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Thinking black; 22 years without a break in the long grass of Central ...

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KAVANGA: GATES OF THE MORNING 387<br />

pass. Was ever parable so eloquent <strong>of</strong> s<strong>in</strong> strangl<strong>in</strong>g <strong>the</strong><br />

soul?<br />

On and on you forge, <strong>the</strong> t<strong>in</strong>y track left beh<strong>in</strong>d<br />

scarcely mak<strong>in</strong>g any impression on <strong>the</strong> stubborn <strong>grass</strong>.<br />

Dare to drop your penknife, compass, or anyth<strong>in</strong>g, and<br />

never was needle <strong>in</strong> haystack so hopelessly lost. Yet<br />

even here your negro is an eye-opener, and once aga<strong>in</strong> <strong>the</strong><br />

gulf is seen to yawn between white and <strong>black</strong>, between<br />

Mr. Know Noth<strong>in</strong>g and Mr. Know All. Watch what<br />

happens. You make a dive <strong>in</strong>to your pocket for—say,<br />

—your compass, and lo, <strong>the</strong> conviction stabs you that<br />

it is lost Very vaguely, somewhere away back <strong>in</strong> that<br />

maze <strong>of</strong> forest it fell to <strong>the</strong> ground—nay, not <strong>the</strong> ground,<br />

for that, too, is almost as lost as your compass below <strong>the</strong><br />

thick tangle <strong>of</strong> undergrowth. Yet here is a lynx-eyed<br />

group <strong>of</strong> <strong>black</strong>s actually dar<strong>in</strong>g to describe that hopeless<br />

maze <strong>of</strong> country for miles far to <strong>the</strong> rear. They know<br />

that forest as though <strong>the</strong>y had planted it. As though <strong>the</strong>y<br />

had planted it 1<br />

Shoot<strong>in</strong>g back <strong>in</strong> memory to <strong>the</strong> last po<strong>in</strong>t<br />

where <strong>the</strong> compass was <strong>in</strong> use, <strong>the</strong>re <strong>the</strong>y are chatter<strong>in</strong>g out<br />

an astound<strong>in</strong>gly <strong>in</strong>timate description <strong>of</strong> that mad tangle,<br />

tale <strong>of</strong> twists, loops, and detours. Precisely as a London<br />

policeman lectur<strong>in</strong>g Hodge ticks <strong>of</strong>lf on his f<strong>in</strong>gers <strong>the</strong><br />

requisite number <strong>of</strong> streets he must pass <strong>in</strong> order to reach<br />

<strong>the</strong> British Museum, so too with <strong>the</strong>se negro blood-<br />

hounds and <strong>the</strong>ir topsy-turvy forest. Now only a blurred<br />

and exasperat<strong>in</strong>g memory to Mr. Musungu, here you<br />

have <strong>the</strong>m str<strong>in</strong>g<strong>in</strong>g it <strong>of</strong>f like so many London streets.<br />

This sort <strong>of</strong> th<strong>in</strong>g : " Yes, back to that last ant-hill, not

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