Idiocy and White Privilege

“I didn’t want any more loitering in the shade, and I made haste towards the station. When near the buildings I met a white man, in such an unexpected elegance of get-up that in the first moment I took him for a sort of vision. I saw a high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished boots. No hat. Hair parted, brushed, oiled, under a green parasol held in a big white hand. He was amazing, and had a penholder behind his ear.” -page 83

When Marlow meets the Company’s chief accountant, it is the most description we have received of a character thus far. Furthermore, it is the most description we have received of any character in Africa, and the character is white. This says a lot about the environment in which Heart of Darkness takes place, but it also says a lot about the accountant’s outer prejudices, Marlow’s inner prejudices, and the ignorance of Europeans in Africa.

By dressing in the manner depicted, the accountant has no subtlety about where he stands compared to the natives of Africa. His clothing is clean, fine, and likely expensive. In addition, the penholder behind his ear shows a sort of educated, pretentious individual. The fact that he wears no hat also says a lot: there is a great deal of etiquette rules around hats, and being outside without even wearing one may show a complete disrespect and unwillingness to be polite around the natives. Therefore, without even speaking, the accountant has already proven to be one of the most prejudiced characters in the book.

If the accountant is a physical manifestation of a macroaggression, then Marlow would be that of a microaggression: not harmful, but still problematic. He worships this man before he had even heard him speak. By contrast, he has looked the natives in the eye and seen into their inner suffering, and he has even seen some die right then and there, but the well-dressed white man is who he is fixated on. In a well-dressed white man, he sees a saint and a miracle. With all his respect directed towards the accountant, he has none left for the natives. No matter how much he may disagree with how they are treated, he has no respect for them.

While one may be more harmful than the other, they are both completely ignorant about their surroundings. By dressing to the nines in the middle of the jungle, the accountant shows that he has no common sense. By being surrounded by hardworking individuals and choosing to find respect in the clean man doing nothing, Marlow also shows a lack of common sense. Together, they make a good pair: idiocy and white privilege.

Reality and Ignorance

"And this stillness of life did not in the least resemble a peace. It was the stillness of an implacable force brooding over an inscrutable intention. It looked at you with a vengeful aspect. I got used to it afterwards; I did not see it any more; I had no time. I had to keep guessing at the channel; I had to discern, mostly by inspiration, the signs of hidden banks; I watched for sunken stones; I was learning to clap my teeth smartly before my heart flew out, when I shaved by a fluke some infernal sly old snag that would have ripped the life out of the tin-pot steamboat and drowned all the pilgrims; I had to keep a lookout for the signs of dead wood we could cut up in the night for next day’s steaming. When you have to attend to things of that sort, to the mere incidents of the surface, the reality—the reality, I tell you—fades. The inner truth is hidden—luckily, luckily. But I felt it all the same; I felt often its mysterious stillness watching me at my monkey tricks, just as it watches you fellows performing on your respective tight-ropes for—what is it? half-a-crown a tumble—" (103)

Marlow is constantly searching for answers, for a greater understanding of life, and this is partly what motivates him so much to find Kurtz. However, Marlow isn't in Africa to self-analyze. Because he has a job, his desires must take a backseat in certain situations: one of which being his duty to steer the steamboat. Here, looking back on the event, Marlow offers some insight. He claims that "luckily" the "inner truth" is hidden. Marlow can't even understand this truth, yet he calls it lucky that it is hidden, and this offers insight into Marlow's philosophy.

The forest, according to Marlow, contains an "implacable force" with an "inscrutable intention." Marlow believed, and still does at the time of the narration, that the landscape held ill-intentions. His use of implacable shows that this malevolence can't be stopped or appeased either, existing beyond the desires of man. Marlow calls its intention "inscrutable," yet his language suggests otherwise.
Because it does not resemble peace, because it's implacable, and because it has vengeful aspect, one can assume Marlow believes this force is out to get him. Furthermore, as he goes on to describe his experience steering the steamboat, his language is just as dismal. An "infernal snag" could "rip the life out of" his ship. The use of infernal and of a ripping (or reaping) life away conjure a specific image to the Western mind.

