faiza aljohani.dr heart of darkness joseph conrad was actually a polish aristocrat with an...

Faiza Aljohani.drFaiza Aljohani.dr

Heart of DarknessHeart of Darkness Joseph Conrad was actually a Polish aristocrat Joseph Conrad was actually a Polish aristocrat

with an unpronounceable name; that at an with an unpronounceable name; that at an early age, seeking adventure, he "went to sea," early age, seeking adventure, he "went to sea," as they used to say in those days; and that most as they used to say in those days; and that most of his works are based upon his experiences as of his works are based upon his experiences as a sailor on various ships in various parts of the a sailor on various ships in various parts of the world.world.

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Conrad, as an artist was a man subject to fits of Conrad, as an artist was a man subject to fits of depression, self-doubt and pessimism.depression, self-doubt and pessimism.

in his preface to The Nigger of the 'Narcissus' in his preface to The Nigger of the 'Narcissus' (1897),… (1897),…

“ “by the power of the written word to make you by the power of the written word to make you hear, to make you feel... before all, to make you hear, to make you feel... before all, to make you seesee. That — and no more, and it is everything. If I . That — and no more, and it is everything. If I succeed, you shall find there according to your succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm deserts: encouragement, consolation, fear, charm — all you demand — and, perhaps, also that — all you demand — and, perhaps, also that glimpse of truth for which you have forgotten to glimpse of truth for which you have forgotten to ask."ask."

Faiza Aljohani.dr

Conrad wrote Heart of Darkness in Conrad wrote Heart of Darkness in 1898, during the time when 1898, during the time when European colonialism was in its European colonialism was in its heyday and the cultural movement heyday and the cultural movement we call Modernism was being born.we call Modernism was being born.

It is often remarked that his exotic It is often remarked that his exotic style, complex narration, profound style, complex narration, profound themes and pessimistic ideas put themes and pessimistic ideas put many readers off.many readers off.


like Marlow, Conrad spent some time like Marlow, Conrad spent some time piloting a small steamboat up the Congo piloting a small steamboat up the Congo River, into the heart of a land that was then River, into the heart of a land that was then being ruthlessly exploited as the private being ruthlessly exploited as the private property of King Leopold of Belgium, and property of King Leopold of Belgium, and that, like Marlow, the experience left him that, like Marlow, the experience left him morally shaken and physically ill--although, morally shaken and physically ill--although, unlike Marlow, there was no Mr. Kurtz unlike Marlow, there was no Mr. Kurtz waiting for Conrad at the Inner Station. (In waiting for Conrad at the Inner Station. (In other words, Heart of Darkness is in part other words, Heart of Darkness is in part autobiographical and in part imaginary. autobiographical and in part imaginary. Such a statement, incidentally, can be Such a statement, incidentally, can be made about all good works of fiction.)made about all good works of fiction.)


Marlow's story of a voyage up the Congo Marlow's story of a voyage up the Congo River that he took as a young man is the River that he took as a young man is the main narrative of main narrative of Heart of DarknessHeart of Darkness. . Marlow's narrative is framed by another Marlow's narrative is framed by another narrative, in which one of the listeners to narrative, in which one of the listeners to Marlow's story explains the circumstances Marlow's story explains the circumstances in which Marlow tells it.in which Marlow tells it.

Heart of DarknessHeart of Darkness in particular, provides a in particular, provides a bridge between Victorian values and the bridge between Victorian values and the ideals of modernism. ideals of modernism.

Like much of the best modernist literature Like much of the best modernist literature produced in the early decades of the produced in the early decades of the twentieth century, twentieth century, Heart of DarknessHeart of Darkness is a is a novel about alienation, confusion, and novel about alienation, confusion, and profound doubt profound doubt


•Heart of DarknessHeart of Darkness raises the question raises the question of whether it is possible to call an of whether it is possible to call an individual insane or wrong when he is individual insane or wrong when he is part of a system that is so thoroughly part of a system that is so thoroughly corrupted and corrupting. The novel, corrupted and corrupting. The novel, thus, at its most abstract level, is a thus, at its most abstract level, is a narrative about the difficulty of narrative about the difficulty of understanding the world beyond the understanding the world beyond the self, about the ability of one man to self, about the ability of one man to judge anotherjudge another . .


