Introduction

What is The New Yorker? I know it’s a great magazine and that it’s a tremendous source of pleasure in my life. But what exactly is it? This blog’s premise is that The New Yorker is a work of art, as worthy of comment and analysis as, say, Keats’s “Ode on a Grecian Urn.” Each week I review one or more aspects of the magazine’s latest issue. I suppose it’s possible to describe and analyze an entire issue, but I prefer to keep my reviews brief, and so I usually focus on just one or two pieces, to explore in each the signature style of its author. A piece by Nick Paumgarten is not like a piece by Jill Lepore, and neither is like a piece by Ian Frazier. One could not mistake Collins for Seabrook, or Bilger for Galchen, or Mogelson for Kolbert. Each has found a style, and it is that style that I respond to as I read, and want to understand and describe.

Wednesday, March 27, 2024

March 25, 2024 Issue

Jackson Arn, in his “All That Glitters,” in this week’s New Yorker, calls T. J. Clark “the most eloquent Klimt hater.” What’s that based on? I had to dig to find out. It turns out that, in 2010, Clark wrote a letter to the London Review of Books, responding to correspondence generated by Michael Hofmann’s “Vermicular Dither” (London Review of Books, January 28, 2010), a review of Stefan Zweig’s The World of Yesterday, in which he (Hofmann) refers to Klimt as “the Kitschmeister.” Clark writes,

I have no dog in the ring as regards Stefan Zweig; but as Gustav Klimt has come up in your correspondence, and even been claimed as ‘one of the greatest painters ever’, I do want to say that when I read Michael Hofmann’s verdict on the artist I found myself breathing a sigh of relief (Letters, 11 February). At last someone had dared state the obvious. As for ‘greatest painters ever’, there is a special place in the hell of reputations for those who tried hardest for the title in the first years of the 20th century: the Frank Brangwyns, the Eugène Carrières, the Anders Zorns, the John Singer Sargents, the Giovanni Segantinis. Not that these artists are uninteresting. Someone with a strong stomach and a taste for tragic irony should write a book about large-scale and mural painting in the two decades leading to Mons and Passchendaele. But taken at all seriously – compared with their contemporary Akseli Gallen-Kallela, for example, let alone the last achievements of Puvis de Chavannes – the greats of Edwardian Euro-America strike me as Kitschmeisters through and through: early specialists in the new century’s pretend difficulty and ‘opacity’, pretend mystery and profundity, pretend eroticism and excess. Klimt has a place of honour in their ranks.

Arn is right. There's no love there. By the way, I wasn't doubting Arn's word. I just couldn't recall ever reading anything by Clark about Klimt. And I've read a lot of Clark. I devour him.

Postscript: Just as an off-set to Clark’s acid verdict, consider what Peter Schjeldahl said about Klimt’s “Adele”:

With the best of will—and I have tried—“Adele” makes no formal sense. The parts—including the silky brushwork of the young lady’s face and hands, which poke through the bumpy ground as through a carnival prop—drift, generating no mutual tensions. The size feels arbitrary, without integral scale in relation to the viewer: bigger or smaller would make no difference. The content of the gorgeous whatsit seems a rhyming of conspicuously consumed wealth with show-off eroticism. She’s a vamp, is Adele; and for whom would she be simpering but the randy master, Herr Klimt? The effect is a closed loop of his and her narcissisms. They’re them, and we aren’t. I think we are supposed to be impressed. And let’s be. Why not? Our age will be bookmarked in history by the self-adoring gestures of the incredibly rich. Aesthetics ride coach. ["Changing My Mind About Gustav Klimt's 'Adele' "]

I love that “gorgeous whatsit.” Can kitsch be beautiful? Schjeldahl said yes. 

Friday, March 22, 2024

On the Horizon: "Thurman and Lepore: Two Superb 'New Yorker' Essayists"











Judith Thurman’s A Left-Handed Woman (2022) and Jill Lepore’s The Deadline (2023) are two of the great New Yorker essay collections of the last twenty years – where “great” means original, acerbic, perceptive, evocative, analytical, passionate, illuminating, stylish. To celebrate them, I’m going to select four of my favorite pieces from each book (one per month, for the next eight months) and try to express why I like them so much. A new series then – “Thurman and Lepore: Two Superb New Yorker Essayists” – starting April 15, 2024.

