Discussion with Mike Phillips Encompassing Colonial Looting, Restitution, and the Origin of a Masterpiece

In a fascinating turn of events, the book "The Dancing Face" by author Mike Phillips is set to be republished, with a new cover aimed at American audiences. This novel, initially considered a boutique item celebrated by the author's more discerning readers, now finds itself at the forefront of international politics, focusing on the issue of reparations and the nature of West African identity.

Phillips, the author of acclaimed works such as "Blood Rights," "The Late Candidate," and "London Crossings: A Biography of Black Britain," began writing "The Dancing Face" during his tenure as a resident writer at the Royal Festival Hall. His interest in West African art and artifacts was sparked by indignation at the fact of colonial theft.

Thirty years have passed since the initial publication of "The Dancing Face," and the book's reception has undergone a significant shift. While the action was once the focus, the role of the imagery has now taken centre stage. The new cover, featuring the face of an African statuette, serves to refocus attention on the underlying themes of the book.

Steve, a friend of the author, worked for a Nigerian millionaire whose shipping firm transported goods throughout the Middle East. A mistake made by Steve's colleague resulted in one of the ships sailing in the wrong direction, being impounded, and detained in Egypt at a cost of millions. This incident may have influenced Phillips' focus on the issue of reparations in "The Dancing Face."

In the last three decades, the issue of reparations has become a significant part of international politics. No serious politician would have claimed the issue as part of his programme when "The Dancing Face" was first published. However, in today's climate, the conversation surrounding reparations and West African identity is more prominent than ever.

Phillips, who has not opened "The Dancing Face" for nearly thirty years, seems to have anticipated this shift. He feels that the publication in America will lead to a change in the book's reception. The book is also being readied for broadcast as a TV series in Britain, further expanding its reach.

Tacitus, in the Epilogue of Agricola, expressed that the form of the mind is eternal and should be expressed individually, not through art and its material. Phillips' work in "The Dancing Face" certainly embodies this sentiment, offering a unique perspective on the understanding represented by the artwork of ancient Assyria, the Parthenon, and West Africa.

The author, often attracting others and serving as a central focus for conversations about literature, is undoubtedly excited about the renewed interest in his work. As "The Dancing Face" prepares for its second debut, readers and critics alike are eager to see how Phillips' exploration of West African identity and reparations will resonate with a modern audience.