At the time At the time Heart of DarknessHeart of Darkness was written, the was written, the British Empire was at its peak, and Britain controlled British Empire was at its peak, and Britain controlled colonies and dependencies all over the planet. The colonies and dependencies all over the planet. The popular saying that “the sun never sets on the British popular saying that “the sun never sets on the British Empire” was literally true. The main topic of Empire” was literally true. The main topic of Heart of Heart of DarknessDarkness is imperialism, a nation's policy of exerting is imperialism, a nation's policy of exerting influence over other areas through military, political, influence over other areas through military, political, and economic force. The narrator expresses the belief and economic force. The narrator expresses the belief that imperialism is a glorious and worthy enterprise. that imperialism is a glorious and worthy enterprise. Indeed, in Conrad's time, “empire” was one of the Indeed, in Conrad's time, “empire” was one of the central values of British subjects, the fundamental central values of British subjects, the fundamental term through which Britain defined its identity and term through which Britain defined its identity and sense of purpose sense of purpose


Throughout his story, distinctions Throughout his story, distinctions such as inward and outward, civilized such as inward and outward, civilized and savage, dark and light, are and savage, dark and light, are called into question. But the irony of called into question. But the irony of Marlow's story is not as pronounced Marlow's story is not as pronounced as in a satire, and Marlow's and as in a satire, and Marlow's and Conrad's attitudes regarding Conrad's attitudes regarding imperialism are never entirely clear.imperialism are never entirely clear.

Faiza Aljohani.dr

- For many novelists. especially - For many novelists. especially modern novelists, the messiness and modern novelists, the messiness and confusion and darkness of confusion and darkness of experience is in itself an interesting experience is in itself an interesting thing. Rather than trying to simplify thing. Rather than trying to simplify and abstract a particular idea or and abstract a particular idea or meaning from experience, novelists meaning from experience, novelists tend to wallow in the multiplicity of tend to wallow in the multiplicity of ideas and meanings and sensations ideas and meanings and sensations that experience can provide. that experience can provide.

Faiza Aljohani.dr

- Novelists, in other words, are not - Novelists, in other words, are not generally in the business of abstracting generally in the business of abstracting orderly ideas about experience. They are orderly ideas about experience. They are rather in the business of re-creating and rather in the business of re-creating and communicating the rich complexities of communicating the rich complexities of experience itself. Their purpose is to get experience itself. Their purpose is to get the reader to re-live an experience in some the reader to re-live an experience in some important and concrete way, with all its important and concrete way, with all its complexity and messiness, all its darkness complexity and messiness, all its darkness and ambiguity, intact. and ambiguity, intact.

In short, a novel is not a kind of orderly In short, a novel is not a kind of orderly argument. It is addressed to the reader, not argument. It is addressed to the reader, not the student, and its ordering principles are the student, and its ordering principles are of an altogether different, and more of an altogether different, and more difficult, kind. For the novelist, it is the difficult, kind. For the novelist, it is the fullness of experience, not the abstract fullness of experience, not the abstract meaning of the experience, that counts. meaning of the experience, that counts.


In other words, according to some critics, In other words, according to some critics, Conrad has somehow failed in his attempt to Conrad has somehow failed in his attempt to delineate the horror that is Kurtz's final vision, delineate the horror that is Kurtz's final vision, failed to penetrate the darkness that Marlow failed to penetrate the darkness that Marlow evokes, failed to give a precise name and evokes, failed to give a precise name and shape to the dark and tragic human condition. shape to the dark and tragic human condition. Critics want, as all good academics want, Critics want, as all good academics want, clarity, definition, intellectual coherence, clarity, definition, intellectual coherence, order, a well-stated and well-argued thesis; order, a well-stated and well-argued thesis; they want light and more light, and are upset they want light and more light, and are upset that Conrad has failed to provide it. that Conrad has failed to provide it.

Faiza Aljohani.dr

But for Conrad, , the highest virtue is not But for Conrad, , the highest virtue is not clarity in abstraction, but the truth of real clarity in abstraction, but the truth of real experience in all its dark messiness and experience in all its dark messiness and complexity, and in the world as Conrad complexity, and in the world as Conrad sees it these two--the truth of experience sees it these two--the truth of experience and the clarity of ideas--are generally in and the clarity of ideas--are generally in conflict. conflict.

