In 1975, Chinua Achebe published an essay attacking Conrad's best-known work as racist and already the novelist Robert Harris has described The Masque of Africa as "toxic". Already this feels cliched and tiresome one yearns for the day when an author from outside can approach Africa without invoking the "heart of darkness" mythology. It is a quest through the continent for the spirit of African belief, the belief systems that preceded the arrival of Christianity and Islam – which is very much in keeping with the legacy of Joseph Conrad, who is referenced several times in the book. The Masque of Africa is his latest – quite likely last – full-length work of non-fiction. I n 2001, when the Swedish Academy awarded Sir Vidia Naipaul the Nobel prize in literature, it described him as the heir to Joseph Conrad: "The annalist of the destinies of empires in the moral sense: what they do to human beings… the memory of what others have forgotten, the history of the vanquished." There are plenty who would have begged to disagree, for Naipaul has regularly attracted criticism, from Edward Said among others, for his dismissive remarks on the cultures of his native Trinidad, on Islam, Pakistan and more.
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