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Issue of racism in heart of darkness by josef conrad
Racism in literature
Issue of racism in heart of darkness by josef conrad
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Joseph Conrad’s Heart of Darkness and Benito Cereno by Herman Melville tactfully conceal a racist and simplistic portrayal of Africa and its people through the mask of fiction. The novellas use fiction to dissuade the reader from understanding that the authors are indirectly equating Africa to anarchy and barbarism. The setting, dialogue and motifs within their stories make the extremely biased portrayal of Africa evident. Joseph Conrad and Herman Melville are often hotly debated in the subject of possible racism but their stories present Africa as a savage and uncivilized nether region of the world. In Benito Cereno, there is a character in particular that is a central figure in the racist and one-sided portrayal of Africa within Benito …show more content…
The narrative tries to suggest — by equating Negroes with "Newfoundland dogs"— that Captain Amasa Delano has exceptionally good opinion of blacks. This is true but the narrative has just implied that Negroes are equivalent to dogs. The narrative is getting at the idea like Negroes are and can be man’s best friend. To be specific, a Negro can be the white man’s best friend, which echoes a similar saying about dogs. Captain Delano might think that he is complimenting an entire race but he has just insulted them. The entire Negro race has been dehumanized in one sentence by equating them to domestic house pets. This comparison is still better than another comparison made in Benito Cereno about Negro women and their relationship with their children. “…, delightedly she caught the child up, with maternal transports, covering it with kisses. There’s naked nature, now; pure tenderness and love, thought Captain Delano, well pleased (Melville, 62-63).” Firstly, it appears that Captain Delano thinks he must be at a zoo. It seems that he is enamored by the view of a ‘species’ in its natural habitat. This is reinforced by further thoughts from Captain Delano, “Ah! thought Captain Delano, these perhaps are some of the very women …show more content…
When referring to Negroes outside of the dialogue in the novella, it refers to them in an objectifying way. It is reminiscent of the way Donald Sterling has referred to minorities under his employment. Several times in the narrative of the novella, Africans are referred to as objects, in a similar manner by which a table or a chair would be referred to. For instance, when Atufal the gigantic black slave appears in chains, Captain Delano describes him as “…the moving figure of a gigantic black…(Melville, 51)”. Also when talking about Atufal’s silence, “The black was silent (Melville, 51).” This type of diction cannot be overlooked just because the writer is Herman Melville. If Donald Sterling is being condemned for saying “In your lousy f***ing Instagrams, you don't have to have yourself with -- walking with black people.” to his girlfriend then Herman Melville should be condemned too. Donald Sterling is a man of great wealth and influence but was quickly condemned for what he said about the Negro race. Why is that Herman Melville’s racist writing is not under the same
...al of black life are the views shared by the majority of Americans. Their views on this portrayal of blacks in America can be summed up in a quote taken from Melville's Benito Cereno, "We will see what the American...wanted to see: the head of the Negro 'fixed on a pole in the Plaza" (27).
The fight for racial equality is one of the most prominent issues Americans have faced throughout history and even today; as the idea that enslaving individuals is unethical emerged, many great and innovative authors began writing about the issues that enslaved people had to face. Olaudah Equiano was no exception. In his work The Interesting Narrative of the Life of Olaudah Equiano, he attempts to persuade his readers that the American way of slavery is brutal, inhumane, and unscrupulous. Equiano manages to do this by minimizing the apparent differences between himself and his primarily white audience, mentioning the cruelties that he and many other slaves had to face, and the advantages of treating your slaves correctly.
When inquiring about the comparisons and contrasts between Melville’s Benito Cereno and Frederick Douglass’s Narrative of the Life of an American Slave, Written by Himself, the following question almost inevitably arises: Can a work of fiction and an autobiography be compared at all? Indeed, the structure of the two stories differs greatly. Whereas Douglass’s Narrative adapts a typical pattern of autobiographies, i.e. a chronological order of birth, childhood memories, events that helped shape the narrator etc., Benito Cereno is based on a peculiar three-layered foundation of a central story recounting the main events, a deposition delineating the events prior to the first part, and an ending.
...ns it held. Melville creates a character who never sees the reality on board the ship in his many speculations, particularly because Delano sees the slaves as too ignorant as to be able to devise such a thing, when the grand irony is the he is too blind to see it. Melville reverses the master and slave roles and brings them before a very slavery-conscious audience to whom he leaves the interpretation open, but laden with subtle messages about the horrible institution of slavery.
