forests and agricultural lands and the châteaux of Ardenne, Ciergnon, Fenffe, Villers-sur-Lesse and Ferage. He also built important country estates on the French Riviera, including the Villa des Cèdres and its botanical garden and the Villa Leopolda.

(In a picquant footnote, Hochschild tells us that one of Leopold’s many villas on the Cote d’Azur was  subsequently bought by the English writer, Somerset Maugham, p.276.)

Hochschild contrasts these extravagant building projects with the many, many, many African homes and villages and entire regions which his officers laid waste and burned to the ground.

2. Caroline Lacroix

Leopold had married Marie Henriette of Austria, a cousin of Emperor Franz Joseph I of Austria and grand-daughter of the Holy Roman Emperor Leopold II, on 22 August 1853 in Brussels. She was popular with the Belgians, was an artist and accomplished horsewoman, and the marriage produced four children. However, the couple became estranged and ended up living apart, Marie settling in the town of Spa where she lived till her death in 1902.

Meanwhile, Hochschild tells us, Leopold became a regular customer at high class brothels which specialised in young and very young girls, preferably virgins. Still, it comes as a bit of a surprise when Hochschild tells us that in 1899, in his 65th year, Leopold took as a mistress Caroline Lacroix, a 16-year-old French prostitute, and that they were to stay together for the next decade until his death.

It was on Caroline that a lot of the blood money from the Congo was lavished, in the form of cash, bonds raised against the Congo Free State government, castles and villas and dresses and makeup and holidays. Throughout this period they were unmarried, so Caroline was in effect his teenage mistress and became unpopular with the Belgian public and made Leopold even more of a figure of fun and contempt among international critics and cartoonists.

File:Your Majesty! at your age....jpg - Wikipedia

The priest is saying: ‘O sire! At your age!’ to which Leopold replies: ‘You should try it yourself!’

Leopold finally married Caroline in a Catholic ceremony just five days before his death, on 17 December 1909, aged 74. He left her a huge fortune but their failure to perform a civil ceremony rendered the marriage invalid under Belgian law and the Belgian government tried its best to seize all the king’s assets and fortune, giving rise to a jamboree for lawyers. Despite legal wrangles it is likely that she managed to spirit away $7 million, maybe more.

The Vatican recognised their wedding though, and Catholic priests were with him till the end. It is nauseating to read how the Catholic church stayed staunchly loyal to Leopold despite the most disgusting revelations, whereas a large number of the truth-tellers and reports were Protestant missionaries. A classic example of the stark contrast between the generally servile subservience of Catholic officials and the outspoken truth-telling of Protestant clerics, especially of non-conformists such as Baptists and the ever-principled Quakers. (You should read Hochschild’s wonderful account of the campaign to abolish slavery to be moved to tears by the hard work of the non-conformists and especially the Quakers in devoting their entire lives to ending slavery.)

When Leopold first heard about her, Caroline had been the mistress and sometime prostitute of Antoine-Emmanuel Durrieux, a former officer in the French army. It is somehow pleasing to learn that she tried to keep up a surreptitious relationship with Durrieux throughout her time with Leopold and that, seven months after the old monster died, she married Durrieux. Ah. True love.

In 1937 she published her memoirs, A Commoner Married a King: As Told by Baroness De Vaughan to Paul Faure. It is a classic example of the logocentrism of the West, in the sense that the doctored and sentimental memoirs of a royal prostitute are preserved for all time for scholars to pore over, analyse and re-analyse, while the lives and experiences of the ten million or so Congolese murdered, mutilated and starved to death – apart from a handful of testimonies recorded in the Casement Report and a few other public enquiries – are nowhere, nothing, vanished as if they had never been.

Leopold’s death and the end of the Congo Free State

The real question, reading all this horror, is why, despite widespread knowledge of the appalling atrocities, little or no steps were taken against him and nothing changed for so long. Leopold’s personal rule over his Congo Free State lasted 23 years, from 1885 to 1908.

The decisive step was getting the US government to switch its policy from indifference to Congo to active hostility, and this coincided with a massive newspaper revelation about the extent of Leopold’s behind-the-scenes bribery and manipulation of US government ministers, agencies and media.

The American change of heart crystallised with the hostility of the British government and, indeed, of a decisive majority in the Belgian government itself, and in Belgian popular opinion, to make Leopold realise the game was up and he agreed to hand over the running of the Congo Free State to the Belgian government so that it could become a ‘proper’ colony, subject to scrutiny in the press and by third parties.

Still, the canny old miser and manipulator insisted on selling the Congo to the Belgian government and drove a very hard bargain, emerging tens of millions of francs better off. In the end a compromise was reached whereby Leopold was paid $10 million and a further $9 million was assigned to his various grandiose vanity projects across Belgium as ‘compensation’ for losses which in reality he had never incurred.

And so, after months of wrangling, in November 1908 the Congo was handed over from Leopold’s personal control to the Belgian state (p.259). In August 1908 his closest officials spent a week non-stop burning all the official records of the Congo Free State, destroying all the evidence of malfeasance committed during his rule. Nonetheless, because of Morel and his many contributors, a sizeable amount of documentary evidence remained in the public domain.