In short, for Conrad, "truth" in fiction is In short, for Conrad, "truth" in fiction is not philosophical; it is, rather, like the not philosophical; it is, rather, like the truth in painting and music, an appeal to truth in painting and music, an appeal to beauty and mystery and pain, an appeal to beauty and mystery and pain, an appeal to our capacity for delight and wonder and our capacity for delight and wonder and loneliness and fellowship--an appeal, in loneliness and fellowship--an appeal, in other words, to the fullness of all our other words, to the fullness of all our multitudinous experience. multitudinous experience.


--the intent of the philosopher, the scientist, and the social theorist is to --the intent of the philosopher, the scientist, and the social theorist is to abstract some important and clear idea from the messy world; the abstract some important and clear idea from the messy world; the intent of the novelist--of all artists, in fact--is to re-create for us an intent of the novelist--of all artists, in fact--is to re-create for us an image of the messy world itself. image of the messy world itself.

I would even go so far as to say that one of Conrad's apparent I would even go so far as to say that one of Conrad's apparent intentions in intentions in Heart of DarknessHeart of Darkness is to undermine our reliance on is to undermine our reliance on abstract ideas, and abstract notions of truth, as they are generally abstract ideas, and abstract notions of truth, as they are generally applied to the real world. applied to the real world.

If he seeks to lead his readers to an experience of the "heart of If he seeks to lead his readers to an experience of the "heart of darkness" it is not to shed the light of reason on it--to analyze and darkness" it is not to shed the light of reason on it--to analyze and define it in some abstract way--but rather to re-create, in all its define it in some abstract way--but rather to re-create, in all its fullness, his experience of darkness in our feelings, our sensibilities, fullness, his experience of darkness in our feelings, our sensibilities, our own dark and mysterious hearts. our own dark and mysterious hearts.

At the same time, this begs the question of whether it is possible to At the same time, this begs the question of whether it is possible to call an individual insane or wrong when he is part of a system that is call an individual insane or wrong when he is part of a system that is so thoroughly corrupted and corrupting. so thoroughly corrupted and corrupting. Heart of Darkness,Heart of Darkness, thus, at its thus, at its most abstract level, is a narrative about the difficulty of understanding most abstract level, is a narrative about the difficulty of understanding the world beyond the self, about the ability of one man to judge the world beyond the self, about the ability of one man to judge another. another.


Once you understand that, you will see that Heart of Darkness Once you understand that, you will see that Heart of Darkness is not a coded message, a kind of complicated puzzle you are is not a coded message, a kind of complicated puzzle you are supposed to solve in order to get the meaning or message that supposed to solve in order to get the meaning or message that is hidden in it. It is, rather, a re-creation in a pattern of words is hidden in it. It is, rather, a re-creation in a pattern of words and images of a set of experiences that can, if you read it well, and images of a set of experiences that can, if you read it well, become a part of your own experience. become a part of your own experience.

To put it another way, Heart of Darkness--or any good novel, To put it another way, Heart of Darkness--or any good novel, for that matter--is a kind of little world unto itself. for that matter--is a kind of little world unto itself.

As a reader, your job is to enter into the experience it As a reader, your job is to enter into the experience it contains--to sit on the deck of the Nellie as night comes on and contains--to sit on the deck of the Nellie as night comes on and listen to the story Marlow has to tell; to be curious with listen to the story Marlow has to tell; to be curious with Marlow about Mr. Kurtz; to smell dead hippo and hear the Marlow about Mr. Kurtz; to smell dead hippo and hear the drumbeat of the natives and sense the implacable vastness of drumbeat of the natives and sense the implacable vastness of the wilderness, with all its multitude of claims upon us. the wilderness, with all its multitude of claims upon us.

Faiza Aljohani.dr

When I say that Heart of Darkness is a kind of little world which we can experience, rather than a system of ideas we must understand, I simply mean that there is no single right way of understanding it. I also mean that just as we try to understand our world through a number of different systems of thought, so, too, we can try to understand Heart of Darkness in various ways depending upon what sorts of questions we ask of it.