Tuesday, March 19, 2024

March 18, 2024 Issue

My fascination with the two versions of Helen Rosner’s “Tables for Two” continues. This week she reviews Misipasta, a Williamsburg market that sells fresh pastas and sauces, and is also a restaurant. In the print version, she writes, “There are about twenty counter stools, and the air smells like Parmigiano and butter.” In the extended newyorker.com version, she says,

There are about twenty seats indoors, all of them counter stools, and one or two are nearly always empty. The lights are just dim enough to soothe, the tidy menu of cocktails and bitter Italian sodas ready to offer a bit of relief. The air smells like Parmigiano and butter, the sound system is playing the Pointer Sisters. 

What fascinates me is (1) the artful economy of the magazine column, and (2) the ravishing extra details of the web version. Here’s another example: in the magazine, she writes, 

Have a slice of crispy farinata, a lacy-edged chickpea-flour pancake aromatic with rosemary. Have an artichoke sandwich, one of the city’s great secret sandwiches – an enormous mess of grilled artichoke hearts and hot chili peppers, barely held together by oozing provolone cheese. Bring home a pound of pasta – frilly lumache, or long, flat tubes of paccheri – and a jar of thirty-clove sauce. You won’t make pasta nearly as good as Robbins’s – even with the same ingredients, some things just have to get all the way into your bones—but it doesn’t hurt to try. 

Here's the web version:

Have an espresso, fruity and bitter. Have a slice of crispy farinata, a lacy-edge chickpea-flour pancake aromatic with rosemary. Have one of the city’s great secret sandwiches, an enormous mess of marinated and grilled artichoke hearts, spiked with hot chilis and barely held together by oozing provolone cheese. Buy a pint of Robbins’s satiny hazelnut gelato. Get a pound of pasta—frilly lumache, or long tubes of paccheri—and a jar of thirty-clove sauce, heady with garlic. You won’t make pasta nearly as good as Robbins’s at home—even with the same ingredients, even with the same tools, some things just have to get all the way into your bones—but it doesn’t hurt to try.

Who would not want such delectable writing to go on forever? The print version is wonderful. But the expanded newyorker.com version is divine. To have them both is double bliss! 

Thursday, March 14, 2024

Acts of Seeing: Birch Chandelier

Photo by John MacDougall














Rained yesterday. Temperature dropped below zero. Everything encased in ice. This morning the sun came out. Woods turned to crystal. There’s a path that runs along the edge of John Arch’s Pond to the beach. I went in there. Bent-over birches like fabulous chandeliers. Branches fused in cascading luminosity. What a scene! I couldn’t get enough of it. By afternoon the ice melted. Trees dripped water. Scene dissolved. 

Wednesday, March 13, 2024

March 11, 2023 Issue

Jackson Arn, in his absorbing “The Boy Who Cried Art,” in this week’s issue, says of graffiti artist Keith Haring, “His chalk drawings are almost always very crude, so as not to interfere with the whooshing immediacy of the performance or the nervous allure of the performer.” That “whooshing immediacy” is brilliant. I wonder if it was inspired by Norman Mailer’s great “The Faith of Graffiti” (included in Mailer’s 1982 essay collection Pieces and Pontifications). Mailer wrote, 

Yes, the graffiti had not only the feel and all the super-powered whoosh and impact of all the bubble letters in all the mad comic strips, but the zoom, the aghr, and the ahhr of screeching rails, the fast motion of subways roaring into stations, the comic strips come to life.