As you might expect, conditions improved somewhat but most of the Belgian officials running the place stayed in post, the Force Publique didn’t even bother to change its name (p.271) and the basic economic imperatives – to maximise revenue from rubber – meant that, in practice, the living conditions of most Congolese continued to be wretched and brutalised. Thirteen months after handing over the Congo to the Belgian government, Leopold was dead, surely one of the most infamous brutes in recorded history.

Reluctantly, knowing that many abuses would continue to take place, Morel had to concede that, with the arch villain dead, many supporters of the CRA at home and abroad thought the job had been done and the fire had gone out of the campaign. In 1913 he held a last meeting of the Congo Reform Association then dissolved it. It had lasted from 1904 to 1913 and was, in Hochschild’s view, ‘the most important and sustained crusade of its sort between the Abolitionism of the early and middle nineteenth century and the worldwide boycott and embargo against apartheid-era South Africa in the 1970s and 1980s’ (p.277).

Arthur Conan Doyle, a late convert who became a very enthusiastic supporter of the cause, described the management of the Congo in his pamphlet The Crime of the Congo as ‘the greatest crime which has ever been committed in the history of the world’ (quoted on page 271).

The fact that there are statues and plaques in Belgium to this day commemorating Leopold for his humanitarian deeds and philanthropy is beyond grotesque.

The documentary

In 2006 a documentary was released, based on this book and with the same title, King Leopold’s Ghost, directed by Pippa Scott and narrated by Don Cheadle.

Credit

King Leopold’s Ghost: A Story of Greed, Terror and Heroism in Colonial Africa by Adam Hochschild was published by Mariner Books in 1998. All references are to the 2012 Pan paperback edition.


Africa-related reviews

History

Fictions set wholly or partly in Africa

Exhibitions about Africa

The Atrocity Exhibition by J.G. Ballard (1970)

WARNING: This review contains quotations which are extremely brutal and/or sexually explicit.

Fingers fretting at the key in her pocket, she watched Travers search through the montage photographs which the volunteers had assembled during anaesthesia. Disquieting diorama of pain and mutilation: strange sexual wounds, imaginary Vietnam atrocities, the deformed mouth of Jacqueline Kennedy. (p.68)

The fact that American edition of the book was titled Love and Napalm gives you fair warning of what to expect.

The Atrocity Exhibition is only a short book, 110 pages in the Granada paperback edition I’ve got, and yet it opens up wide, jagged horizons and makes a tremendous impact because of its format.

The human organism is an atrocity exhibition at which he is an unwilling spectator. (p.13)

Experiments and collage

Ballard was keenly interested in experimental fiction and art, an interest which reached its peak in the late-1960s. As early as the late 1950s he’d created a series of collages assembled from texts cut out of scientific magazines. In 1967 he began a series of what came to be called ‘Advertiser’s Announcements’, being surreal or collagist parodies of traditional adverts. And we know that Ballard originally wanted The Atrocity Exhibition to be a book of collage illustrations.

I originally wanted a large-format book, printed by photo-offset, in which I would produce the artwork – a lot of collages, material taken from medical documents and medical photographs, crashing cars and all that sort of iconography.

In the event this proved impractical and Ballard ended up creating a kind of verbal equivalent of collage from a sequence of stand-alone prose pieces. These were originally published as stand-alone ‘stories’ in various art and sci fi magazines.

The final text of The Atrocity Exhibition is divided into 15 of these pieces or stories or texts, and then each of these is sub-divided into very short sections, often only a paragraph long. Each paragraph has a title of its own, in bold. The result is to make the book a highly fragmented read and certainly not a ‘novel’ with a consistent linear narrative in any traditional sense. Here’s a typical paragraph, or fragment, or angle.

Auto-erotic. As he rested in Catherine Austin’s bedroom, Talbot listened to the helicopters flying along the motorway from the airport. Symbols in a machine apocalypse, they seeded the cores of unknown memories in the furniture of the apartment, the gestures of unspoken affections. He lowered his eyes from the window. Catherine Austin sat on the bed beside him. Her naked body was held forward like a bizarre exhibit, its anatomy a junction of sterile cleft and flaccid mons. He placed his palm against the mud-coloured areola of her left nipple. The concrete landscape of underpass and overpass mediated a more real presence, the geometry of a neural interval, the identity latent within his own musculature.

1. You immediately see the intense but detached pornography of the female body, which never uses swearwords but refers to intercourse and all aspects of sexuality by their strict scientific names, ‘sterile cleft and flaccid mons’.

2. And you immediately see how the sex is intimately and intricately interwoven with equally precise descriptions of architecture and modern transport machines – helicopters flying over the motorway from the airport, a concrete landscape of overpasses and underpasses.

3. And beneath it all, initially obscured by the novelty of the clinical sexuality and the obsessed concrete-mania, lies the characteristic Ballard exorbitance, the Edgar Allen Poe hysteria ‘mediated’, as he would put it, through the detachment of the science journalist, summarising his perceptions as ‘symbols in a machine apocalypse’.

And yet there is no apocalypse. A few cars crash, one helicopter crashes and burns (I think), but there’s nothing like an ‘apocalypse’. The apocalypse – the extremity of all the situations – is all in the mind – of the cipher-characters and, ultimately, of Ballard himself.

The chapters of The Atrocity Exhibition

Here’s a list of the fifteen ‘chapters’/stories and the magazines they were first published in, and dates of first publication. You can see how the composition of the pieces stretched over three years from spring 1966 to late 1969 i.e. was a relatively slow and scattered process.

