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Racism in heart of darkness by joseph conrad
The portrayal of Africans in Joseph Conrad's novel, Heart of Darkness
Is joseph conrad racist in the heart of darkness
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King Leopold II of Belgium is known for being one of the most brutal racists in history. His inhumane treatment of Africans in the Congo was revealed in photographs that surfaced and that were taken to emphasize his cruel behavior over the Africans in the Congo. His motive for this inhumanity was pure greed. Joseph Conrad’s Heart of Darkness, although does not embody the vicious behavior of King Leopold II, contributes to the racism of that period in other ways. Because of this, the novel can be interpreted in different ways from a racism standpoint. In my opinion, I both agree and disagree with Chinua Achebe’s statements concerning Joseph Conrad’s Heart of Darkness, and feel that it can be viewed in some ways as both racist or not racist. Conrad shows racism against Africans in many ways throughout his novel. “Black figures strolled about listlessly...steam ascended in the moonlight, the beaten nigger groaned somewhere (Conrad, 30).” The most clear and obvious instance of racism is the use of the word “nigger”. It is a word that is viewed as extremely negative and demeaning towards Africans by many. Conrad uses this word many times to address the Africans throughout his work. “Nigger” has come to be extremely frowned upon in cultures across the world and has come to be unacceptable to be used in people’s vocabulary for its derogatory meaning that it has come to have, originating from racism and prejudice against Africans in the nineteenth and twentieth century. As Marlow, the main character of the novel, comes across Africans along his journey, his racism shows through his reflections on what he observes. When Conrad refers to Africans through his characters, it seems as if he views them as animals. “Mostly black and nake... ... middle of paper ... ...have grown to the powerhouse that it was. I am not condoning it and saying the treatment of blacks was ok, but Conrad’s novel is a work of its time, and always will be in history. Achebe stated that Conrad’s work was “an offensive and deplorable book.” I believe this view of Heart of Darkness to be true through his inhumane depiction of blacks throughout his novel. Conrad followed in the footsteps of infamous racist in figures, King Leopold II in particular for his barbaric treatment of Africans in the Congo. Achebe also accused Conrad of being “a thoroughgoing racist,” which I do not agree with. While I do think that Conrad certainly was a racist, he did not take that racism to the extremity that others, such as King Leopold II, did. In Heart of Darkness, Conrad made it clear that he was a racist, but did not carry that racism out to the fullest extent possible.
Conrad’s main character Marlow is the narrator for most of the story in Heart of Darkness. He is presented as a well-intentioned person, and along his travels he is shocked by the cruelties that he sees inflicted on the native people. Though he is seemingly benevolent and kindly, Marlow shows the racism and ignorance of Conrad and in fact of the majority of white people in his era, in a more subtle way. Marlow uses words to describe the blacks that, though generally accepted in his time, were slanderous and crude. He recalls that some of the first natives he saw in the Congo looked at him “with that complete, deathlike indifference of unhappy savages” (80; part 1). Marlow casually refers to the Africans with the most offensive of language: “Strings of dusty niggers arrived and departed…” (83; part 1). To Marlow, and thus to Conrad, the Africans are savages, dogs, devils, and criminals. Even the stories that Conrad creates for Marlow to narrate are twisted and false. The natives that Marlow deals with in the book are described as cannibals, and they are even given dialogue that affirms th...
In Heart of Darkness, cultural identity and the dominance of the European, white male is constructed and asserted through the constructions of the "other", that is the African natives and females, largely through language and setting. Thus, while claims of Conrad's forwardness in producing a text that critiques colonialism may be valid, Heart of Darkness is ultimately a product of it's time and therefore confirms the contextual notions of difference.
Achebe, Chinua. "An Image of Africa: Racism in Conrad's Heart of Darkness." The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York: Norton, 2001. 1783-1794.
When questioning whether or not Joseph Conrad was an imperialist, a racist or both for that matter, the answer should be quite obvious after reading some of his works, such as, Heart of Darkness. Everywhere you look in this book, there is both imperialism and racism illustrated. Through Kurtz, Conrad's imperialist side breaks through and likewise, through Marlow Conrad's racist views come to life.
Conrad begins his novel by confirming the stereotypical view of Africans, but then turning the public’s perception of them upside down. As Marlow travels down to the Congo in the French steamer, he sees a band of Africans rowing a boat along the shore of Africa. The men sang, shouted, and moved with a “wild vitality, an intense energy of movement, that was as natural and true as the surf along their coast” (11). Marlow watches these men with comfort, confirming his own beliefs and the European’s beliefs that Africans were savage and strong. Afterwards, Marlow arrives at the Congo and sees six black men trudging like starved prisoners; “they were dying slowly… nothing but black shadows of disease and starvation” (14). The chain gang also supports the preconceptions of an African. Before Marlow leaves for the Congo, he visits his aunt who praises him as a worker who will help the poor, starving savages of Africa. The image of the blacks, who were all connected together with a ch...