Arn mentions Mailer’s essay in his piece. I think Mailer’s appreciation of graffiti was deeper than Arn’s is. Arn calls it “Business Art.” He calls Haring a “Business Artist.” What do those terms mean? Arn writes,

Even in its infancy, there was something in New York graffiti that smacked of Business Art. You can see it in Basquiat, who put a copyright symbol on his creations well before they hung in galleries. Or watch “Stations of the Elevated,” Manfred Kirchheimer’s ecstatic M.T.A. documentary. Pay attention to the way he cuts between spray-painted trains and signs for Burger King and Coppertone. When people watched the film in 1981, they may have sensed aesthetic deadlock: commercial art and street art face to face, without much of anything to say to each other. But you might also interpret these scenes as street art competing with commercial art, trying to match its bigness and brightness—and, the moment you do, Haring seems less the artist who betrayed graffiti and more the artist who made its guilty dreams come true.

"Guilty dreams"? I don’t see anything guilty about graffiti. I see it as our version of cave painting, an exuberant assertion that we exist in this time and place. 

Sunday, March 10, 2024

Top Ten "New Yorker & Me": #8 "Kathryn Schulz's 'Pond Scum' "

Illustration by Eric Nyquist, from Kathryn Schulz's "Pond Scum"













This is the third post in my monthly archival series “Top Ten New Yorker & Me,” in which I look back and choose what I consider to be some of this blog’s best writings. Today’s pick is "Kathryn Schulz's 'Pond Scum' " (October 27, 2015):

Kathryn Schulz, in her virulent "Pond Scum" (The New Yorker, October 19, 2015), calls Henry David Thoreau "self-obsessed," "narcissistic," "fanatical," "parochial," "egotistical," "disingenuous," "arrogant," "sanctimonious," "hypocritical," and a “thoroughgoing misanthrope.” She says, “The poor, the rich, his neighbors, his admirers, strangers: Thoreau’s antipathy toward humanity even encompassed the very idea of civilization.” Reading her evisceration of Thoreau’s character, I was reminded of John Updike’s comment on Lord Byron: he “was a monster of vanity and appetite, with one possibly redeeming quality: he could write.” Schulz doesn’t spend much time on Thoreau’s writing ability. She’s too busy excoriating him for, among other things, shunning coffee (“I cannot idolize anyone who opposes coffee”). 

“Pond Scum” contains a number of original poison-tipped barbs. My favorite is Schulz’s description of Walden as “less a cornerstone work of environmental literature than the original cabin porn: a fantasy about rustic life divorced from the reality of living in the woods, and, especially, a fantasy about escaping the entanglements and responsibilities of living among other people.” 

Granted, Schulz does praise Thoreau’s gift for nature description. She says,

Although Thoreau is insufferable when fancying himself a seer, he is wonderful at actually seeing, and the passages he devotes to describing the natural world have an acuity and serenity that nothing else in the book approaches. It is a pleasure to read him on a battle between black and red ants; on the layers of ice that form as the pond freezes over in winter; on the breeze, birds, fish, waterbugs, and dust motes that differently disturb the surface of Walden.

Yes, it is a pleasure to read him on those things, and many more besides. So what’s Schulz’s point? Robert Sullivan, in his wonderful The Thoreau You Don’t Know (2009), says, “A central theme that anyone considering Thoreau must face early on is the jerk factor. Was Thoreau a jerk?” Well, we know where Schulz stands on that question. According to her, he was a jerk par excellence. But if he hadn’t been a jerk, maybe he wouldn’t have written the way he did. Somewhere in his letters, Van Gogh says, “And if I weren’t as I am I wouldn’t paint.” Similarly, Thoreau could say, “And if I weren’t as I am I wouldn’t write.” Who cares if Thoreau was a jerk? Most of us are jerks one way or another. But not many of us can write like Thoreau. 

Friday, March 8, 2024

On the Horizon: Ian Frazier's New Book "Paradise Bronx"

I see that Ian Frazier has a new book coming out. It’s called Paradise Bronx. His publisher, Farrar, Strauss and Giroux, promotes it as his magnum opus (“Ian Frazier’s magnum opus: a love song to New York City’s most heterogeneous and alive borough”). Frazier is among the New Yorker greats, right up there with Liebling, Mitchell, Kael, and McPhee. His Great Plains, On the Rez, and Travels in Siberia are among my favorite books. For me, the release of Paradise Bronx, scheduled for August 20, 2024, is one of the major literary events of the year. I avidly look forward to it.