  1. The Atrocity Exhibition (New Worlds, Vol. 50, # 166, September 1966, excerpt)
  2. The University of Death (Transatlantic Review, No. 29, London, Summer 1968)
  3. The Assassination Weapon (New Worlds, Vol. 50, # 161, April 1966)
  4. You: Coma: Marilyn Monroe (Ambit # 27, Spring 1966)
  5. Notes Towards a Mental Breakdown (New Worlds July 1967, excerpt)
  6. The Great American Nude (Ambit # 36 Summer 1968)
  7. The Summer Cannibals (New Worlds # 186 January 1969)
  8. Tolerances of the Human Face (Encounter Vol. 33, No. 3, September 1969)
  9. You and Me and the Continuum (Impulse, Vol. 1, No. 1, March 1966) FIRST
  10. Plan for the Assassination of Jacqueline Kennedy (Ambit # 31, Spring 1967 [the 26 paragraph titles are in alphabetical order])
  11. Love and Napalm (Export USA Circuit #6, June 1968)
  12. Crash! (ICA-Eventsheet February 1969, excerpt) LAST
  13. The Generations of America (New Worlds # 183, October 1968)
  14. Why I Want to Fuck Ronald Reagan (Brighton: Unicorn Bookshop, 1968)
  15. The Assassination of John Fitzgerald Kennedy Considered as a Downhill Motor Race (Ambit # 29, Autumn 1966)

Condensed novels

In one interview Ballard described the chapters or stories as each forming an individual, ‘condensed’ novel.

They’re certainly condensed in the sense that, as you read them, it feels as if lots of the action and description and linking passages which would create an ordinary ‘story’ have been surgically removed. Instead the paragraphs jump between isolated moments or scenes, between characters, between settings, so that it’s often difficult to see how they’re at all related, apart from featuring the same names. I’m not sure I really followed the ‘narrative’ of any of them.

And the prose style is just as ‘condensed’. Although it’s only 110 pages long, The Atrocity Exhibition is a chewy read because every single sentence feels packed with meaning and significance. There’s no filler or run-of-the-mill description or dialogue. It makes you realise how slack the texture of most normal novels is.

The Geometry of Her Face. In the perspectives of the plaza, the junctions of the underpass and embankment, Talbot at last recognized a modulus that could be multiplied into the landscape of his consciousness. The descending triangle of the plaza was repeated in the facial geometry of the young woman. The diagram of her bones formed a key to his own postures and musculature, and to the scenario that had preoccupied him at the Institute. He began to prepare for departure. The pilot and the young woman now deferred to him. The fans of the helicopter turned in the dark air, casting elongated ciphers on the dying concrete.

Threads and themes

So the book consists of fifteen short (7, 8 or 9 page) sections, themselves sharply cut up into 20 or 30 fragments or perspectives which superficially justifies the term ‘condensed novels’.

But actually, the term is quite misleading because the sections are not as free-standing as it implies. In fact there are clear, indeed dominating, threads, themes, images and ideas which link almost all the chapters and make the assembly of the texts together much bigger than just the sum of a bunch of disparate parts.

For a start the same ‘characters’ recur in almost all of them – Dr Nathan the psychiatrist, Catherine Austen a mature love object and Karen Novotnik, a younger woman.

The first three or four sections all feature a central male protagonist who leads the action and the other characters comment on although, in an approach which I enjoyed, this character’s name changes from chapter to chapter – from Travis to Talbot to Tallis and so on – and in each incarnation he’s not quite the same person, as if reality shifts subtly in each story, or as if each avatar each one represents an alternative possible reality. This would explain why the young woman Karen Novotnik appears to die not once but several times, each time in a different scenario.

Celebration. For Talbot the explosive collision of the two cars was a celebration of the unity of their soft geometries, the unique creation of the pudenda of Ralph Nader. The dismembered bodies of Karen Novotny and himself moved across the morning landscape, re-created in a hundred crashing cars, in the perspectives of a thousand concrete embankments, in the sexual postures of a million lovers.

As well as these recurring names, the texts are held together by their obsessive circling round the same handful of images, ideas and names. In fact, the way that the central male figure keeps reappearing under different names made me realise that without much difficulty you could say that the characters aren’t carrying the plot, the obsessions are.

So that the book can really be seen as about the circulation, meeting, mingling, parting and interaction of certain obsessive ideas, images and phrases. It’s as if the obsessions are the real, rounded, multi-dimensional entities, the ones we get to know in detail, who feature in various adventures and permutations, while the so-called human ‘characters’ are just vectors or mediums through which the idées fixes are channelled.

Over and over, the same images, situations, ideas and phrases recur with a claustrophobic, obsessive repetition. Dominant are images of death, war, car crashes, apocalypse. They include:

  • World War III
  • the atom bomb and atomic test sites
  • cars and car crashes and the wounds car crashes create in soft human bodies
  • helicopters flying ominously overhead, Vietnam-style
  • utterly impersonal sexual congress conceived as a form of geometric investigation
  • images over-familiar film stars such as Elizabeth Taylor or Brigitte Bardot
  • newsreel footage of war atrocities, from Auschwitz to Vietnam via Biafra and the Congo
  • the Kennedy assassination (one character is described as obsessively trying to recreate the Kennedy assassination ‘in a way that makes sense’)
  • concrete motorways and multi-storey car parks

Each chapter contains a specific mix of these ingredients, but the same overall list of ingredients recurs across all 15, rotating in ever-changing combinations like a kaleidoscope.

