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in a wealth of other contexts including journalism, not least in covering the 1994 genocide in Rwanda to the twenty-first-century crises in the Middle East and Afghanistan. Conrad’s exploration of the unjust barbarity of colonial exploitation has become a powerful metaphor for modern war: Apocalypse Now (Francis Ford Coppola, 1979) effectively uses the novella as the source for an exploration of the Vietnam War (although, notoriously, Conrad is not cited anywhere in the credits). The ‘Conradian journey’ also
politics into an orgy. He becomes ‘a sort of god’ because his dreams ‘incorporated world events that were likely to occur as well as those that already had’, meaning that ‘he would become aware of things currently occurring – massacres in Rwanda, coup in Moscow, earthquake in Los Angeles – that he had already foreseen (albeit incorporating a cast of multicoloured centaurs and singing seahorses) in his