“Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. ”

“What we must think about is an agriculture with a human face. We must give standing to the new pioneers, the homecomers bent on the most important work for the next century - a massive salvage operation to save the vulnerable but necessary pieces of nature and culture and to keep the good and artful examples before us. It is time for a new breed of artists to enter front and center, for the point of art, after all, is to connect. This is the homecomer I have in mind: the scientist, the accountant who converses with nature, a true artist devoted to the building of agriculture and culture to match the scenery presented to those first European eyes.”

“In short, Europe’s colonization of Africa had nothing to do with differences between European and African peoples themselves, as white racists assume. Rather, it was due to accidents of geography and biogeography—in particular, to the continents’ different areas, axes, and suites of wild plant and animal species. That is, the different historical trajectories of Africa and Europe stem ultimately from differences in real estate.”

“When Leopold wrote that the precise frontiers of the new state or states would be defined later, [German Chancellor] Bismarck said to an aide, "His Majesty displays the pretensions and naive selfishness of an Italian who considers that his charm and good looks will enable him to get away with anything.”

“A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the 'standpoint of art' can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a 'secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.”

“The construction of civilizational difference is not exclusive in any simple sense. The de-essentialization of Islam is paradigmatic for all thinking about the assimilation of non-European poeples to European civilization. The idea that people's historical experience is inessential to them, that it can be shed at will, makes it possible to argue more strongly for the Enlightenment's claim to universality: Muslims, as members of the abstract category "humans," can be assimilated or (as some recent theorist have put it) "translated" into a global ("European") civilization once they have divested themselves of what many of them regard (mistakenly) as essential to themselves. The belief that human beings can be separated from their histories and traditions makes it possible to urge a Europeanization of the Islamic world. And by the same logic, it underlies the belief that the assimilation to Europe's civilization of Muslim immigrants who are--for good or for ill--already in European states is necessary and desirable.”

“There are some people who live in a dream world, and some who face reality; and then there are those who turn one into the other.”