For example, if you have an interest in history, you can see For example, if you have an interest in history, you can see Heart of Darkness as a depiction of, and an attack upon, Heart of Darkness as a depiction of, and an attack upon, colonialism in general, and, more specifically, the particularly colonialism in general, and, more specifically, the particularly brutal form colonialism took in the Belgian Congo. Consider brutal form colonialism took in the Belgian Congo. Consider the book from this point of view, and you will be led to those the book from this point of view, and you will be led to those details which depict the mistreatment of the Africans, the details which depict the mistreatment of the Africans, the greed of the so-called "pilgrims," the broken idealism of greed of the so-called "pilgrims," the broken idealism of Kurtz, and so on. You will find it important to notice, for Kurtz, and so on. You will find it important to notice, for example, that French man-of-war lobbing shells into the example, that French man-of-war lobbing shells into the jungle, or the grove of death which Marlow stumbles upon, or jungle, or the grove of death which Marlow stumbles upon, or the little note that Kurtz appends to his noble-minded essay on the little note that Kurtz appends to his noble-minded essay on The Suppression of Savage Customs, or the importance of The Suppression of Savage Customs, or the importance of ivory to the economics of the system. As a historian, however, ivory to the economics of the system. As a historian, however, you might also find yourself a little frustrated by the odd fact you might also find yourself a little frustrated by the odd fact that the book is so evasive about naming places and people that the book is so evasive about naming places and people and dates. We can surmise, for example, that Brussels is the and dates. We can surmise, for example, that Brussels is the city of the whited speculchre, but we might wonder why city of the whited speculchre, but we might wonder why Marlow can't come right out and name itMarlow can't come right out and name it..


One reason for the lack of names, I suppose, is that Conrad One reason for the lack of names, I suppose, is that Conrad was not only interested in the particulars of the history of was not only interested in the particulars of the history of colonialism as it was applied to the Belgian Congo; he was colonialism as it was applied to the Belgian Congo; he was also apparently interested in a more general sociological also apparently interested in a more general sociological investigation of those who conquor and those who are investigation of those who conquor and those who are conquored, and the complicated interplay between them. In conquored, and the complicated interplay between them. In this light, different--more sociological--questions can be raised this light, different--more sociological--questions can be raised and different answers found. The details that might be noticed and different answers found. The details that might be noticed in this context are, for example, Marlow's invocation of the in this context are, for example, Marlow's invocation of the Roman conquest of Britain, or the cultural ambiquity of those Roman conquest of Britain, or the cultural ambiquity of those Africans who have taken on some of the ways of their Africans who have taken on some of the ways of their Europeans--Marlow's helmsman, for example, or the Europeans--Marlow's helmsman, for example, or the Manager's rude servant--or the ways in which the wilderness Manager's rude servant--or the ways in which the wilderness tends to strip away the civility of the Europeans and brutalize tends to strip away the civility of the Europeans and brutalize them. But certainly, unlike a sociologist, Conrad is not them. But certainly, unlike a sociologist, Conrad is not impartial and scientifically detached from these things, and he impartial and scientifically detached from these things, and he even has a bit of fun with such impartiality in his depiction the even has a bit of fun with such impartiality in his depiction the doctor who tells Marlow that people who go out to Africa doctor who tells Marlow that people who go out to Africa become "scientifically interesting." become "scientifically interesting."