Throughout the novella, Marlow is painted as a Buddha figure while narrating. This is mostly based on his posture and demeanor, yet this passage offers more support to his comparison with the Buddha. This passage focuses largely on a disparity between what Marlow sees and the reality of his situation. He is surrounded by the distractions. This idea of reality happening behind the scenes of the average human life is prominent in Buddhism. Breaking out of samsara, the cycle of dying and rebirth, and avidya, ignorance, to achieve the Right view (samma ditthi) is a key process in ridding oneself of suffering in Buddhist philosophy. Though it is not explicit, Marlow's language suggests his views are quite similar. The unknown force is always watching Marlow's "monkey tricks." His relating his behavior to pointless "monkey tricks" suggests that here he was in that ignorance, that he had not bridged the gap between avidya and dharma. He could feel the reality happening, yet he could not focus on it, he was too distracted.

    Though this passage may seem mundane enough it first, it offers a lot of insight to Marlow's character. There seems to be a lack of support as to Marlow's likeness to the Buddha throughout the text, as it seems to only appear when he is being observed by others as the narrator. This passage offers some of that support, though it is somewhat obscured. Furthermore, because this reality is negative, is it really dharma? Dharma is usually considered positive, as it is all that makes the universe possible. Maybe in this specific instance, Marlow or Conrad is suggesting that the reality of this situation is negative, that what is happening is wrong, yet one must question whether that fits with Buddhist ideology. Marlow's understanding of the world around him is difficult to pin down, and it may not fit one specific branch of thought at all. Here, though, one can collect bits and pieces and attempt to form a fuller picture of Marlow as a narrator.

Man or Beast

"Six black men advanced in a file, toiling up the path.  They walked erect and slow, balancing small baskets full of earth on their heads, and the clink kept time with their footsteps.  Black rags wound round their loins, and the short ends waggled to and fro like tails.  I could see every rid, the joints of their limbs were like knots on a rope; each had an iron collar on his neck, and all were connected together with a chain whose bights swung between them, rhythmically clinking.  Another report from the cliff made me think suddenly of that ship of war I had seem firing into a continent.  It was the same kind of ominous voice; but these men could by no imagination be called enemies.  They were called criminals, and the outraged law, like the bursting shells, had come to them, an insoluble mystery from the sea.  All their meagre breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily uphill.  They passed me within six inches, without a glance, with that complete, deathlike indifference of unhappy savages." (80)

Racism is ingrained in society.  Since the beginning of civilization, ranks in society have been at least partially based on the pigment of one's skin.  People thought, and many still do think, that the whiter one's skin is, the more civilized they must be.  In Heart of Darkness, this perception that dark skin means less humane is evident.  Marlow's description of the Africans in this particular passage characterizes how he and, many other white Europeans, viewed those who had darker skin than them: more animal than human.

There are actions and behavior that humans instinctively relate to animals.  Work animals, such as cows and horses, behave in a similar manner.  In the passage above, Marlow describes the walking patterns of the African men as being "erect and slow".  Initially what comes to mind is a cow lumbering through a grassy field or a horse walking into a barn.  Then Marlow describes their clothing, "black rags wound round their loins, and the short end waggled to and fro like tails". Humans do not have tails.  The men are collared and "connected together with a chain whose bights swung between them, rhythmically clinking". This again brings to mind an image of animals.  For example, when draft horse plough a field or pull a hay wagon, they are chained together, their collars clink, and they walk rhythmically.  When a horse is angry it is evident.  Marlow's description of the Africans' noses parallel that of an angry horse, "the violently dilated nostrils quivered".  In addition to this statement comparing the men to an angry horse, the word 'violently' implies that these men are dangerous and savage, not human.  Not only do Marlow's descriptions of the Africans' physical attributes and actions characterize them as less then human, but the ideas he implies about their human instincts, or lack there of, dehumanize them as well.

