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profit-mongering amoralist she believes him to be. They are accompanied by Diniz’s mother’s companion Bel of Cuthilgurdy, a valiant and razor-tongued Scottish matron who comes to guide the young man and woman and ends up dispensing wisdom and healing to all; by Father Godscalc, who desires to prove his own faith by taking the Cross through East Africa to the fabled Ethiopia of Prester John; and by Lopez, whose designs are the most complex of all. Through Madeira to the Gambia and into the interior they journey, facing and eventually outfacing the competition of the Vatachino and Simon de St Pol.
    Like everyone but the Africans, both companies have underestimated even the size, let alone the cultural and religious complexity, of Africa: no travellers in this age can reach Ethiopia from the East, and the profits from the voyages of discovery and commerce recently begun by Prince Henry the Navigator are as yet mainly knowledge, and self-knowledge. There is gold in the Gambia, and there is a trade in black human beings which is, as Lopez is concerned to demonstrate, just beginning to take the shape that will constitute one of the supreme flaws of the civilisation of the West. There is also, up the Joliba flood-plain, the metropolis of Timbuktu, commercial and psychological ‘terminus’, and Islamic cultural centre, in which Diniz finds his manhood and Lopez regains his original identity as the jurist and scholar Umar; where Gelis consummates with Nicholas the supreme relationship of her life, hardly able as yet to distinguish whether its essence is love or hatred.
    On this journey, Godscalc the Christian priest and Umar the Islamic scholar both function as soul friends to Nicholas, prodding him through extremes of activity and meditation that finally draw the sting, as it appears, from the old wounds of family. Certainly there is no doubt of the affection of Diniz for Nicholas, and surely there can be none about the passion of Katelina’s sister Gelis, his lover. As the ships of the Bank of Niccolò return to Lisbon, to Venice and Bruges, success in commerce, friendship, and passion mitigates even the novel’s first glimpse of Katelina’s and Nicholas’s four-year-old son Henry, moulded by his putative father, Simon, in his own insecure, narcissistic, and violent image.
    On the way to his marriage-bed, the climax and reward of years of struggle, Nicholas is stunned by two blows which will undermine all the spiritual balance he has achieved in his African journey. He learns that Umar—his teacher, his other self—is dead in primitive battle, together with most of the gentle scholars of Timbuktu and their children. And on the heels of that news his bride Gelis, fierce, unreadable, looses the punishment she has prepared for him all these months: she tells him how she has deliberately conceived a child with Nicholas’s enemy Simon, to duplicate in reverse—out of what hatred he cannot conceive—the tragedy of Katelina. As the novel closes, we know that he is planning to accept the child as his own, and that he is going to Scotland.
    How Nicholas will be affected by the double betrayal—the involuntary death, the act of wilful cruelty—is not yet clear. There is a shield half in place, but Umar, the man of faith who helped him create it, is gone. Nicholas’s own spiritual experience, deeply guarded, has had to do with the intersection of mathematics and beauty, with the mind-cleansing horizons of sea and sky and desert, and with the display in friend and foe alike of the compelling qualities of valour and joy and empathy: the spiritual maturity with which he accepts the blows of Fate here may be real, but he has taken his revenge in devious ways before. More mysteriously still, the maturity is accompanied by a curious susceptibility he cannot yet understand, a gift or a disability which teases his mind with unknown events, unvisited places, thoughts that are not his. As much as his markets, his politics, or his