Privately printed book, one of 100 copies. 

Curle added a map tracing Conrad’s route up the Congo, contextualising the sparse, often technical diary entries within an overview of the geography of the terrain. The line runs from the coastal port of Matadi through the difficult overland march to Stanley Pool, then along the Congo River toward Stanley Falls.
In his ground-breaking study of the ‘genocidal plundering of the Congo’, King Leopold’s Ghost, Adam Hochschild discusses how Conrad’s ‘nautical jottings’ recording snags and soundings in fathoms, are transformed into the lambent prose of the novella. Hardy conjures a vivid sense of the total isolation in the middle of an illimitable wilderness, inaccessible to the European interloper. This sense of alienation and mystery is implicit in Curle’s map, in the blank spaces of the page that dwarf the thin, meandering line of the river. Hochschild quotes Conrad as remarking that ‘Heart of Darkness is experience ... pushed a little (and only very little) beyond the actual facts of the case.’

Ex Carta

Conrad’s travel diary includes rough charts tracing his Congo route, later recast as fiction in Heart of Darkness. These maps situate literary myth within colonial geography, the river’s meanderinto the unknown, resonating with the protagonist’s psychological and moral descent.

This is a scarce 1926 private printing of Conrad’s diary of his ill-fated 1890 voyage in the Belgian Congo, issued with an introduction and notes by Richard Curle, his close friend and biographer. It is based on the holograph manuscript now held at Harvard University. An edited version had been published in the UK, in the journal Blue Peter in 1925.

Conrad’s journey to the so-called Congo Free State as captain of a river steamer was an experience that profoundly affected him and ultimately inspired 

 (1899), one of the most influential works of the modern period and a key precursor of literary Modernism. The novella has had a long cultural afterlife, most famously informing

 (1979), as well as later, looser reinterpretations such as Ad Astra (2019).

His diary, here printed in a small edition for private circulation, records the journey from Matadi inland to Nselemba in terse, factual entries. Curle’s introduction situates the text within Conrad’s career and emphasises its significance as a first-hand account of the ordeal that shaped his most famous work. The edition also includes a facsimile photograph of the opening manuscript page, reproducing the diary at actual size.

, the protagonist Marlowe recalls that when he was a ‘little chap’ he ‘had a passion for maps’. He would lose himself‘ in all the glories of exploration’, but it was specifically the ‘blank spaces on the earth’ that he found inviting, spaces ‘for a boy to dream gloriously over’. As an adult at the close of the nineteenth century, he laments that many of these blank spaces of ‘delightful mystery’ had been filled in:

But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land. And as I looked at the map of it in a shop-window, it fascinated me as a snake would a bird – a silly little bird.

Curle added a map tracing Conrad’s route up the Congo, contextualising the sparse, often technical diary entries within an overview of the geography of the terrain. The line runs from the coastal port of Matadi through the difficult overland march to Stanley Pool, then along the Congo River toward Stanley Falls.

In his ground-breaking study of the ‘genocidal plundering of the Congo’, King Leopold’s Ghost, Adam Hochschild discusses how Conrad’s ‘nautical jottings’ recording snags and soundings in fathoms, are transformed into the lambent prose of the novella. Conrad conjures a vivid sense of the total isolation in the middle of an illimitable wilderness, inaccessible to the European interloper. This sense of alienation and mystery is implicit in Curle’s map, in the blank spaces of the page that dwarf the thin, meandering line of the river. Hochschild quotes Conrad as remarking that ‘Heart of Darkness is experience ... pushed a little (and only very little) beyond the actual facts of the case.’

Joseph Conrad’s Diary of His Journey Up the Congo