Chapter one: The Atrocity Exhibition

Thus chapter one features characters named Travis, his wife Margaret Travis, Catherine Austen who he’s having an affair with, his psychiatrist Dr Nathan who is analysing Travis’s obsession with creating a kind of one-man, psychological World War III, and Captain Webster who is having an affair with Margaret.

Travis is collecting ‘terminal documents’ (just like Kaldren in the short story The Voices of Time). Travis dreams of starting World War III, if only in his head (‘For us, perhaps, World War III is now little more than a sinister pop art display…’). These terminal documents appear pleasingly random and in a note Ballard tells us they were the result of free association:

  1. A spectrohelion of the sun
  2. front elevation of balcony units, Hilton Hotel, London
  3. transverse section through a pre-Cambrian trilobite
  4. ‘chronograms’ by E.J. Marey
  5. photograph taken at noon 7 August 1945 in the Qattara Depression Egypt
  6. a reproduction of Max Ernst’s Garden Airplane Traps
  7. fusing sequences for ‘Little Boy’ and ‘Fat Boy’, the Hiroshima and Nagasaki atom bombs

They’re actually quite a good cross-section of JG’s obsessions: the atom bomb, the alienating effect of modernist architecture, deep geological time (which Ballard had painted as returning to dominate the modern world with its dinosaurs and tropical swamps in The Drowned World or the short story Now Awakes The Sea), a Surrealist painting, the obsession with time indicated by the fictional ‘chronographs’.

And hotels, hotels are classic locations for alienation and ennui for Ballard, if they’re abandoned in one of his dystopian futures, surrounded by drained swimming pools, all the better.

So far, so sort-of reasonable, after all characters and themes occur in all novels. But it’s difficult to convey the chaotic and deliberately dissociative texture of the book.

Brachycephalic. They stopped beneath the half-painted bowl of the radio-telescope. As the blunt metal ear turned on its tracks, fumbling at the sky, he put his hands to his skull, feeling the still-open sutures. Beside him Quinton, the dapper pomaded Judas, was waving at the distant hedges where the three limousines were waiting. ‘If you like we can have a hundred cars – a complete motorcade.’ Ignoring Quinton, he took a piece of quartz from his flying jacket and laid it on the surf. From it poured the code-music of the quasars.

There is no joined-up, consecutive narrative. Each paragraph is genuinely a fragment in the sense that they don’t cohere into any kind of ‘story’. Instead they are snapshots of the characters’ obsessions. Certainly the ‘people’ in the stories meet, encounter each other, have sex, drive cars because we see this in individual paragraphs. But each consecutive paragraph charts a new scene. They are like fragments from a lot of different jigsaws all jumbled together.

At the end of ‘chapter’ one the bodies of Dr Nathan, Captain Webster and Catherine Austen form a small tableau by the bunker. Maybe they were killed in bombing of the target zone in the disused military zone which Travis seems to have organised.

But the second ‘chapter’ begins with these same ‘dead’ characters – Dr Nathan, Catherine Austen – brought back to life, in new scenes as if nothing had happened. Now they are taking part in a screenshow in a university organised by one ‘Talbot'( a sort of structural variation on Travis) and whose students are ostensibly studying World War III, inspired by the jealous student Koester. Talbot is having an affair with Catherine but sees her body chiefly as a ‘geometry’ of vents and clefts and is more interested in the sculpture he’s building on the roof, metal aerials constructed to hold glass faces to the sun. He is clearly cracking up.

And so it continues, tangling and rethreading a narrow and obsessive networks of themes and images…

Key words

If certain key ideas recur and repeat in endless permutations, so do key words. As so often, I find the words more interesting than the ‘ideas’:

geometry

  • her own body, with its endless familiar geometry…
  • in the postures they assumed, the contours of thigh and thorax, Travis explored the geometry and volumetric time of the bedroom
  • only an anatomist could have identified these fragments, each represented as a formal geometric pattern
  • his wife’s body with its familiar geometry
  • His room was filled with grotesque magazine photographs: the obsessive geometry of overpasses, like fragments of her own body; X-rays of unborn children; a series of genital deformations; a hundred close-ups of hands.
  • the concrete landscape of underpass and flyover mediated a more real presence, the geometry of a neural interval…
  • the obsessive geometry of flyovers, like fragments of her own body
  • the geometry of the plaza exercised a unique fascination upon Talbot’s mind
  • a crushed fender; in its broken geometry Talbot saw the dismembered body of Karen Novotny
  • the danger of an assassination attempt seems evident, one hypotenuse in this geometry of a murder
  • For Talbot the explosive collision of the two cars was a celebration of the unity of their soft geometries…

mimetised

  • he assumed the postures of the fragmented body of the film actress, mimetising his past dreams and anxieties in the dune-like fragments of her body
  • the mimetised disasters of Vietnam and the Congo
  • segments of his postures mimetised in the processes of time and space
  • our anxieties mimetised in the junction between wall and ceiling

terminal

  • A Terminal Posture. Lying on the worn concrete of the gunnery aisles, he assumed the postures of the film actress, assuaging his past dreams and anxieties in the dune-like fragments of her
    body.
  • Dr Nathan gazed at the display photographs of terminal syphilitics in the cinema foyer
  • He remembered the aloof, cerebral Kline, and their long discussions on this terminal concrete beach…
  • The Terminal Zone. He lay on the sand with the rusty bicycle wheel. Now and then he would cover some of the spokes with sand, neutralizing the radial geometry. The rim interested him. Hidden behind a dune, the hut no longer seemed a part of his world. The sky remained constant, the warm air touching the shreds of test papers sticking up from the sand. He continued to examine the wheel. Nothing happened.