Thursday, March 7, 2024

On the Horizon: 5 McPhee Canoe Trips

Illustration based on photo from Canoeguy's Blog







In homage to one of my all-time favorite New Yorker writers, John McPhee, I’m launching a new series – an appreciation of five of his best pieces, each of which is about a canoe trip he took.

The five pieces are “The Survival of the Bark Canoe” (February 24 & March 3, 1975), “The Keel of Lake Dickey” (May 3, 1976), “The Encircled River” (May 2 & 9, 1977), “Farewell to the Nineteenth Century” (September 27, 1999), and “Five Days on the Concord and Merrimack Rivers” (December 15, 2003). 

I’ll focus on one piece each month, examining what it’s about, how it’s made, and why I’m drawn to it. A new series then – “5 McPhee Canoe Trips” – starting April 7, 2024. 

Wednesday, March 6, 2024

March 4, 2024 Issue

I love these sentences:

1. Nearly every dish incorporates luxury ingredients, though they generally show up as supporting players: foie-gras drippings in a creamy onion dip, or an earthy whiff of white truffle in a garlic-cream soup. At times, this can feel a bit like opulence theatre, rather than actual opulence—a black-truffle-flecked gelée, draped over a devilled egg en chemise, tasted like nothing much at all, least of all truffles—but when it works, my God, it works. [Helen Rosner, “Tables for Two: Le B.”]

2. In 2005, Goswick sliced his suit going through the windshield of a car that went off the old Tappan Zee Bridge. [Ben McGrath, “Where’s My Car?”]

3. Once the performance started, the cloud, which you soon forgot about, and others like it (all products, probably, of an offstage cloud-making machine), vividly captured beams of light from above the stage that came down in vertical shafts, suggesting interrogation lamps, the columns of a courthouse, or the bars of a prison cell. [Ian Frazier, “Uncaged Birds”]

All three are from this week’s New Yorker. Which one’s my favorite? Well, all three are great. And I don’t actually have to choose. But if I did, I’d pick Frazier’s surreal “cloud” description – such a surprising, delightful combination of words: “performance,” “cloud,” “off-stage,” “cloud-making machine,” “beams of light,” “vertical shafts,” “interrogation lamps,” “columns of a courthouse,” “bars of a prison cell.” You’d wonder how their combination makes sense. But it does, in the context of Frazier’s excellent Talk story about an opera for the wrongfully convicted. Bravo, Ian Frazier!

Postscript: I see the magazine has a new film critic – Justin Chang. Is this just for this issue, or is it permanent? Chang’s review of Nuri Bilge Ceylan’s “About Dry Grasses” intrigues me, particularly its exotic setting (eastern Anatolia). If I get a chance, I’ll check it out.

Monday, March 4, 2024

Acts of Seeing: Calçada da Glória

Calçada da Glória, 2024 (Photo by John MacDougall)










I’m never sure about my choice of photos. For some reason I’m drawn to this one. I took it last month when we were in Lisbon. I love this old street. Its name is Calçada da Glória. We walked it up and down and took many pictures. But it’s this one that speaks to me. Of course I relish the receding, curving, downhill perspective, and the mash-up of walls and buildings, and the rails and cobblestones, and the overhead funicular railway wires. But what I like most, what makes the photo distinctive (for me, at least) is the graffiti-painting session going on in the yard at left. I love the juicy colors of the graffiti on that immense dingy white wall. What a canvas! Dan Chiasson once wrote, “Reduced to its bluntest purpose, all writing is a form of graffiti, an assertion that we exist in this time and place.” I think this is true. 

Friday, March 1, 2024

3 for the River: Tim Butcher's "Blood River"








This is the third in a series of twelve monthly posts in which I’ll reread my three favorite riverine travelogues – R. M. Patterson’s Dangerous River (1953), Jonathan Raban’s Old Glory (1981), and Tim Butcher’s Blood River (2007) – and compare them. Today, I’ll review Blood River.  

