essays on the heart of darkness

Heart of Darkness: Analysis and Themes

By Dr Oliver Tearle (Loughborough University)

First published in 1899, Heart of Darkness – which formed the basis of the 1979 Vietnam war film Apocalypse Now – is one of the first recognisably modernist works of literature in English fiction. Its author was the Polish-born Joseph Conrad, and English wasn’t his first language (or even, for that matter, his second).

As well as being a landmark work of modernism, Conrad’s novella also explores the subject of imperialism, and Conrad’s treatment of this subject has been met with both criticism and praise.

In this post, we’ll offer an analysis of Heart of Darkness in relation to these two key ideas: modernism and imperialism.

The Problem of Storytelling

In a letter of 5 August 1897 to his friend Cunninghame Graham, Joseph Conrad wrote: ‘One writes only half the book – the other half is with the reader.’

In other words, a book should leave the reader with room to manoeuvre: it should be, to borrow Hilary Mantel’s phrase, a book of questions rather than a book of answers. The reader makes up the meaning of the book as much as the writer. This is a key feature of modernist fiction, which is often impressionistic : giving us glimpses and hints but refusing to spell everything out to the reader.

With this in mind, it’s worth considering the moments when Marlow stops and interrupts the tried and tested literary framework of the novella. One of the questions which it’s very easy to trick people out with is the question, ‘Who is the narrator of Heart of Darkness?’ ‘Why, Marlow, of course!’

Except the narrator is not Marlow – not the main narrator, anyway. Marlow doesn’t address us , the reader; he addresses his friends on the boat, the Nellie , and then there is an unnamed narrator, one of the other people on the boat listening to Marlow, and it’s this unnamed individual who addresses us in his role as the conventional narrator.

And Marlow, who tells the story to the real narrator and his companions, cannot just sit and tell it. He has to check with his audience that they are ‘getting it’; and they’re not getting it, at least not fully. They’re having to work hard to ‘see’ what he’s recounting to them. That is, there’s a constant anxiety on Marlow’s part as to whether his audience – his ‘readers’, as it were – are understanding the story he’s telling them.

Marlow interrupts his narrative several times, at least once simply because he is despairing of the efficacy of his own storytelling technique. It’s the literary equivalent of ‘breaking the fourth wall’ – we may just about be beginning to imagine the scene in the heart of Africa when suddenly our imagination is jolted back to Marlow, sitting in a boat on the Thames.

We’re not invited to get too cosy with Marlow’s narrative, and not just because of the dark events he’s describing: the way he describes them is constantly making us question what we are being told:

Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream—making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams …

Note the subtle play on the word ‘relation’ here, where as well as meaning ‘the telling of a dream’ (relating a story to someone), it also glimmers with the other meaning of ‘relation’, i.e., one who is related to us, such as a brother or sister. It is as if fiction, stories, are the cousins of dreams, in that they’re both narratives that are at once both vividly and yet only dimly remembered. That is, you remember some aspects of dreams vividly, and others only hazily.

And ‘hazily’ is just the word. Note how the narrator describes Marlow’s way of telling a story, in a passage from Heart of Darkness that has become famous:

But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.

This passage pinpoints what Conrad is doing with Heart of Darkness : using the framework or basic structure of many an imperial adventure story of the late nineteenth century ( Heart of Darkness was originally serialised in Blackwood’s Magazine , which was known for its gung-ho tales set in exotic parts of the world which were under European imperial rule), but undermining it by questioning the very basis on which such stories are founded.

Language, as the multilingual Conrad knew, is an imperfect and flawed tool for conveying our experiences.

Delayed Decoding

‘Delayed decoding’ is Ian Watt’s term for the moments in Conrad’s fiction where the narrator withholds information from us so that we have to work out what’s going on bit by bit, just as the narrator himself (and it is always a him self with Conrad) had to at the time. As Watt himself writes, delayed decoding serves ‘mainly to put the reader in the position of being an immediate witness of each step in the process’.

It’s as if you were there, and as confused and bewildered by it all as the narrator himself was. A good example is the moment when Marlow comes upon the abandoned hut in the jungle, and finds a strange book on the ground which contains notes pencilled in the margins which, he tells us, appear to be written in cipher, or code.

He – and we – later find out that it’s not written in code, but Russian. He makes us wait until the point in the narrative when he found out his mistake before he corrects it. This has two effects: it brings us closer to Marlow’s own experience (we learn things as we go along, just as he did at the time), but it also makes us work harder as readers, since we are encouraged to appraise carefully everything we are told. We can’t trust anything we read.

