Misleading Interpretations of Conrad's Heart of Darkness Essays

    Within the text of Heart of Darkness, the reader is presented with many metaphors. Those that recur, and are most arresting and notable, are light and dark, nature and Kurtz and Marlow. The repeated use of light and dark imagery represents civilization and primitiveness, and of course the eternal meaning of good and evil. However, the more in depth the reader goes the more complex it becomes. Complex also are the meanings behind the metaphors of nature included within the text. It represents a challenge for the colonists, often also signifying decay and degeneration. Finally Kurtz and Marlow represent imperialism and the colonists. All these metaphors come together and contribute not only to

A famous criticism of Conrad’s novella is called An Image of Africa, which was written by an African native named Chinua Achebe. In Achebe’s criticisms of Heart of Darkness, he points out the difference between descriptions of the European woman and the African woman, who was Kurtz’s mistress. The narrator describes the European woman as being calm and mature, and the African woman as being “savage” (341 Norton). Even though many writers claim that Marlow is kind to the Africans by bringing light to their situation, the real problem does not lie in his description of their situations, but his descriptions of the people themselves (30 Heart of darkness Interpretations).

In "An Image of Africa: Racism in Conrad's Heart of Darkness," Chinua Achebe criticizes Joseph Conrad for his racist stereotypes towards the continent and people of Africa. He claims that Conrad propagated the "dominant image of Africa in the Western imagination" rather than portraying the continent in its true form (1793). Africans were portrayed in Conrad's novel as savages with no language other than grunts and with no "other occupations besides merging into the evil forest or materializing out of it simply to plague Marlow" (1792-3). To Conrad, the Africans were not characters in his story, but merely props. Chinua Achebe responded with a

Conrad describes them as having “faces like grotesque masks” and their actions are referred to as an “incomprehensible frenzy”. Conrad paints a picture of the African people presenting a “wild passionate uproar” as the Europeans approach; he further states the scene was “ugly. Yes it was ugly enough”. Conrad then continues to contradict his statement admitting “they were man enough” and there was meaning in all the upheaval that “you could comprehend” meaning; relate to. This shows his attempt to understand the perspective of African people. Conrad here accepts the humanness of the African people but nonetheless in a manner that is seen as unconventional today. Conrad’s reference to the “edge of black mass”; the Africans, to be “prehistoric” could be interpreted as derogatory but at the time in which Conrad wrote; was normal. Conrad uses rich imagery as a key method to depict the African people; “the bush was swarming with human limbs in movement, glistening of bronze colour”, this imagery endorses colonialist views as it dehumanises the African people in a way which denotes animalistic characteristics. Conrad refers to their body’s as ‘limbs’ which are moving, through the ‘swarming’ bush which implies animalistic movements, furthermore reference to their skin is a way of noting difference between the Europeans and the Africans and hence marginalizes the African people.

There are millions of varying perspectives in the world on many different topics. Sometimes two different mindsets clash and disagree with one another. This is apparent in the work of Chinua Achebe’s Things Fall Apart and Joseph Conrad’s Heart of Darkness. Achebe gives a personal account of African life, culture, and customs in his book. He grew up in Nigeria, solidifying the reality that his take on their culture is the most natural, the one that will hit home. Also, since Achebe grew up surrounded by the culture so it is something intimately familiar to him. On the other hand, Joseph Conrad’s book Heart of Darkness makes Africa into a wild and savage place that needs to be ‘tamed’ by the white men and their ways.

ACHEBE, CHINUA. "An Image of Africa: Racism in Conrad's Heart of Darkness." Massachusetts Review, vol. 57, no. 1, Spring2016, pp. 14-27. EBSCOhost, scsl.idm.oclc.org/login?auth=discus&url=http://search.ebscohost.com.scsl.idm.oclc.org/login.aspx?direct=true&db=lfh&AN=114187095&site=eds-live&scope=site.

