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The portrayal of Africans in Joseph Conrad's novel, Heart of Darkness
The portrayal of Africans in Joseph Conrad's novel, Heart of Darkness
The portrayal of Africans in Joseph Conrad's novel, Heart of Darkness
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It is notable that the highest class of people in Afghanistan in the novel are the Pashtuns as they are also the least likely to be treated poorly and live in the harsh reality of Afghan poverty. Hosseini deliberately describes the Pashtuns in an exaggerated way “my Baba [who] had the most beautiful house in Wazir Akbar Khan”. This hubris about the lifestyle the Pashtuns are accustomed to is short lived as they are forced to flee the Soviet army and arrive in America with very little. It is notable that although a racial divide causes the Pashtuns to treat the Hazara as second-class citizens, in 1979 the Soviet Invasion of Afghanistan led to many of the citizens fleeing to the more peaceful Pakistan, and they all had to flee from a threat as one unit. The racial divide was pushed aside momentarily so …show more content…
Moreover the metaphor of Baba, “the hurricane”, is condensed to nothing when they move to America. While Amir seems to thrive in his new home. Baba, who was a powerful, treasured member of society back in Afghanistan can now do very little to provide for himself and his son. Although his reputation still stands to some in the community he dies a lonely and poor man, shown when Hosseini writes “there is no pain tonight… Baba never woke up”. Hosseini may have been aiming to include the possible truth about Afghanistan based on his personal knowledge of the problems they faced during this time.
In a similar way to the Hazara people in The Kite Runner, the black slaves in Heart of Darkness are mistreated despite their apparent innocence. Although both are mistreated the racial divide in ‘Heart of Darkness’ is a lot more pronounced than in The Kite Runner shown through Conrad’s description of the black slaves becoming “a pose of contorted collapse… a massacre of pestilence”. The visceral language used emphasises the
Life in America for Baba and Amir is much different than their life in Afghanistan. Specifically, Amir adapts well to America. He completes high school and college. Furthermore, he follows his dream of becoming a writer. In American Amir becomes a young man who marries Soraya. The reader witnesses a kinder, non-vindictive Amir.
Throughout an individual's life, many of one’s moral decisions are made based on their experience in race, ethnicity and social class. In Afghanistan, many individuals are judged based on their cultural backgrounds and hierarchy, which has led to the diversity of their own kind. Throughout the novel The Kite Runner, Khaled Hosseini focus on two types of castes: Pashtuns and Hazaras. Pashtuns are considered as the majority race and ethnic group in Afghanistan, while the Hazaras are viewed as the weakest and poorest race in Afghanistan, so they are easily insulted by Pashtuns. In this world, race, ethnicity and social class influences us to make the decisions individuals make. This is evident in the novel The Kite Runner
In book one of Heart of Darkness, Conrad describes a mass of black bodies clinging to life in order to show the “horror” of colonialism in Africa. Conrad describes a scene of “black shapes crouched . . clinging to the earth . . . in all the attitudes of pain, abandonment, and despair.” Conrad uses the language of “pain, abandonment, and despair” to show the unjustifiable acts committed by the Europeans against the native Africans. The bodies “cling” to life because of the lack of empathy exhibited by the colonists. In addition, Conrad describes a man with a thread around his neck: “it looked startling round his black neck, this bit of white thread from beyond the seas.” The white thread symbolizes the act of white colonialism strangling the resources and life out of Africa. Furthermore, Conrad depicts the body’s “black neck” to emphasize the injustice the natives receive from the Europeans. Additionally, Conrad uses the mass of abandoned bodies to argue against any sympathy for colonialism. Moreover, Conrad uses the criticism of colonialism to explain the European attitude towards native Africans. Conrad uses imagery to describe the natives as animals in order to demonstrate the European perception of Africa. Conrad compares Marlow’s companions as a “hyena.” The animal imagery is used to compare the physical and mental bodies of the native Africans as less than “white people.”
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.
While Baba attempts to live his life according to the Afghan saying, “Life goes on, unmindful of beginning, end.crisis or catharsis, moving forward like a slow, dusty caravan of kochis [nomads]” (Hosseini 356), Amir strays from this traditional perspective. Baba chose to continue his life unmindful of his past, while Amir, eventually decides to confront him. Although both Baba and Amir have acted immorally, the choices they make find redemption affect the success of their individual attempts. In the novel, Amir’s quest for atonement is more effective than Baba’s because he acts virtuously, while his father, acts selfishly. Ultimately, Amir is the more successful of the two because, in opposition to Baba, he seeks holistic atonement and is willing to make sacrifices to achieve redemption.
The Heart of Darkness, a complex text was written by Joseph Conrad around the 19th century, when Europeans were colonizing Africa for wealth and power and were attempting to spread their culture and religion in Africa. It was also a period in which women were not allowed to participate in worldly affairs. Therefore, the text deals with issues such as racism, European imperialism, and misogyny. This essay will look at the different themes in the novel and argue whether or not The Heart of Darkness is a work of art.
Amir now has the skills needed to continue his life in America as being independent and the man of the house. The future is bright for Amir, as one can see a fortified, relieved, and joyful version of him compared to the accustomed one in Kabul. Amir is able to purge his sin of silence and lying by using his newfound life to forget all that has occurred in Kabul. This new land of opportunity also brings Baba and Amir closer, for they need to look out for each other as a way to be successful and survive in the land of the free.
When Amir takes Baba to the doctors, the doctor suggests chemotherapy for Baba to prolong the cancer but Baba did not want any medication. Amir tells the reader, “He had the same resolved look on his face as the day he’d dropped the stack of food stamps on Mrs. Dobbins’s desk” (156). Baba did not want help even if his life was on the line. Baba also starts to take pride in Amir when he tells General Taheri, “Amir is going to ne a great writer,” Baba said. I did a double take at this” (139). Amir is starting to realize that his father who was untouchable and was a legend in Kabul was truly human. When Amir tells Baba that he wants to marry Soraya, Baba calls General Taheri to set up a meeting between the two men. As Amir dropped off Baba at the Taheri’s for the meeting, he says, “Baba was hobbling up the Taheri’s driveway for one last fatherly duty” (163). In this instance, Amir sees Baba as a true father. Amir feels Baba’s acceptance when Baba tells Amir on lafz, “It’s the happiest day of my life Amir” (166). Baba is telling Amir that through everything in his life from him marrying Sophia, to Amir winning the kite tournament, all the way to Amir graduating high school, Baba has never been prouder. After Baba’s death, Amir says, “As words from the Koran reverberated through the room, I thought of the old story of Baba wrestling a black bear in Baluchistan. Baba had
"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.
To Joseph Conrad, the Africans were not just characters in his story, but rather props. After reading Achebe’s famous essay and Conrad’s novella, I’ve come to a side with Achebe. Conrad “was a thoroughgoing racist”; Heart of Darkness platforms this clearly. Throughout the novella, Conrad describes and represents the Africans and Africa itself in a patronizing and racist way. Constantly throughout the novel, Joseph Conrad was describing Africans by using words bearing a negative connotation.
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 Conrad’s “methods amount to no more than a steady, ponderous, fake-ritualistic repetition of two antithetical sentences.”
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.
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.
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 for devaluation of people’s color as savages. This use of language disturbs many readers who read this book.
Achebe, Chinua. “An Image of Africa: Racism in Conrad’s ‘Heart of Darkness.” Massachusetts Review. W.M. Norton and Co. n.d. Web. 9 Dec.2010. .