Much modernist fiction may be written in the past tense, as Heart of Darkness is, but a good deal of modernist fiction is narrated as though it were written in the present tense . That is, it wants to recreate the immediacy of the experience, the way it felt for the character/narrator as it happened .

It’s as if it doesn’t trust the overly neat brand of hindsight which is offered by the traditional Victorian novel written in the perfect (past) tense. Delayed decoding is one of the chief ways that Conrad goes about recreating the ‘presentness’ of Marlow’s experience, the sense of what it was like for him – surrounded by things he’s only half-figured out – as these things were happening to him.

The literary critic F. R. Leavis, who was otherwise a great admirer of Conrad, remarked that Conrad often seemed ‘intent on making a virtue out of not knowing what he means.’ Certainly Conrad seems to enjoy uncertainty, obscurity – darkness, if you will, like the Heart of Darkness .

In The English Novel: An Introduction , Terry Eagleton remarks that Conrad’s prose is both vivid or concrete and ambiguous or equivocal. It’s like describing mist in very precise terms, or depicting something as solid and tangible as a spear in terms which seem to make it melt into the air. This takes us back to Marlow’s own comparison between the story he is telling his companions and the experience of a dream.

Heart of Darkness and imperialism

Imperialism is an important theme of Heart of Darkness , but this, too, is treated in both vivid yet ambiguous or hazy terms. As Eagleton observes, the problems with Conrad’s treatment of imperialism are several: first, his depiction of African natives comes across as stereotyped and insufficient (a criticism that Chinua Achebe memorably made), but second, Conrad depicts the whole imperialist mission as irrational and borderline mad.

This overlooks the Enlightenment rationalism that underpinned the European imperial mission: colonialists used their belief in their ‘superior’ reason as an excuse for enslaving other peoples are taking their resources.

This belief may have been misguided and immoral, but it was hardly ‘irrational’: to depict it as such rather lets imperialists off the hook for their crimes, as if they were not in their right minds when they committed their atrocities or plundered other nations for their wealth.

However, when compared with other writers of his period, Conrad can be viewed as a more thoughtful writer on empire than many other late nineteenth-century authors. Consider Marlow’s account of the dying African natives:

They were not enemies, they were not criminals, they were nothing earthly now – nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom. … Then, glancing down, I saw a face near my hand. The black bones reclined at full length with one shoulder against the tree, and slowly the eyelids rose and the sunken eyes looked up at me, enormous and vacant, a kind of blind, white flicker in the depths of the orbs, which died out slowly.

This passage continues:

He had tied a bit of white worsted round his neck – Why? Where did he get it? Was it a badge – an ornament – a charm – a propitiatory act? Was there any idea at all connected with it? It looked startling round his black neck, this bit of white thread from beyond the seas.

Marlow is ‘horror-struck’ by the sight of these starving people, although he does go on to describe them as ‘creatures’, which strikes a discordant note to our modern ears. But it’s clear that Marlow is appalled by the plight of the natives where many colonialists of the time would have simply stepped over the bodies as an inconvenience.

From this, Marlow turns to describing the next European he meets:

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-lined parasol held in a big white hand. He was amazing, and had a penholder behind his ear.

The contrast could not be clearer. The ‘greenish gloom’ in which the dying African youth fades away has become that thing of comfort: the European’s ‘green-lined parasol’. The ‘bit of white worsted’ tied around the African’s neck is replaced by the ‘clean necktie’ of the colonialist.

Of course, the novella’s ultimate depiction of the corruption at the heart of the imperial mission is Mr Kurtz himself, who has set himself up as a god among the African natives. An fundamentally, here we are presented with more questions than answers. Kurtz is driven mad by it all – there’s imperialism as an irrational undertaking again – but what is equally telling is Marlow’s decision to lie to Kurtz’s fiancée when he visits her at the end of Heart of Darkness .

Is it because, to borrow Kurtz’s final words, ‘the horror’ would be too great? Is it an act of sympathy or cowardice: is Marlow complicit in the horrors of imperialism in continuing to insulate those ‘back home’ from the atrocities which are carried out abroad so that, for instance, Kurtz’s fiancée can have that ‘grand piano’ (with its ivory keys, of course) standing in the corner of a room ‘like a sombre and polished sarcophagus’?

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2 thoughts on “Heart of Darkness: Analysis and Themes”

Your analysis of Heart of Darkness was well written and held my interest throughout. Thank you!