Looking at the book from a psychological viewpoint, in fact, Looking at the book from a psychological viewpoint, in fact, many readers have been inclined to comment on its many readers have been inclined to comment on its apparent similiarities to the psychological theories of apparent similiarities to the psychological theories of Sigmund Freud in its suggestion that dreams are a clue to Sigmund Freud in its suggestion that dreams are a clue to hidden areas of the mind, and that at the heart of things--hidden areas of the mind, and that at the heart of things--which Freud called the Id--we are all primitive brutes and which Freud called the Id--we are all primitive brutes and savages, capable of the most appalling wishes and the savages, capable of the most appalling wishes and the most horrifying impulses. Through Freud, or other systems most horrifying impulses. Through Freud, or other systems of thought that resemble Freud's, we can make sense of the of thought that resemble Freud's, we can make sense of the urge Marlow feels to leave his boat and join the natives for urge Marlow feels to leave his boat and join the natives for a savage whoop and hollar. We might even, in this light, a savage whoop and hollar. We might even, in this light, notice that Marlow keeps insisting that Kurtz is a voice--a notice that Marlow keeps insisting that Kurtz is a voice--a voice who seems to speak to him out of the heart of the voice who seems to speak to him out of the heart of the immense darkness--and so perhaps he can be thought of, in immense darkness--and so perhaps he can be thought of, in a sense, as the voice of Marlow's own deepest, a sense, as the voice of Marlow's own deepest, psychological self. All of which is interesting enough, and psychological self. All of which is interesting enough, and might produce some good classroom discussion--though might produce some good classroom discussion--though one has to remember that it is doubtful Conrad had ever one has to remember that it is doubtful Conrad had ever heard Sigmund Freud when he set out to write the book. heard Sigmund Freud when he set out to write the book.

Besides, even if it is clear that these historical and Besides, even if it is clear that these historical and sociological and psychological viewpoints are useful, they sociological and psychological viewpoints are useful, they hardly speak to the whole of our experience of the book. hardly speak to the whole of our experience of the book.


• Certainly Heart of Darkness is preoccupied Certainly Heart of Darkness is preoccupied with general questions about the nature of with general questions about the nature of good and evil, or civilization and savagery. good and evil, or civilization and savagery. And certainly Heart of Darkness raises and And certainly Heart of Darkness raises and elaborates upon some quite specific moral elaborates upon some quite specific moral questions: What saves Marlow from questions: What saves Marlow from becoming evil? Is Kurtz more or less evil becoming evil? Is Kurtz more or less evil than the Manager and the pilgrims? Why than the Manager and the pilgrims? Why does Marlow think that lies smack of does Marlow think that lies smack of mortality--that is, why does he associate mortality--that is, why does he associate lying with death--and what is happening to lying with death--and what is happening to him--is he acting morally or immorally--him--is he acting morally or immorally--when he lies to Kurtz"s Intended? And what when he lies to Kurtz"s Intended? And what price must he pay for his lie? A serious price must he pay for his lie? A serious contemplation of questions such as these contemplation of questions such as these can certainly shed some light. can certainly shed some light.

Faiza Aljohani.dr

TO CONCLUDETO CONCLUDE

► Heart of Darkness is a modernist novel, by which I mean Heart of Darkness is a modernist novel, by which I mean that it is characterized by: that it is characterized by:

► --a distrust of abstractions as a way of delineating truth --a distrust of abstractions as a way of delineating truth ► --an interest in an exploration of the psychological --an interest in an exploration of the psychological ► --a belief in art as a separate and somewhat privileged kind --a belief in art as a separate and somewhat privileged kind

of human experience of human experience ► --a desire for transcendence mingled with a feeling that --a desire for transcendence mingled with a feeling that

transcendence cannot be achieved transcendence cannot be achieved ► --an awareness of primitiveness and savagery as the --an awareness of primitiveness and savagery as the

condition upon which civilization is built, and therefore an condition upon which civilization is built, and therefore an interest in the experience and expressions of non-European interest in the experience and expressions of non-European peoples peoples

► --a skepticism that emerges from the notion that human --a skepticism that emerges from the notion that human ideas about the world seldom fit the complexity of the world ideas about the world seldom fit the complexity of the world itself. and thus a sense that multiplicity, ambiguity, and itself. and thus a sense that multiplicity, ambiguity, and irony--in life and in art--are the necessary responses of the irony--in life and in art--are the necessary responses of the intelligent mind to the human condition. intelligent mind to the human condition.

Faiza Aljohani.dr

Multiplicity, ambiguity, and irony: these are not the easiest forms of expression to cope with when you are a student and asked to express yourself clearly and directly. But as a final thought I might add that it is precisely because the world appears to us to be multiple, ambiguous, and paradoxical, that we must strive to speak and write clearly. Otherwise there is only darkness, only confusion.

faiza aljohani.dr heart of darkness joseph conrad was actually a polish aristocrat with an...

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