neural

  • Overhead the glass curtain-walls of the apartment block presided over this first interval of neural calm.
  • The concrete landscape of underpass and overpass mediated a more real presence, the geometry of a neural interval, the identity latent within his own musculature.
  • Impressions of Africa. A low shoreline; air glazed like amber; derricks and jetties above brown water; the silver geometry of a petrochemical complex, a Vorticist assemblage of cylinders and cubes superimposed upon the distant plateau of mountains; a single Horton sphere – enigmatic balloon tethered to the fused sand by its steel cradles; the unique clarity of the African light: fluted tablelands and jigsaw bastions; the limitless neural geometry of the landscape.

planes

  • For some reason the planes of his face failed to intersect, as if their true resolution took place in some as yet invisible dimension, or required elements other than those provided by his own character and musculature.
  • The planes of their lives interlocked at oblique angles, fragments of personal myths fusing with the commercial cosmologies.
  • Her blanched skin revealed the hollow planes of her face.
  • His rigid face was held six inches from her own, his mouth like the pecking orifice of some unpleasant machine. The planes of his cheekbones and temples intersected with the slabs of rainwashed cement, together forming a strange sexual modulus.
  • The planes of her face seemed to lead towards some invisible focus, projecting an image that lingered on the walls, as if they were inhabiting her skull
  • The apartment was a box clock, a cubicular extrapolation of the facial planes of the yantra, the cheekbones of Marilyn Monroe.

This sketchy review of his key vocabulary establishes that what Ballard’s key words have in common is the way they are hard and technical, continually shifting the imagination away from soft human bodies to hard geometries, from sentimental ‘feelings’ towards impersonal, scientific and mathematical notions of ‘neural’ events, planes and geometries.

Art

Ballard made no secret of the immense influence on him of Surrealist painting. He mentions it in pretty much every interview he ever gave, lards his stories with the adjective ‘surrealist’, and frequently refers to specific Surrealist paintings. The Atrocity Exhibition contains references to the following works of art:

  • Max Ernst – Garden Airplane Traps
  • Max Ernst – Europe after the Rain (p.15)
  • Salvador Dali – Hypercubic Christ
  • Max Ernst – Silence (p.21)
  • Salvador Dali – The Persistence of Memory (p.22)
  • Magritte – The Annunciation (p.31)
  • Duchamp – The Bride Stripped Bare By Her Bachelors, Even
  • Max Ernst, The Stolen Mirror (p.47)
  • Bellmer sculptures (p.54)
  • Duchamp – Nude descending a Staircase (p.55)
  • Tanguy – Jours de Lenteur (p.85)
  • Max Ernst – the Robing of the Bride (p.85)
  • de Chirico – The Dream of the Poet (p.85)

The art references tend to occur in contexts where they add, expand and complicate existing descriptions.

The ‘Soft’ Death of Marilyn Monroe. Standing in front of him as she dressed, Karen Novotny’s body seemed as smooth and annealed as those frozen planes. Yet a displacement of time would drain away the soft interstices, leaving walls like scraped clinkers. He remembered Ernst’s ‘Robing’: Marilyn’s pitted skin, breasts of carved pumice, volcanic thighs, a face of ash. The widowed bride of Vesuvius.

On reflection, I realise that you could see each of the individual paragraphs as the equivalent of free-standing paintings. That makes a lot of sense. Treating each paragraph as a painting treating a different mood, or angle, or perspective on similar events, covering similar subjects, but each from a different angle and approach – and yourself sauntering past them as they’re hung up on a gallery wall.

Sex and pornography

The text is soaked in sex and sexual perversions and pornography regarded as a clinically detached exercise.

This is justified, if needs be, by Ballard’s view that we are in a hyper-advanced technological society where all experience is mediated by a bombardment of media and advertising imagery to such an extent that naive notions of simple sentimental sex have been scorched out of existence.

The need for more polymorphic roles has been demonstrated by television and news media. Sexual intercourse can no longer be regarded as a personal and isolated activity, but is seen to be a vector in a public complex involving automobile styling, politics and mass communications

The satirical surveys

With a satire which is so straight-faced it’s hard to tell whether he’s laughing or not, the later chapters of The Atrocity Exhibition are notably different from the earlier ones.

They are still laid out as fragmented paragraphs but they more or less cease being (fragmented) narratives and consist of collections of pseudo-scientific surveys and reports.

And these focus relentlessly, obsessively on the conjunction of atrocity and sex, specifically the impact of viewing a) President Kennedy’s assassination b) Vietnam war footage c) general atrocity footage (Auschwitz, the Congo) on the sex lives of an amusingly random and surreal cross-section of audience types, including children, the mentally ill and housewives.

Satirically, the ‘research’ presents evidence that atrocity footage improves workplace efficiency and stimulates a healthy sex drive. Conclusion? Wars of the Vietnam type are good for society.