In this great book, Tim Butcher chronicles his harrowing forty-four-day, three-thousand-kilometer journey through the Congo in 2004 – “great” because it’s vivid, detailed, and unforgettable; “harrowing” because of the many dangers he faces. 

His trip follows the historic route of journalist-explorer Henry Morton Stanley, when he mapped the Congo River, 1874-1877. It unfolds in eight stages: (1) Kalemie to Kasongo by motorbike (500 km); (2) Kasongo to Kindu by motorbike (200 km); (3) Kindu to Lowa by UN patrol boat (150 km); (4) Lowa to Ubundu by pirogue (200 km); (5) Ubundu to Kisangani by motorbike and pirogue (150 km); (6) Kisangani to Mbandaka by UN push-boat and barge (1000 km); (7) Mbandaka to Kinshasa by UN helicopter (600 km); (8) Kinshasa to Boma by jeep (400 km). 

1. Kalemie to Kasongo

This is the riskiest leg of Butcher’s journey. He says, “I knew the river descent would be hard, but the thing that worried me most was this overland section.” The terrain is impenetrable jungle, and the trail is narrow and overgrown. To make matters worse, rebel soldiers roam the bush. Butcher recruits a man from an aid group called Care International. His name is Benoit Bangana. Benoit has a colleague named Odimba. They have two Yamaha 0ff-road bikes. Benoit advises that “Motorbikes are the only way to travel” from Kalemie to Kasongo. The plan is that Butcher would ride with Odimba on one bike, and Benoit would ride on the other one with all their luggage. But then another man, Georges Mbuyu, a member of a pygmy rights group called La Voix des Minoritiés, agrees to join the expedition. Georges travels regularly in the bush. However, he doesn’t have a motorcycle. If Georges is to accompany them, they need a third bike. They find one owned by a man named Fiston Kasongo. For a price, Fiston agrees to go with them and drive Butcher on his bike. 

And so, one morning in August, 2004, the journey begins. Butcher writes,

I love starting a journey very early in the day. It offers the comforting sense that if something goes wrong, there is still the whole day to sort it out. As we left Kalemie before dawn that August morning, I felt a strong sense of well-being. The track was overhung with dew-drenched branches and twigs, and within a few minutes my wet clothes showed why Benoit and Odimba were wearing waterproofs. But the fact that I was soaked did not dim my spirits. After all the planning and worry, I was finally on the track of Stanley in the Congo, picking my way from Lake Tanganyka across the ridges and valleys that he had traversed in 1876. I can remember feeling excitement. And I can remember just how the euphoria began to ebb a few kilometres down the track when we had our first flat tire.

That first flat is on Odimba’s bike. Odimba fixes it expertly. The next three flats are on Fiston’s bike. His rear inner tube is a disaster, patches on patches. It’s decided that Fiston can’t go on. After fixing his tire one more time, he and Georges leave the group and head back to Kalemie. Butcher, Benoit and Odimba continue toward Kasongo on the Yamahas. They overnight in a bush settlement called Mukumbo. Butcher describes his lodgings:

Benoit returned to lead me to the hut that the chief had had prepared for me. It had walls of dried mud on wattle, a roof of heavy thatch and a door panel made of reeds woven across a wooden frame. Without a hinge, it worked by being heaved across the doorway, which I soon found had been cut for people quite a bit shorter than me. There was nothing modern in the room whatsoever. On the beaten-earth floor stood a bed – a frame of branches, still in their bark, lashed together with some sort of vine. The springs of the bed were made of lengths of split bamboo anchored at only one point halfway along the bed, so that when I put my hand down on them they bent horribly and appeared close to collapse. But the design was ingenious because when my weight was spread across the entire structure, the bamboo screen supported it easily, giving and moving with the contour of my shoulders and hip. It was a Fred Flintstone orthopaedic bed and I found it amazingly comfortable.

