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For other uses, see Heart of Darkness (disambiguation).
Heart of Darkness
File:Heart of darkness cover.jpgA September 2002 printing of Heart of Darkness
AuthorJoseph Conrad
GenreNovella
PublisherHesperus Press
Publication date1902

Heart of Darkness is a novella by Joseph Conrad. Before publication, it appeared in a three-part series in Blackwood's Magazine (1899). This highly symbolic story is actually a story within a story, or frame tale, following a man named Charlie Marlow, as he recounts his adventure to a group of men, on shipboard anchored in the Thames Estuary, at dusk and continuing into the evening. It details an incident earlier in Marlow's life when he, an Englishman, takes a foreign assignment as a ferry boat captain on what readers can assume is the Congo River in the Belgian owned Congo Free State; the name of the country is never specified in the text. Though his job is to transport ivory downriver, Marlow quickly develops an intense interest in investigating Stanley Kurtz, an ivory procurement agent in the employment of the government. Kurtz's reputation extends throughout the region.

Background

To write the novella, Conrad drew heavily from his own experience in the Congo: eight and a half years before writing the book he served as a ship's captain for a Congo steamer. On a single trip up river, he witnessed so many atrocities that he quit immediately thereafter. Some of Conrad's experiences in the Congo and the historical background to the story, including possible models for Kurtz, are recounted in the historical work, King Leopold's Ghost by Adam Hochschild.

The story within a story device that Conrad chose for Heart of Darkness — one in which an unnamed narrator recounts Marlow's recounting of his journey — has many literary precedents. Emily Brontë's Wuthering Heights and Mary Shelley's Frankenstein use a similar device, but the best examples of this framed narrative include The Canterbury Tales by Geoffrey Chaucer and The Rime of the Ancient Mariner by Samuel Taylor Coleridge.

Motifs and themes

The motif of "darkness" from the title recurs throughout the book. It is used to reflect the unknown, the concept of the "darkness of barbarism" contrasted with the "light of civilization", as well as the "spiritual darkness" of several characters. This sense of darkness also lends itself to a related theme of obscurity — again, in various senses, reflecting the ambiguities in the work. Moral issues are not clear-cut; that which ought to be (in various senses) on the side of "light" is in fact mired in darkness, and vice versa.

To emphasize also the theme of darkness within all of mankind, Marlow's narration takes place on a yacht in the Thames tidal estuary. Early in the novella, the narrator recounts how London, the largest, most populous and wealthiest city in the world at the time (where Conrad wrote and where a large part of his audience lived), was itself a "dark" place in Roman times. The theme of darkness lurking beneath the surface of even "civilized" persons is further explored through the character of Kurtz and through Marlow's passing sense of understanding with the Africans.

Themes developed in the novella's more later scenes include the naïveté of Europeans — particularly women — regarding the various forms of darkness in the Congo; the Belgian colonialists' abuse of the natives; and man's potential for duplicity. The symbolic levels of the book expand on all of these in terms of a struggle between good and evil, not so much between people as within every major character's soul.

Through the novel, Conrad stresses the importance of restraint; in his view a person’s "primitive honour" against his or her basic impulses. From the perspective of existentialism, people without restraint will be trapped in the destructive cycle and their lives will be absurd and insane.

Controversy

Some literary critics, most notably author and professor Chinua Achebe, the writer of Things Fall Apart, have criticized Conrad for having a racist bias throughout the novella despite the book's intentions to expose the atrocities in the Congo. In particular, Achebe objected to the treatment of Africans in the book. The Africans, he argues, are de-humanised, denied language and a culture, instead being reduced to an extension of the dark and dangerous jungle into which the Europeans venture. Controversy over Heart of Darkness first appeared in Achebe's 1975 lecture An Image of Africa: Racism in Conrad's "Heart of Darkness"." In his lecture, Achebe branded Conrad "A bloody racist," and emphasized the implicit and explicit statements of the inferiority of African people to the white explorers.

According to Achebe, his opinions were met with dismay and outrage from some peers: "After I delivered my lecture at Harvard, a professor emeritus from the University of Massachusetts said, 'How dare you? How dare you upset everything we have taught, everything we teach? Heart of Darkness is the most widely taught text in the university in this country. So how dare you say it’s different?'" Despite allegations that it has racist overtones, Heart of Darkness is considered to be a literary classic and is widely read in educational institutions around the world.

Others, such as Cedric Watts in A Bloody Racist: About Achebe's View of Conrad, refute Achebe's critique. (A quick 'Point by Point' refutation of Achebe's critique to Watts' rebuttal was done by one Alexis and Carla.) Other critiques include Hugh Curtler's Achebe on Conrad: Racism and Greatness in Heart of Darkness.

The context in which the novella was written should not be discarded lightly, as Conrad was expressing unprecedentedly forthright and controversial views from within the heart of the empire.

In the arts

See also

External links

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