Using assembly kits of atrocity photographs, groups of housewives, students and psychotic patients selected the optimum child-torture victim. Rape and napalm burns remained constant preoccupations, and a wound profile of maximum arousal was constructed. Despite the revulsion expressed by the panels, follow-up surveys of work-proficiency and health patterns indicate substantial benefits. The effects of atrocity films on disturbed children were found to have positive results that indicate similar benefits for the TV public at large. These studies confirm that it is only in terms of a psychosexual module such as provided by the Vietnam war that the United States can enter into a relationship with the world generally characterized by the term ‘love.’

This fairly blunt satire – although presented in the same-chopped-up paragraphs each headed by a title in bold type as the earlier ‘stories’ – feels drastically different in intention from the earlier stories.

Maybe they reflect the quick escalation in protest against the war which took place in the last few years of the 1960s, and which prompted the equally savage satirical short story The Killing Ground of 1969.

Nuclear satire

Also: In one of his notes to the book, Ballard points out that from the late 1950s and early 1960s, the heyday of the Campaign for Nuclear Disarmament, the fact that the world was living under the shadow of impending nuclear holocaust meant that, to anybody who thought about it, everything was permissible. How could you believe in the fuddy-duddy old values of Church and State, all those crowns and gowns, if the world could be incinerated tomorrow?

Not only that, but how can you think about the end of the world and the destruction of the planet except via extremity and satire? As demonstrated by the Stanley Kubrick movie Dr Strangelove which was a) released in 1964 only 2 years before the first Atrocity story was published, and b) filmed at Shepperton studios just round the corner from Ballard’s house. Serendipities. Zeitgeist. Spirit of the Age.

Conclusion for philistines

If Ballard’s obsession with car crashes and clinical pornography seems sick, ask yourself who’s the sickest – novelists who write blistering porno-satire or generals who order napalm by the lakeful to be dropped on peasant villages?

That was the reality of the times Ballard was writing in, and for. Remember the American version of the book was titled Love and Napalm

  • The billboards multiplied around them, walling the streets with giant replicas of napalm bombings in Vietnam, the serial deaths of Elizabeth Taylor and Marilyn Monroe terraced in the landscapes of Dien Bien Phu and the Mekong Delta.
  • Homage to Abraham Zapruder Each night, as Travers moved through the deserted auditorium, the films of simulated atrocities played above the rows of empty seats, images of napalm victims, crashing cars and motorcade attacks.
  • On the basis of viewers’ preferences an optimum torture and execution sequence was devised involving Governor Reagan, Madame Ky and an unidentifiable eight-year-old Vietnamese girl napalm victim.

Remember the photo of that little naked Vietnamese girl running down the road her skin flapping off her where the napalm had burned her? Those photos were all around in 1966, 67, 68. Atrocity Exhibition is Ballard’s response to the TV-mediated hyper-violence and psychic disturbance of the times.

Conclusion for Ballardians

I think it’s his best book. It’s an über-intense encyclopedia of Ballard’s distinctive obsessions and visions. Some people read it as an experimental depiction of the psyche of a man undergoing a nervous breakdown.

I think it’s bigger than that, it presents an (in)coherent way of verbalising a number of the visual, psychological and imaginative pressures anyone living in the modern era is subjected to. The constant, hammering pressure of the motorways, the thundering traffic, the massive planes grinding overhead, the aggressive billboard hoardings, the saturated mediascape, the faces of the same handful of celebrities dinned into our brains, and the deadening and at the same time hysterical impact that has on our imaginative lives, and emotional lives, and sex lives (if we have them).

Joy Division

Wrote a song based on the book, released on their 1980 album Closer, which is a fair attempt to capture the book’s weirdness in another medium.


Credit

‘The Atrocity Exhibition’ by J.G. Ballard was published by Jonathan Cape in 1970. Page references are to the 1979 Triad/Panther Books paperback edition. All quotations are used for the purpose of criticism and review.

Related link

Related reviews

Heart of Darkness by Joseph Conrad (1899)

Heart of Darkness was published in three monthly instalments in Blackwood’s Edinburgh Magazine in February, March and April of 1899. (The Victorian Web has an essay describing the other articles which Heart of Darkness appeared among.) The final text was still divided into three equal sections when it was published in book form in 1902.

Heart of Darkness is a masterpiece and as such can be approached from scores of different angles, interpreted in countless ways.

In line with my earlier comments about Conrad, I think its success is partly because, in the horrific facts of the Belgian Congo which he experienced on his 1890 trip up the river, Conrad found external realities which, for once, justified the extremity of his nihilistic worldview and the exorbitance of his style.

The Congo really was a vast immensity of suffering and pain. When he uses his almost hysterical language about Almayer’s daughter abandoning him, or Willems’s native mistress seeing through him, or Hervey’s wife leaving him, Conrad’s lexicon and syntax seem overwrought, hyperbolic. In King Leopold’s Congo there really was a subject which justified the obsessive use of words like ‘horror’, ‘suffering’, ‘immense anguish’ and so on.

Frame device

In Youth Conrad invents the frame device of the group of five mature men of the world sitting around smoking after-dinner cigars while one of them, Marlow, sets off to tell a long yarn.

Having come across this device in Youth Conrad immediately reused it for House of Darkness. Precisely the same five good fellows who we met in Youth are aboard the yacht Nellie, moored in the Thames at dusk, as Marlow recounts the story of his trip up the Congo.