Achebe argues that the racist observed in the Heart of Darkness is expressed due to the western psychology or as Achebe states “desire,” this being to show Africa as an antithesis to Europe. He first states Conrad as “one of the great stylists of modern fiction.” [pg.1] He praises Conrad’s talents in writing but believes Conrad’s obvious racism has not been addressed. He later describes in more detail that

In his famous critical essay, “An Image of Africa” (1975), Chinua Achebe takes a strong stance against Joseph Conrad’s Heart of Darkness. He asserts that Conrad was a racist and his novella is a product of his racism. A following quote that is good to show Achebe opinion for Conrad is:

    Literature is never interpreted in exactly the same way by two different readers. A prime example of a work of literature that is very ambiguous is Joseph Conrad's, "Heart of Darkness". The Ambiguities that exist in this book are Marlow's relationship to colonialism, Marlow's changing feelings toward Kurtz, and Marlow's lie to the Intended at the end of the story.

He uses derogatory and offensive remarks that devalue people of color and make them out to be savages. Chinua Achebe, a well-known writer, talked about Joseph Conrad's Heart of Darkness, entitled "An Image of Africa: Racism in Conrad's Heart of Darkness." Throughout his essay, Achebe notes how Conrad "set Africa up as a foil to Europe,"(Achebe) while he also "projects the image of Africa as “the other world”. Africa is said to be a “prehistoric” world. Conrad described this land as non-advanced and inferior to the western countries.

looked at a map of it in a shop window, it fascinated me as a snake

In Chinua Achebe's novel Things Fall Apart, the Ibo society has a strict system of behavioral customs that are assigned by gender. These customs restrict the freedom of Ibo woman and help to reinforce generation after generation the notion that Ibo men are superior to women. In Achebe's essay An Image of Africa: Racism in Conrad's Heart of Darkness, he claims that Joseph Conrad's Heart of Darkness, despite it's insights, ought to be eradicated from literature as an appropriate piece of work on the argument that it is racist. Achebe focuses on gender roles and avoiding stereotypes to dismiss the racist attitude towards Africans in his novel by bringing the reader down to the level of his unbiased narration of a historical fiction novel.

    Joseph Conrad's Heart of Darkness is full of oppositions.  The most obvious is the juxtaposition of darkness and light, which are both present from the very beginning, in imagery and in metaphor.  The novella is a puzzling mixture of anti-imperialism and racism, civilization and savagery, idealism and nihilism.  How can they be reconciled?  The final scene, in which Marlow confronts Kurtz's Intended, might be expected to provide resolution.  However, it seems, instead, merely to focus the dilemmas in the book, rather than solving them.

In “An Image of Africa”, Chinua Achebe comes to the bold conclusion that Joseph Conrad “was a bloody racist” (788), with his discussion centering primarily on Conrad’s Heart of Darkness as a racist text. Achebe’s reasoning for this branding rests on the claims that Conrad depicts Africa as “a place of negations at once remote and vaguely familiar in comparison with which Europe 's own state of spiritual grace will be manifest” (783), that Africans in Heart of Darkness are dehumanized through both the characterization of individual Africans and the Congo as a setting, and finally that Marlow is no more than a mouthpiece for Conrad’s personal views on race and imperialism. However, Achebe makes critical oversights and contradictions in the development of each of these argumentative pillars, which prove fatal to the validity of his overarching contention. This should not be construed, though, as a yes-or-no assessment of whether Conrad was a racist outside of what his written work suggests—Achebe himself has “neither the desire nor, indeed, the competence to do so with the tools of the social and biological sciences” (783)—but as an assessment of claims specific to Heart of Darkness and their implications for Conrad’s views and attitudes.

The world a century and a half ago was a radically different place. Not all land in the world had definite geopolitical boundaries. Many people of more advanced civilizations looked down upon those with lesser technology. There were still places to be colonized and civilized. Imperialism in the 1800s and 1900s generally followed five stereotypes. Black people are a separate and lesser species. Natives are generally thought of as being savages. Under the right circumstances, anyone can lose touch with his/her humanity. Greed can drive people to extremes. Imperialism hurts those conquering and those being conquered.