There are certain instincts and expectations in regards to the way humans are to act and respond to their environment.  In the final sentences of the passage, Marlow implies that these Africans do not have these instincts.  He says that "the eyes stared stonily uphill".  This is not normal human behavior.  It is common for people to say that the eyes are the windows to the soul.  The eyes are active and indicative of the person's emotions.  Eyes that stare stonily are not often associated with people who are highly educated and civilized.  Additionally, Marlow says that the men passed him "without a glances, with that complete, deathlike indifference of unhappy savages".  It is inherently human to respond to the presence of other humans.  In saying that these men had no response at all to Marlow's presence, he is implying that they do not have those inherently human instincts.

Throughout the book it is evident that Marlow struggles with how he views the Africans.  Although he seems to be more moral and progressive than some of his peers it is evident that he does not see them as being his equal.  He looks at them with the same lens with which he would look at a horse or cow.  He looks at them as uncultured savages.

The Doctor's Visit

“The old doctor felt my pulse, evidently thinking of something else the while. ‘Good, good for there,’ he mumbled, and then with a certain eagerness asked me whether I would let him measure my head. Rather surprised, I said Yes, when he produced a thing like calipers and got the dimensions back and front and every way, taking notes carefully. He was an unshaven little man in a threadbare coat like a gaberdine, with his feet in slippers, and I thought him a harmless fool. ‘I always ask leave, in the interests of science, to measure the crania of those going out there,’ he said. ‘And when they come back, too?’ I asked. ‘Oh, I never see them,’ he remarked; ‘and, moreover, the changes take place inside, you know.’ He smiled, as if at some quiet joke. ‘So you are going out there. Famous. Interesting, too.’ He gave me a searching glance, and made another note. ‘Ever any madness in your family?’ he asked, in a matter-of-fact tone. I felt very annoyed. ‘Is that question in the interests of science, too?’ ‘It would be,’ he said, without taking notice of my irritation, ‘interesting for science to watch the mental changes of individuals, on the spot, but...’ ‘Are you an alienist?’ I interrupted. ‘Every doctor should be—a little,’ answered that original, imperturbably. ‘I have a little theory which you messieurs who go out there must help me to prove. This is my share in the advantages my country shall reap from the possession of such a magnificent dependency. The mere wealth I leave to others. Pardon my questions, but you are the first Englishman coming under my observation...’ I hastened to assure him I was not in the least typical. ‘If I were,’ said I, ‘I wouldn’t be talking like this with you.’" (Page 75)


This passage occurs when Marlow visits the doctor before leaving to go to Africa. He must visit the doctor to make sure he is healthy before leaving the country, however, this visit is somewhat unique. Through this passage, the reader learns a lot about Marlow and about how many people perceive African and its inhabitants.
This passage starts off by Marlow beginning to explain his appointment with the doctor. He immediately begins by mentioning that the doctor was "evidently thinking of something else" while completing completing the cursory and typical tasks within any doctors appointment. It is clear that the doctor was mentally distracted while caring for his patient. Marlow proceeds to mention how the doctor asked him if he could measure his head. This is not a typical question for a doctor to ask someone that is just leaving the country. The doctor then proceeded to state that "the changes take place inside," signifying that he believes those that leave the country and go to Africa return home with a changed mind. It seems like the doctor wants to measure Marlow's head to see if the growth and changes in the brain are actually measurable.
The doctor then proceeds on by asking Marlow if he had any history of madness in his family, for scientific purposes of course. When Marlow gets defensive and inquisitive in response, the doctor explains that every doctor is interested in this type of study and a psychological study of his brain would be fascinating. He also tells Marlow that the world would benefit from his findings if these studies worked out well. It became clear that the doctor viewed Marlow as an experimental specimen that he could study and follow for his benefit. 
This passage shows that Marlow was viewed as an experimental person traveling to Africa rather than a normal person. It also demonstrates that Africa was an unknown and exotic land to most people during this time and life there was very mysterious to them. Overall, it demonstrates the great social divide between people from different countries and cultures as well. This passage does a good job of foreshadowing what is to come in the story.