So the book has two narrators: the anonymous one who describes the ‘we’, the five chaps; and then, via his narrative, we hear Marlow’s story – a story within a story.

Matching the tale to the teller, and creating subtle ironies between the actual events and the way they are told, are devices as old as Chaucer’s Canterbury Tales or Boccaccio’s Decameron, older. Thus, once Marlow finishes his story, the narrator returns for the concluding paragraphs, to describe the haunting final vision of the darkness of the Thames after sunset, when the full repercussions of Marlow’s story sink in.

The frame device:

1) guarantees a happy ending – we know that Marlow returned alive

2) guarantees a kind of sanity – periodically, when Marlow’s story rises to heights of absurdity or psychological stress, the narrator reminds us of the calm, bourgeois, urban setting the tale is being told in:

There was a pause of profound stillness, then a match flared, and Marlow’s lean face appeared, worn, hollow, with downward folds and dropped eyelids, with an aspect of concentrated attention; and as he took vigorous draws at his pipe, it seemed to retreat and advance out of the night in the regular flicker of the tiny flame.

3) above all, it replaces suspense – what happened? – with reflection – what does it mean? It legitimises the way Marlow frequently stops the tale to ponder the meaning of his experiences, or stops to tell his audience how he’s struggling to convey the feelings he experienced – something that would be harder for an omniscient narrator to do.

The plot

Marlow takes a commission from a Belgian company to captain a steamboat up the Congo to find one Mr Kurtz, a prize ivory trader. Before he’s even set foot in Africa he sees signs of the greed and folly of the European imperial mission to Africa – a lone warship pointlessly firing cannon randomly into the jungle – and as soon as he arrives at the first station up-river he finds the building of the so-called railway a shambles where Africans are chained like slaves and worked to death.

When Marlow reaches the legendary Kurtz he finds he has sunk into horrific barbarity, savagely marauding through neighbouring country, killing natives and stealing their ivory, his campong lined by stakes on which are impaled human heads.

The young idealist Kurtz had written an eloquent pamphlet on how to bring ‘civilisation’ to the natives. Across the bottom the older, degraded Kurtz has scrawled, ‘Exterminate all the brutes.’

Kurtz is a symbol of the hypocritical cruelty and absurd folly of imperial enterprises. Marlow gets his native bearers to carry the sick and dying Kurtz onto his steamer, turns around and heads for the coast. Kurtz dies onboard and his last words – ‘The horror, the horror’ – have become classic, referenced by T.S. Eliot, the climax of Francis Ford Coppola’s 1979 movie adaptation, ‘Apocalypse Now‘, I’ve seen them on t-shirts.

Not British

Although Conrad doesn’t name the colonial power, he gives broad enough hints that it was Belgium. The Congo was the personal possession of King Leopold of Belgium, who modern historians nowadays place alongside Hitler, Stalin, Pol Pot as one of the great modern mass murderers of all time, with an estimated 8 to 10 million Africans dying in the Congo as a direct result of the slavery he instituted during his reign (1885 to 1908).

But the point is – it isn’t British. This genocidal regime wasn’t British. Conrad was anxious about how his blistering critique of Imperialism would be received in his new home, the greatest empire the world had ever seen.

Later the same year Heart of Darkness was published, in October 1899, the Boer War broke out and whipped the country into a furore of Imperialist jingoism. Conrad knew it was impossible to criticise the British Empire, and he certainly goes out of his way in the opening pages to emphasise that he is NOT talking about the British Empire, and that the British Empire is qualitatively different from the imperial folly he attributes to Belgium.

‘On one end a large shining map, marked with all the colors of a rainbow. There was a vast amount of red – good to see at any time, because one knows that some real work is done in there…’

What’s more, the opening pages contain a great and deliberate hymn to the history and integrity of the British Empire.

I wonder what obligation Conrad felt under to clarify that, although he appeared to be saying that all empires are hypocritical, rapacious follies… he in fact meant, all empires except your empire of course, chaps.

‘The tidal current runs to and fro in its unceasing service, crowded with memories of men and ships it had borne to the rest of home or to the battles of the sea. It had known and served all the men of whom the nation is proud, from Sir Francis Drake to Sir John Franklin, knights all, titled and untitled—the great knights-errant of the sea. It had borne all the ships whose names are like jewels flashing in the night of time, from the Golden Hind returning with her round flanks full of treasure, to be visited by the Queen’s Highness and thus pass out of the gigantic tale, to the Erebus and Terror, bound on other conquests — and that never returned. It had known the ships and the men. They had sailed from Deptford, from Greenwich, from Erith — the adventurers and the settlers; kings’ ships and the ships of men on ‘Change; captains, admirals, the dark “interlopers” of the Eastern trade, and the commissioned “generals” of East India fleets. Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, messengers of the might within the land, bearers of a spark from the sacred fire. What greatness had not floated on the ebb of that river into the mystery of an unknown earth!… The dreams of men, the seed of commonwealths, the germs of empires.’

Furthermore, at a few key moments in the story, the English auditors interrupt the story to object to Marlow’s tone and implications.