The next day, rising at 3:00 AM, the trio continue their travel. Butcher suffers from dehydration (“The bottles I had drunk the day before were simply not enough, and I had not had a drop of water overnight, leaving me with a whopping headache and a pain behind my eyes”). He also has a sore ass (“My backside had stopped being numb and had moved into a painful phase, each buttock screaming to be relieved of the pressure of being squashed against the plastic of Odimba’s motorbike seat. I learned to lean on one side and then the other to alleviate the pressure, but it was agony”). Whenever they encounter soldiers, they speed up, and though the soldiers jump up, grab their weapons and shout at them, they’re too late; the bikers are already by them, disappearing down the trail into the bush.

Finally they reach Kasongo. Butcher writes,

I remember little about the arrival, apart from the vast jug of filtered water that I gulped down and the smell of the previous night’s hut on my mosquito net, in which I wrapped myself before collapsing.

2. Kasongo to Kindu

Benoit stays in Kasongo. Butcher and Odimba continue on by motorcycle to Kindu, on the upper Congo River. Butcher describes his first sighting of the great river:

We simply turned a corner and there, unheralded, in front of me, lay one of the natural wonders of the world. The object of so much mystery for generations of outsiders, and the thing that had fired my imagination through years of research, oozed lazily downstream between two thickly forested banks almost a kilometre apart. The midday sun was directly overhead, my least favourite time of day in the Congo when all the colours of the trees are washed out and the heat is at its most suffocating. In the flat light, the river appeared viscous and still.

Butcher, Odimba, and their loaded motorbike cross the Congo River in a pirogue:

Eventually its bow slid onto our bank with the lightest of kisses. The dreadnought was heavy and the river too inert to make it swing downstream, so it just sat there like a compass needle pointing in the direction I needed to go, straight across the Congo River. A dozen or so passengers disembarked, carrying bundles of fruit wrapped in banana leaves trussed up with cords made from vines. One man had with him a type of home-made bicycle where part of the frame, the front forks, were made of rough branches of wood still in their bark. There was brief moment of negotiation between Odimba and the oldest paddler, before a tariff was agreed and our motorbike, still laden with luggage, was picked up bodily by four men and dropped into the canoe. The hull was deep enough for one of the paddlers to sit on the bike and freewheel it down to the lowest and most stable point.

It takes Butcher and Odimba another two days of hard biking to reach the port of Kindu.

3. Kindu to Lowa

In squalid Kindu, Butcher struggles to find a way downriver. Eventually, after five frustrating, uncomfortable days, he hitches a ride on a UN river patrol boat. The region is in its dry season; the river is low. The helmsmen drive the boat slowly, nosing it through sand banks, searching for a navigable channel. The slow pace affords Butcher the opportunity to look around and study his surroundings in detail. Here, for example, is his description of some of the rusting wrecks of old boats that used to ply this stretch of river, but which now line the left bank for well over a kilometre:

One ship had been completely overrun by a reed bank and its old smokestack could just be seen poking from the vegetation with ivy, not smoke, spewing out of the top. Another hulk was lying on its side clear out of the water, the panels eaten away by rust to reveal bulkheads like ribs in a whale carcass. But my favourite was an old stern-paddler, a rust-red X-ray image of the Mississippi steamboats of my imagination. The panels were all gone, but the superstructure remained in skeletal form. At the stern was the octagonal tubular frame on which the wooden blades of the paddle once stood.

The boat takes him 150 kilometres downriver, at which point its patrol in that direction ends. Butcher decides to go it alone from there. He’s deposited on shore near the village of Lowa.

4. Lowa to Ubundu

This is my favorite section of the journey. In Lowa, Butcher hires a pirogue and four paddlers to take him to Ubundu. This move brings him just about as close to the Congo River as he can get without swimming in it. You can tell from the beauty of his descriptions that he relishes the experience. For example:

The paddlers would josh and cajole each other, sure-footed as they danced up and down the delicate pirogue working their long-handled wooden paddles. About three metres long, they were shape of spades from a deck of cards, only stretched out to mansize, with shafts that were thin and shiny, polished by years of being slid through calloused hands.