Teaching Heart of Darkness

After reading Heart of Darkness by Joseph Conrad and "An Image of Africa: Racism in Conrad's 'Heart of Darkness'" by Chinua Achebe, I have a better understanding of the conflict between Conrad and Achebe. Conrad wrote a hero's journey into the darkness of his own soul, shown through the lens of European imperialism in the Congo. Achebe was a Nigerian professor and author who criticized the racism of Conrad's portrayal of Africa and African peoples. I feel very conflicted about my interpretation of Heart of Darkness; on the one hand, I think that it is beautifully written and I understand why it speaks to past and current generations about the nature of the human soul. On the other hand, the way that Conrad writes about the native African people and peoples in the book is ridiculously offensive.

Heart of Darkness is, in my opinion, a literary masterpiece. I think that the description of nature, both physical and human, is often quite beautiful. Putting all interpretations of the novella aside, the language that Conrad uses to describe the physical world around him is skilled and vivid. The depiction of Kurtz's darkness and Marlow's darkness is fascinating and it shows a certain insight into the human mind on Conrad's part. The dual-narration of the story invites the audience to confront their own souls. I think that all of this is beautifully done; Conrad fulfills his purpose and demonstrates an understanding of human shortcomings and of language that is really lovely.

However, Heart of Darkness is far from a cultural masterpiece. Achebe's criticism of it is enormously convincing: he attacks Conrad's depictions of individual African people, depictions of groups of African people, and depictions of Africa as a whole -- all of which are, indeed, "thoroughly racist." Conrad dehumanizes, demonizes, and demeans the African people about whom he writes. Even attempts at benevolence still paint the white man as the savior or the superior and the black man as a victimized animal. At best, the African people are a part of the backdrop, a part of the wild jungle that characterizes the novel. At worst, the African people are dogs in trousers, niggers, and cannibals. All of this is pointed out and criticized heavily by Achebe, justly and truthfully.

My conflict comes when Achebe maintains that Heart of Darkness should not and cannot be considered a piece of art. To be fair, I have nothing to lose by the acknowledgment of problematic works as art; minorities and oppressed peoples have everything to lose. Yet I can't help but feel that we should not and cannot quantify art on behalf of all audiences. I feel that Heart of Darkness should be taught; questioned and analyzed from multiple points of view, but taught nevertheless. If nothing else, it gives one an understanding of the perspective held by Europeans of native Africans. We can appreciate good literature and criticize racism and misrepresentation at the same time. Problematic literature may even give us the greatest insight into the ways in which we can improve modern-day literature. So we should read, enjoy, and appreciate Heart of Darkness, but we should listen closely to criticism, and we should make our own objections. We will learn the most this way.

The Darkness Within

"I am not disclosing any trade secrets. In fact, the manager said afterwards that Mr. Kurtz's methods had ruined the district. I have no opinion on that point, but I want you to clearly understand that there was nothing exactly profitable in these heads being there. They only showed that Mr. Kurtz lacked restraint in the gratification of his various lusts, that there was something wanting in him -- some small matter which, when the pressing need arose, could not be found under his magnificent eloquence. Whether he knew of this deficiency himself I can't say. I think the knowledge came to him at last -- only at the very last. But the wilderness had found him out early, and had taken on him a terrible vengeance for the fantastic invasion. I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with this great solitude -- and the whisper had proved irresistibly fascinating. It echoed loudly within him because he was hollow at the core." (133)

This passage reveals the inner darkness of Kurtz. It shows his weaknesses, and it shows the means by which he covered these shortcomings. Marlow is looking back on Kurtz from the future, so the depiction that we get of Kurtz here is one that has been considered and that is influenced by all of Marlow's experiences with him. In this passage, we see the reason for Kurtz's madness, and we see the nature of his soul, as experienced by Marlow.

Marlow suggests that Kurtz' nature is one of layered personality and goals. On the surface, Kurtz is a persuasive and charismatic man of "magnificent eloquence." He has an idea, which is something that characterizes him as greater than other Europeans, by Marlow's standards. He has a goal and a purpose, and he is able to use him natural charm to influence other people. Beneath this surface personality, Kurtz is a man of greed and "lust." He craves power and wealth, as shown by his construction of a miniature empire in the Congo and Marlow's observation that "it was his impatience with comparative poverty that drove him" to go to Africa for wealth (155). He "lacked restraint in the gratification" of his desires, and this is what pushes him to behead native people and use them as warnings. These actions give him the power that he needs, without which he would be unable to attain the wealth that he also craves.