These interruptions mark the boundaries, indicating not so much to the fictional audience but to us, the readers, that even Marlow’s overflowing style and withering irony has limits, is safely contained. That Conrad knows where the borders of taste are and is policing them:

‘I felt often its mysterious stillness watching me at my monkey tricks, just as it watches you fellows performing on your respective tight-ropes for – what is it? half-a-crown a tumble –’
‘”Try to be civil, Marlow,” growled a voice, and I knew there was at least one listener awake besides myself.
‘”I beg your pardon,” [said Marlow]

Style

Because the bulk of the narration is meant to be spoken by Marlow, an Englishman telling his story to other Englishmen, Conrad is forced to rein in his style.

Much more of the narrative deals with facts, factually conveyed, than in his earlier texts such as the lyrical Youth, the first Marlow text.

Coming fresh from reading Almayer’s Folly, An Outcast of the Islands and Karain, the style of Darkness seems mercifully sober and controlled.

But coming from outside Conradworld, to most ordinary readers the style will still seem extraordinarily florid, with long descriptive passages larded with lush adjectives, and Marlow’s comments on his experiences forever tending to the same nihilism and fatalism which drenched the narratives of Almayer, Outcast, Karain, Lagoon and The Return.

There include the liberal use of triplets –

‘all that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men.’

The long sentences which use multiple sub-clauses to repeat and amplify the message of despair.

Imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate.

And the endlessly creative ways he finds to express the same underlying mood of despair:

…my isolation amongst all these men with whom I had no point of contact, the oily and languid sea, the uniform somberness of the coast, seemed to keep me away from the truth of things, within the toil of a mournful and senseless delusion.

…in and out of rivers, streams of death in life, whose banks were rotting into mud, whose waters, thickened into slime, invaded the contorted mangroves, that seemed to writhe at us in the extremity of an impotent despair.

A taint of imbecile rapacity blew through it all, like a whiff from some corpse.

The great wall of vegetation, an exuberant and entangled mass of trunks, branches, leaves, boughs, festoons, motionless in the moonlight, was like a rioting invasion of soundless life, a rolling wave of plants, piled up, crested, ready to topple over the creek, to sweep every little man of us out of his little existence.

…a gesture that took in the forest, the creek, the mud, the river, – seemed to beckon with a dishonouring flourish before the sunlit face of the land a treacherous appeal to the lurking death, to the hidden evil, to the profound darkness of its heart.

The pattern itself

There are insights to be had about the role of women – about the contrast between the savage woman of the jungle and the white purity of Kurtz’s Intended who Marlow visits back in Brussels and whose innocent, naive love for Kurtz he is compelled to preserve.

There’s also a lot to write about the concept of the Voice – Marlow experiences Kurtz as predominantly a fluent, deep, authoritative voice – but then Marlow himself becomes nothing but a voice on the deck of the unlit yawl – the two are ironically yoked together.

Books can and have been written about Conrad’s racism, his fundamentally insulting opinion of Africans or ‘savages’ etc.

In all three ‘issues’ or themes or motifs (and in a host of others) Conrad deliberately creates multiple ironies, multiple systems of comparison and contrast. But however easily these patterns can be reduced to feminist or post-colonial or post-structuralist formulas, rewritten to support early 21st century political correctness, I also regard the patterning of the text as almost abstract, as an end in itself which can be enjoyed for itself.

The repetition of key words and phrases – the repetition of leading motifs – the multiple ironies i.e. the ubiquitous techniques of doubling and comparison – because they are expressed in words are susceptible of logical interpretation. But I suggest they can also be seen as abstract designs, comparable to the Japanese designs so appreciated by contemporary Aesthetes – or to the new languid style of Art Nouveau, the delicate intertwining of tracery meant to be enjoyed for its own sake and nothing more.

I think of the turn to patterning of a painter like Edward Burne-Jones who, in his final years, acquired a symbolist depth. His later paintings are full of grey-eyed women in increasingly abstract patterns or designs.

Symbolist poetry and painting was the new thing in the 1890s, paintings and poetry full of shimmering surfaces to be appreciated for their own beauty, without any straining after meaning. Like the intricate line drawings of Aubrey Beardsley where the style is much more important than the ‘subject matter’; or the ‘impressionist’ music of Claude Debussy.

Conrad hints as much in an oft-quoted passage right at the start, where the anonymous narrator is setting the scene and introducing Marlow:

The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.

In 1917 Conrad wrote prefaces to a new edition of his works, and wrote the following about Heart of Darkness, explicitly comparing it not to a tract, not to a fiction, not even to a painting, but to music:

Heart of Darkness is experience, too; but it is experience pushed a little (and only a little) beyond the actual facts of the case for the perfectly legitimate, I believe, purpose of bringing it home to the minds and bosoms of the readers. There it was no longer a matter of sincere colouring. It was like another art altogether. That sombre tone had to be given a sinister resonance, a tonality of its own, a continued vibration that, I hoped, would hang in the air and dwell on the ear after the last note had been struck.

In my opinion, you can write whole books about Conrad and Women, Conrad and Empire, Conrad and Race, and these will be interesting investigations, but all these approaches can (should?) be subsumed by a sensitive, receptive appreciation of the multiply-layered phrasing, of the styling and patterning of motifs and rhythms, tones and colours, words and clauses, sentences and paragraphs, of his grandiloquent and haunted prose style.

To appreciate it like a work of art or the intricate patterning of an exquisite piece of music. To penetrate to a deeper appreciation of the sheer sensual pleasure of this extraordinary text.


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