But no pleasure lasts for long in the Congo. As Butcher nears Ubundu, his sense of unease begins to build. What’s his next step? The river is navigable only as far as Ubundu, at which point he will have to continue overland for 100 kilometres around a series of rapids and cataracts known as Stanley Falls, until he reaches Kisangani, the large port city built at the bottom of the seventh and final set of rapids. Butcher writes, “All in all, I knew Ubundu was always going to be one of the major troublespots on my journey.” 

5. Ubundu to Kisangani

But it turns out Unbundu isn’t that bad. Butcher finds lodging in the church of St. Joseph’s. And three motorbike drivers from the aid group International Rescue Committee volunteer to take him to Kisangani. His description of the trip is superb. Here’s a sample:

There was absolutely no work taking place on the road. The advancing jungle had choked it to a single-track footpath, snaking around mature trees growing up from the centre of the old carriageway and past vast mudslides and dramatic rockfalls. Bridges had been washed away, making us pick our way down to the bottom of water courses and then charge up the other side. Recent rains made the whole exercise a dirty and dangerous one as the bikes slithered in the glutinous mud time and again, often pitching me onto the deck. One fallen tree caused a twenty-minute delay as the only route for our convoy of three bikes was up and over the top. This meant unloading everything, carting it over to the other side and then heaving the bikes over the fallen trunk, all the time sliding in mud that stood no chance of drying out because the dense leaf cover kept out any direct sunlight. The sticky heat felt as if we were toiling inside a hothouse.

6. Kisangani to Mbandaka

This section contains one of the book’s most memorable lines. Butcher is aboard a UN pusher traveling 1000 kilometres downriver to Mbandaka. He says, “To pass the time I would drag out my daily ablutions, taking perverse pleasure in the slow process of boiling water for a meticulous, slow shave, before taking one of the world’s most dangerous showers.” He explains that the water for the shower comes straight from the river. He says,

Against the creamy ceramic of an old shower cubicle, the water ran brown like tea. It reminded me of Scottish hill water tainted with peat, only it was much warmer and the chemicals that leached brown into the Congo River were more terrifying than those found in Highland soil. Somewhere to our north ran the Ebola River, a tributary of a tributary of the Congo River, but a name that is associated with a horrific medical condition. It was near this river that a virus was first discovered that caused its victims to die in a spectacularly horrible way, bleeding to death from every orifice. Several of the world’s other spectacularly horrible haemorrhagic fevers were first discovered in the Congo. I kept my mouth shut whenever I showered.

Nevertheless, whether it’s from the shower or some other source, Butcher becomes sick. By the time he gets to Mbandaka, it’s all he can do to climb off the boat and back onto terra firma.

7. Mbandaka to Kinshasa

In Mbandaka, feeling too ill to face another delay of unknown duration, Butcher decides to travel the 600 kilometres to Kinshasa by UN helicopter. He says, “The shame I felt at temporarily abandoning Stanley’s route was more than outweighed by a growing sense of relief that my ordeal was nearing its end.”

8. Kinshasa to Boma

In Kinshasa, Butcher enters the world of the Congo super-elite. He stays at the headquarters of a cobalt-mining company, “a brand-new, luxury villa built on a prime piece of city-centre real estate fronting directly onto the Congo River.”  It’s only after two days of “sleeping in a bed with laundered sheets, drinking clean water, eating healthy food and dosing myself with antibiotics” that he feels strong enough to undertake the final leg of his journey. Using a jeep loaned to him by the mining company, he and two others drive the 400 kilometres to Boma, on the Congo River estuary. 

As he rides in the jeep, Butcher reflects on his 3000-kilometre Congo journey. He says, “In six harrowing weeks of travel I felt I had touched the heart of Africa and found it broken.”

Blood River is one of my favorite books. The above outline doesn’t come close to doing it justice. Maybe in future posts I can do better, explore it more deeply. My next post in this series will be on structure.