Once on board the San Dominick, to step in and save it from “distress,” the American mariner Amasa Delano “assured [Cereno and the pitiful Spanish crew and black slaves] of his [American] sympathies...with...all the...pumpkins on [Delano’s ship]...and a dozen bottles of..cider.” Diplomatically, Delano made inroads with the San Dominick’s Spanish and African passengers to find out information about the ship’s cargo and destination. Through such inquiries, Delano sought to incorporate both Spaniards and slaves into the American calculus of “cleaning up” the Spanish “messes” left after Haiti and the Napoleonic Wars. Out of fear for potential chaos, Delano acted hospitably to quell the possibility of another Spanish or slave mutiny. Seeing that the white European captain had capitulated to the slaves onboard, Delano seized his liberty to take charge of the ship as a leading white man, reconfiguring patriarchy as an opportunistic American
Douglass’s resistance of oppression was much more direct, both mentally and physically. Due to the 1st first person perspective of his Narrative, his tactics come off much more understandable and justifiable to his largely, White, Northern audience. Throughout the narrative, especially in scene between a master and his aunt, he portrays slaves as helpless victims at the mercy of their sadistic master. Witnessing his master beat his aunt into a bloody pulp, for example, emasculated Douglass because he could not prevent the man from asserting his authority over her. In the scene with Mr. Covey, however, Douglass portrayed violence as an act of reclaiming his manhood. Although the “slave-breaker” manages to overwork and beat Douglass until he nearly had no choice but to recover from his anguish instead of pursuing any education or freedom, his fight against Mr. Covey was a physical manifestation of his inner power and identity that even Mr. Covey could not ignore. The two White perspectives in Benito Cereno depict the violence among the slaves and the Whites as the complete opposite. Although the slaves have clearly proven they are far more intelligent and powerful than the other men have presumed, the White men’s internalized racism prevents them from seeing this aspect and draws their attention towards the physical violence instead. They label themselves as the
“The history of the American Negro is the history of this strife, – this longing to attain self-consciousness, manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message f...
In the present era of decolonization, Joseph Conrad’s Heart of Darkness presents one of fiction’s strongest accounts of British imperialism. Conrad’s attitude towards imperialism and race has been the subject of much literary and historical debate. Many literary critics view Conrad as blindly accepting the arrogant attitude of the white male European and condemn Conrad to be a racist and imperialist. The other side vehemently defends Conrad, perceiving the novel to be an attack on imperialism and the colonial experience. Understanding the two viewpoints side by side provides a unique understanding that leads to a commonality that both share; the novel simply presents a criticism of colonialists in Africa.
“ The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much.” (Conrad 65) So stated Marlow as though this was his justification for ravaging the Congo in his search for ivory. Joseph Conrad’s Heart of Darkness shows the disparity between the European ideal of civilization and the reality of it as is evidenced by the domination, torture, exploitation and dehumanization of the African population. Heart of Darkness is indicative of the evil and greed in humanity as personified by Kurtz and Marlow.
Achebe, Chinua. "An Image of Africa: Racism in Conrad's Heart of Darkness." Ed. Robert Kimbrough. New York: Norton, 1963. 251-62.
“As I stare through the floor of an unknown vessel into an everlasting sea of clouds I ponder on what I had did to be in this situation or would I ever reunite with my family or will the gentleman beside me make it through the night.” The realization that slavery caused many families, lives, and individuals to be destroyed is gruesome. Through the memoir of Olaudah Equiano, the first-person accounts of the treatment of enslaved and free Africans is revealed, which helps him in the battle against African enslavement.
In the setting that Joseph Conrad gives the characters in the Heart of Darkness, Africa was still greatly unexplored by Europeans. It was thought by many Europeans to be a dark place of savages and strange beasts. As the author Gary Adelman writes in his book Heart of Darkness Search for the Unconscious, "As the journey proceeds from the Coastal Station to Kurtz’s outpost, darkness increasingly becomes associated with savagery, cannibalism, and human sacrifice, with Africans as the embodiment of these ideas" (p.87). Conrad depicts his ideas about Africa in this way as well as through the character of Marlow. As author Gary Adelman comments on this in his book Heart of Darkness Search for the Unconscious "Africans, in their free state, as described by Marlow, epitomizes not only the primitive condition of humankind, but also an actively demoralizing influence, which a white man coming to Africa must challenge." (p. 69) In many description located in the novel Conrad depicts Africa and it’s people as being dark and of inhuman nature. "It was unearthly, and the men were -No, they were not inhuman. Well, you know, that was the worst of it -this suspicion of t...
An Image of Africa Heart of Darkness by Joseph Conrad has been depicted as “among the half-dozen greatest short novels in the English language.” 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 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.
Joseph Conrad's novel Heart of Darkness portrays an image of Africa that is dark and inhuman. Not only does he describe the actual, physical continent of Africa as "so hopeless and so dark, so impenetrable to human thought, so pitiless to human weakness" (Conrad 94), as though the continent could neither breed nor support any true human life, but he also manages to depict Africans as though they are not worthy of the respect commonly due to the white man. At one point the main character, Marlow, describes one of the paths he follows: "Can't say I saw any road or any upkeep, unless the body of a middle-aged negro, with a bullet-hole in the forehead, upon which I absolutely stumbled three miles farther on, may be considered as a permanent improvement" (48). Conrad's description of Africa and Africans served to misinform the Western world, and went uncontested for many years.
Chinua Achebe states in his essay, “An Image of Africa: Racism in Conrad’s Heart of Darkness”, that, “Africa is to Europe as the picture is to Dorian Gray--a carrier onto whom the master unloads his physical and moral deformities so that he may go forward, erect and immaculate. Consequently Africa is something to be avoided just as the picture has to be hidden away to safeguard the man’s jeopardous integrity” (Achebe, p. 259-260). Achebe is essentially arguing that Conrad’s portrayal of civilization uses Africa as a scapegoat so that it can hide the hypocrisy of European imperialism. It is not Africa that is responsible for their madness, but it is their own delusion. Additionally, this doubles as a driving force in regards to the creation of Things Fall Apart where Achebe contrasts this theme through the explanation of the Igbo tribe’s structure and order that was in place before the arrival of the