The power and wealth that Kurtz seeks are simply ways to fill a void inside of him. Marlow says that "there was something wanting in him," that he sought the things that he did in order to replace an emptiness that could not be covered up by his charisma. This emptiness is exploited by the "solitude" and terrifying mystery of the jungle. By possessing a "deficiency," Kurtz is vulnerable to be filled by the darkness. Not only does the darkness inhabit him; it makes him confront "secrets about himself that he did not know till he took counsel with this great solitude." Kurtz is fascinated by this "whisper," however, rather than feeling repelled by it as Marlow is. Kurtz allows the darkness to fill him, especially because it continues to make his power and wealth grow.

Marlow establishes that the jungle of the Congo forces one to come face-to-face with one's own darknesses. For Kurtz, he found himself to be "hollow at the core" and he allowed his emptiness to be filled by his greed and covered by his power. Marlow suggests that this is the jungle's way of taking revenge on Kurtz for all that Kurtz has stolen from it ("the wilderness had found him out early, and had taken on him a terrible vengeance for the fantastic invasion"). Marlow himself confronts his own darkness, but finds himself able to pull away from it. I believe that this is the purpose of the novel; the reader is asked to examine another person's demons and, in the process, realize her own.

A Look Into Another Culture

"'A slight clinking behind me made me turn my head. Six black men advanced in a file, toiling up the path. They walked erect and slow, balancing small baskets full of earth on their heads, and the clink kept time with their footsteps. Black rags were wound round their loins, and the short ends behind waggled to and fro like tails. I could see every rib, the joints of their limbs were like knots in a rope; each had an iron collar on his neck, and all were connected together with a chain whose bights swung between them, rhythmically clinking.'" (page 80) 

This passage is extremely eye opening and important. Marlow is in Africa, on their homeland and this is what he sees. He is the one who traveled to another culture. It tugs at heart strings, but more than that, it gives context to what Marlow and the others see on their travels. This highlights the cruelty that the whites put the Africans through. By using vivid imagery, diction, and similes, this passage gives the story a whole different meaning.

The vivid imagery with specific diction illustrates the hardship. By using the word "toiling", it provides an image of extreme difficulty walking. It's backed up by the words describing their walking, "erect and slow".  The word "waggled" is a specific and it's plausible to picture the rag moving like a dogs tail. This means Marlow is observing them as inhumane, which show his true feelings. "Small baskets full of earth on their heads" emit a picture of a small woven basket of dirt or water, which is what many people picture when they imagine the African culture. That observation is very unemotional, not looking down on them for doing that, or revering them for being able to balance. That impassiveness is a good clue to how this passage is just the environment Marlow is in when he sees a village. "Rhythmically clinking" provides an auditory image, somewhat disturbing, as it's the chains around humans causing the sound. The chains are concrete, and show physical enslavement, but are also metaphorical. The clinking is just another reminder to the Africans that they are not free.

The similes used add to the depth of this passage. "Waggled to and fro like tails" strips the people of their humanity and shows how the sailors view the people of other cultures. By giving these people inhumane qualities, it seems to strip them of their dignity. The joints on these people are described "like knots in a rope". It shows the emaciation, but also metaphorically shows enslavement again. Knots on a rope are bound together, just as the Africans are. The similes further accentuate how badly this other culture was being treated.

The passage shows a postcolonial view of a culture that they pass by. It is is simply observation, not opinion, and that means it's accurate. It also means that the imperialist perspective sees and recognizes what was happening to another race. Finally, it highlights the divide. The Africans are home, but they are enslaved. The imperialists are 'guests', as that is what people are called who visit others homes, but they are in charge. Marlow clearly seest the divide and thus this passage becomes important to the novel because it shows what he sees and what is happening.