Joseph Conrad began his journey up the Congo River that would inspire the writing of his Heart of Darkness only five years after Belgium’s King Leopold II took possession of the Congo as his personal estate at the Berlin Conference of 1885. The six months Conrad spent in Congo dramatically changed his life and led the sea captain to reflect until his death on “the vilest scramble for loot that ever disfigured the history of human conscience and geographical exploration”.

Eight years later, when in his new career as writer Conrad recreated his Congo experiences, King Leopold’s agents had almost stopped demanding tax payments of ivory in favor of the forced harvesting of natural rubber from the country’s vast rain forests. Leopold’s grand design, which first took shape on reading Henry Morton Stanley’s descriptions of a country of “unspeakable riches” waiting for “an

enterprising capitalist” to “take the matter in hand”, was becoming a reality at the cost of unspeakable suffering of the Congolese people. By the time Conrad put his pen to paper, the country “had become a place of darkness” he wrote in A Personal Record .

It became a “place of darkness” not due to behaviors of the African population but due to, in the words of one literary critic, “the savage degradation of the white man in Africa” that Conrad witnessed. In setting out to describe the atrocities wrought by Leopold II’s grand design, Conrad was driven by “that glimpse of truth for which you have forgotten to ask”.

The writer’s discovery of the “truth” of Congo under Leopold’s rule was greatly aided by his brief contact with the Irishman Roger Casement soon after arrival in the country. Casement’s 1903 report for the British Foreign Service sparked worldwide condemnation of the “Congo Free State” and helped force Leopold’s eventual abdication of rule over the country. Among the many personal accounts of brutality included in Casement’s report was one from a Disciples of Christ missionary. A founder of the Disciples’ first mission station at Bolenge, Ellsworth Faris, recounted in his diary an 1899 meeting with “Free State” agent Simon Roi:

“Each time the corporal goes out to get rubber, cartridges are given to him. He must bring back all not used; and for every one used he must bring back a right hand! As to the extent to which this is crried on, (Roi) informed me that in six months they, the State, on the Momboyo River had used 6000 cartridges, which means that 6000 people are killed or mutilated. It means more than 6000, for the people have told me repeatedly that the soldiers kill children with the butt of their guns.”

The Bolenge mission Faris established was a long day’s boat ride from the Lulonga River’s flow into the mighty Congo. The village of Lulonga, at the confluence, was the last place name mentioned in Conrad’s Congo diary. “Lulonga passage….N by E to NNE. On the Port Side: Snags.” Not long after Conrad’s visit, the Anglo Belgian India Rubber Company, the first and largest company in the Free State’s grisly history, was established at Basankusu where the Lulonga River begins in today’s Equateur Province. Leopold’s own commission of inquiry into the human rights abuses in Congo singled out the ABIR Company’s tactics of rubber exploitation in the Basankusu Region as “the black spot on the history of Central African settlement”.

The impact of Conrad’s imaginative tale of the rapacious exploitation of Congo’s resources has had more of an impact on Western culture than on the West’s political and commercial presence in Congo. In his post WW I poem “The Wasteland” TS Eliot’s original epigraph for the poem quoted Kurtz’s “cry that was no more than a breath – ‘The horror! the horror!’”. Although scrapped due to WW II concerns, a screen adaptation of Heart of Darkness was to be Orson Welles’ first film for RKO Pictures. And when Francis Ford Coppola sought to depict the madness and brutality of the U.S. War in Vietnam, “the greatest portrait in fiction of Europeans in the Scramble for Africa” (in Adam Hochschild’s words) was again adapted for the movie screen as “Apocalypse Now”. An outstanding example of the impact on the West’s intellectual dialog is the novella’s influence in the eminent Palestinian critic Edward Said’s thought. One of his biographers wrote that Heart of Darkness was “foundational to Said’s entire career and project”.

For Conrad himself, the six months in Congo resulted in a political awakening that shaped the rest of his life and his writing career. When he left for Africa he was persuaded that although Leopold’s enterprise aimed to make a profit it was a noble and ‘civilising’ mission. Years after his Congo journey, Conrad declared to the literary critic Edward Garnett that at the time he had had “not a thought in his head”.

Since Conrad’s day, Congo has experienced political change but the basic pattern of the exploitation of the nation’s vast resources primarily for the benefit of foreigners has not changed. This spring’s kidnapping and murder of a U.S. and Swedish UN investigator

inquiring about the recent outbreaks of violence in the Kasai constitutes recent evidence that rule of the Congo is still marked by brutality and impunity. The primary difference in Congo’s politics of our time is that “the vilest scramble for loot that ever disfigured the history of human conscience” has coopted and now enriches a tiny elite of Congolese nationals “to tear treasure out of the bowels of the earth…..with no more moral purpose in back of it than there is in burglars breaking into a safe” (Heart of Darkness).