If you had to pick opposites in the world, you couldn’t do much worse to contrast the journey through the thick Congolese jungles and down the Congo River with the urban sprawl of New York City. One of Anthony Bourdain’s ‘Parts Unknown’ episodes in the Congo has one of the show’s best scenes where it has a vivid description of Bourdain gazing over New York City from his high-rise apartment in the closing moments, set up against the backdrop of his first and only foray to the Democratic Republic of Congo.
There are multiple themes to take away from the significance of Bourdain’s perilous journey in the Congo throughout the episode and with the contrasting solitude and isolation he likely had felt back in his NYC apartment after such a harrowing trip. There is a burden that he must have felt in witnessing such a contrast between the Congo and New York City that leaves the contrasting scenes up for our interpretation as fans of his ‘Parts Unknown’ show. How easy it can be to feel lonely amongst millions of people after traveling to such a distinct place, the burden of making it through a perilous journey and putting your life on the line, and how traveling to such extreme places can change your sense of place in a complicated and often troubling world.
Before his passing in 2018, Anthony Bourdain was the preeminent travel host for over 15 years and his last show, Parts Unknown, from 2013-2018 was the deepest dive in his own mission of uncovering people’s stories through food and culture. In terms of looking at human nature and the human condition, few shows, if any, were better than Parts Unknown. More than anything, many of the Parts Unknown episodes had Bourdain providing needed historical context regarding the complex and difficult history of the country or place he would be visiting. This was especially the case during the Congo episode where he spends part of the episode looking at the colonial exploitation, civil conflict, and poverty that has gripped the country both before and after it became the nation state known as the Democratic Republic of the Congo today.
Bourdain was a huge fan of the Joseph Conrad book, ‘Heart of Darkness’ and makes it known in the episode of how became obsessed with the Congo and the Congo River without trivializing the country or its people. His approach is sincere, and he looks to paint an accurate picture of what the Congo is like, why he sought to demystify and humanize the place, and how it was both similar and different to Conrad’s interpretation of it.
“When all is said and done, I wanted to go to the Congo, and I did.” Bourdain knew that this would be one of his most difficult journeys, but he also wanted to pay homage to Conrad’s novel by following a similar exploration to the authors with a boat trip down the Congo river. However, this kind of journey as shown in the episode was not simply a leisurely trip down the river without witnessing the history, culture, or food of the Congolese. Bourdain and his film crew interacted with different villagers, aid workers, and other locals to hear their stories despite how difficult the journey had been especially losing power on the boat and being surrounded by mosquitoes and other insects at one point.
It takes a toll on a person to look at the dark history of a place’s past as well as its uncertain present and not be affected by it. Bourdain has a visible weariness and introspection upon the conclusion of the journey given how hearing about the history of violence, dealing with the security issues involved, the lack of infrastructure to make the journey work, and to hear about the sheer resilience and fortitude of the Congolese people under extremely difficult circumstances.
The hardest part for Bourdain in my view maybe wasn’t the actual trip down the Congo river with all the bureaucracy, bribery, and lack of infrastructure involved to make it finally happen. I think the final scene of this Parts Unknown episode sums up the ‘lost’ feeling and the isolation to have witnessed all that and come back to a New York City that is abundant, thriving yet inequal, and with a completely different set of circumstances than one would encounter in the Congo. There’s ‘culture shock’ and then there is experiencing a bit of a totally different reality that few Americans and fewer New Yorkers would ever see for themselves. This contrast in realities and the stark scene transition from leaving the Congo River to being back at his high-rise apartment in Manhattan is perhaps the greatest scene ever shot for Parts Unknown or in any of his travel shows.
To break down this excellent scene and contrast further, Bourdain is in one of the world’s most crowded cities, but he is alone and isolated in his apartment like being isolated from most people’s lived experiences of the world, which pales in comparison to his own having had been to over 100 countries in his travels. He is filmed sitting behind his apartment windows, which acts as a barrier between Anthony and the rest of the world, seeing everything for himself but finding it difficult to connect with his immediate surroundings in NYC after witnessing such a contrasting reality in the Congo.
I think this final scene of the Congo episode really encapsulates Bourdain’s struggle as a travel host and writer to search for meaning and purpose in a world that often feels indifferent or alienates the struggles of other people who live in a different place or country. Bourdain’s gaze through the window symbolizes the distance between the world he witnessed and the world he felt disconnected from. It reflected the existential tension that marked his life: the constant search for meaning, tempered by the knowledge that some things, no matter how deeply we travel, remain elusive.
In his life, Antony Bourdain likely felt a sense of solitude and isolation having witnessed the worst of humanity at times, which could be hard to relate to other people or even travelers who had not been to the same places. He was brave, kind, and let other people to tell their stories without judgment but it must have been lonely especially after a return from the Congo and returning home where he may have felt the most alone rather than out on the road with others in his crew or amongst people he had met. There is a loneliness in the familiar as any traveler can attest and the novelty of new places, people, and experiences make the routine feel mundane and trite. Bourdain’s entire journey, in this case, from the Congo back to his home in New York, shows that it can be hard to come full circle after visiting one of the least known places in the world.
The final shot of Anthony Bourdain in his New York City apartment, looking out over the vast, bustling city, yet consumed by solitude, serves as a poignant culmination of his journey as a seasoned traveler. After traveling the world, exploring the darkest corners of humanity in places like the Congo, Bourdain returns home, not with answers, but with a profound sense of isolation. The Congo episode, with its harrowing depictions of suffering and resilience, reflects the complexity of human nature that Bourdain grappled with throughout his career. The contrast between the vibrant, chaotic cityscape of NYC and Bourdain’s contemplative stillness in his apartment alone emphasizes a universal paradox: despite all the human connections made in the world, the traveler often finds themselves confronted with a loneliness that cannot be filled as a result.
Bourdain’s Parts Unknown was not merely about exploring food and culture, but it was also an exploration of the man himself. His travels were a quest for greater understanding, but they also unearthed the difficult truth that knowing the world does not necessarily mean knowing oneself at the same time. In the end, Bourdain’s legacy lies in the raw, honest portrayal of this duality, the external world and the internal battles that shape who we are. His life story continues to remind us that, no matter where we go or how much we learn, we all face the same fundamental challenge in life: to find a true connection in a world that often seems vast, indifferent, and overwhelming.