Achebe, Chinua. An Image of Africa: Racism in Conrad's Heart of Darkness. New York: Wylie Agency, 2006. Print.
"I don't want to bother you much with what happened to me personally,' [Conrad] began, showing in this remark the weakness of many tellers of tales who seem so often unaware of what their audience would most like to hear" (Conrad, 9). Heart of Darkness, Joseph Conrad's best-known work, has been examined on many bases more than I can possibly list here, but including imperialism, colonialism, and racism. I would reason that all bases of analysis are perfectly acceptable through which to critique Conrad's novella, or any piece of writing. I would reason this, were some of these bases mainly, racism not taken to an extreme level. In arguing racism, many critics seem to take Heart of Darkness as Conrad's unwavering view on Africa, Africans, life, or whatever else one may please to take it as. I, therefore, propose that Heart of Darkness be taken for what it truly is: a work of fiction set in late 19th century Europe and Africa.
One might contend that this attitude toward the African in Heart of Darkness does not belong to Conrad, but rather to Marlow, and that far from endorsing it "Conrad might indeed be holding it up to irony and criticism." (9) According to Achebe "Conrad appears to go to considerable pains to set up layers of insulation between himself and the moral universe of his story." (9) For example, Conrad has a narrator behind a narrator -- he gives us Marlow's account through the filter of a second person. Achebe thus elucidates how "Conrad seems.
Conrad’s descriptions of the Africans are inherently racist. The text is full of demeaning descriptions and negative thoughts about the blacks. “The thought of your remote kinship with this wild and passionate uproar. Ugly" (Conrad 32) Conrad refers to the natives as niggers and compares their looks to animals. “He was there below me, and, upon my word, to look at him was as edifying as seeing a dog in a parody of breeches and a feather hat, walking on his hind legs.” (Conrad 33) These passages and attitudes toward the natives promote the view of the natives during colonialism of Africa in the way that Achebe’s district commissioner sees it, “He had already chosen the title of the book, after much thought: The Pacification of the Primitive Tribes of the Lower Niger.
Joseph Conrad's Heart of Darkness is heralded by many as a classic, but over the years has presented many problems of interpretation. One of the most notable misinterpretations is Chinua Achebe's An Image of Africa: Racism in Conrad's Heart of Darkness. In it, Achebe points to various passages in the book that supposedly prove that Conrad and his book are racist, and that the book should be cast out of the canon of classic literature. This is a false and inaccurate interpretation, and Achebe's objectivity is hindered by his anti-western bias.
By exhibiting the deeds of the Europeans, their portrayal becomes so negative that they become the savages. Conrad clearly is sympathetic to the plight of the Africans, and any racial epithets, if not accepted by progressives of the time, are not meant as attacks directed at the natives. It should be obvious that Conrad is on their side -- or is this "undermined by the mindlessness of its context and the pretty explicit
Heart of Darkness by Joseph Conrad has been depicted as “among the half-dozen greatest short novels in the English language.” [pg.1] Chinua Achebe believes otherwise. In Chinua Achebe’s An Image of Africa: Racism is Conrad’s Heart of Darkness he simply states that, “Joseph Conrad was a thoroughgoing racist” [pg.5]
Achebe, Chinua. "An Image of Africa: Racism in Conrad's Heart of Darkness." Heart of Darkness: An Authoritative Text, Backgrounds and Sources, Essays in Criticism. 3rd ed. Ed. Robert Kimbrough. New York: W.W. Norton, 1988. 251-262.
Heart of Darkness is a story in which racism presents itself so deliberately that, for many, the dilemma of race must be tackled before anything else in the book may be dealt with. Conrad used derogatory, outdated and offensive terminology to devaluate people’s color as savages. This use of language disturbs many readers who read this book. Although Conrad uses racist language in this book, it doesn’t mean that he is really racist. When we look at the language, we are just looking at the very surface of the story.
“Joseph Conrad was a thoroughgoing racist. white racism against Africa is such a normal way of thinking that its manifestations go completely unremarked.” Achebe describes Conrad and his novel to be both racist and dehumanizing against Africans, and Conrad makes it come off as something that is normal. Wilson Harris writes in his piece that he believes Achebe’s way of arguing Heart of Darkness is over the top: but I am convinced his judgment or dismissal of Heart of Darkness-and of Conrad's strange genius-is a profoundly mistaken one. He sees the distortions of imagery and, therefore, of character in the novel as witnessing to horrendous prejudice on Conrad's part in his vision of Africa and Africans (86).