A Conrad fan

It was perfectly possible to be both anti-imperialist and racist when Conrad wrote “Heart of Darkness”. “Race” was used in a much wider and vaguer sense than the word would be used now – where we would attribute something to “culture”, Conrad and his contemporaries attributed it to “race”. People spoke of the “races” of England. Josef Škvorecký examines the presence of the Russian Harlequin in Kurtz’s outpost in his novel “The Engineer of Human Souls” and in an essay “Why the Harlequin?” https://quod.lib.umich.edu/c/crossc/ANW0935.1984.001/269:21?rgn=author;view=image;q1=Skvorecky%2C+Josef

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Literary Theory and Criticism

Home › British Literature › Analysis of Joseph Conrad’s Heart of Darkness

Analysis of Joseph Conrad’s Heart of Darkness

By NASRULLAH MAMBROL on September 21, 2022

The essay “Geography and Some Explorers” (1924) describes Joseph Conrad as a schoolboy amusing classmates by pointing to Africa on a map and declaring, “When I grow up I shall go there.” Eighteen years later, in 1890, Conrad obtained a post as steamboat captain with a trading company in the Belgian Congo (now Democratic Republic of the Congo). He undertook the 1,000-mile journey up the Congo River to Stanley Falls, where a great depression fell on him. His encounter with the grim reality of European exploitation undermined his faith in commerce with developing countries. He returned to England in 1891 and checked into a hospital for malaria and dysentery. Conrad went to sea just once more after returning from Africa, choosing to devote his time instead to writing literature. In 1897, he wrote about the disillusioning experience in Africa for Blackwood’s Magazine, which serialized Heart of Darkness in three parts (February, March, and April) and afterward published a revised version of the story in a separate volume, Youth: A Narrative; and Two Other Stories (1902).

Conrad’s most famous novella, Heart of Darkness (adapted into Francis Ford Coppola’s film Apocalypse Now in 1979) is a fictional treatment of his experiences in Africa. Charlie Marlow recounts the traumatic Congo expedition to four companions aboard the Nellie, a cruising yawl anchored in the Thames estuary. London has also been “one of the dark places of the earth,” Marlow begins, thus evoking European imperialistic history at the beginning of his tale about a journey through Africa in search of a white explorer, reminiscent of Henry Stanley’s famous discovery of Doctor David Livingstone. At the first company station along the Congo, Marlow finds malnourished native workers dying before the eyes of an immaculately dressed chief accountant. The company agents, ironically described as “pilgrims,” turn out to be little more than European colonists intent on exploiting the natives for profit. The corruption Marlow encounters at each stage of the journey—a French ship firing blindly into the continent, the rapacious Eldorado Exploring Expedition—starkly contrasts with the lofty rhetoric about bringing civilization to Africa.

At each stop Marlow hears of a legendary ivory trader named Kurtz, whose “moral ideas” might redeem the colonial enterprise. After long delays at the Central Station, Marlow pilots the steamer upriver amid perilous snags, shallows, and fogs. Just a few miles from Kurtz’s outpost, natives attack the steamer with arrows and kill Marlow’s helmsman with a long spear before being frightened away by the steamboat whistle. A Russian traveler reveals that the ambush has been ordered by Kurtz, who wishes to remain among the natives. Far from civilizing them, Kurtz has himself “gone native” by attending mysterious rituals, obtaining ivory through tribal warfare, involving himself with a native woman, and surrounding his hut with human heads. Kurtz’s eloquent report about educating the natives for the International Society for the Suppression of Savage Customs ends with the contradictory postscript: “Exterminate all the brutes!” Marlow finds devoted native attendants carrying on a stretcher the dying, emaciated Kurtz, whose final words resonantly express a sense of horror. When Kurtz’s fiancée in Belgium asks about Kurtz’s last words, Marlow lies to protect her innocence and says that her name had been spoken last. The narrative ends with Marlow’s audience aboard the Nellie reflecting on what they have just heard.

The frame narrative, or what is essentially a storywithin- a-story as an unnamed narrator listens to Marlow’s tale, distances the audience from the traumatic experience and enables Marlow to describe events only partially understood at the time. Marlow’s confusion is registered through a process Ian Watt calls “delayed decoding,” or the deferred explanation of sense impressions, as when “sticks” flying through the air turn out to be arrows. Like the figurative journeys in many of Conrad’s plots, Marlow’s journey is both a literal journey into Africa and a metaphorical journey into the depths of consciousness. Marlow faces a “choice of nightmares” between the inhumane commerce of the company manager and the tortured idealism of Kurtz, who at least struggles with moral convictions. Kurtz is the conflicted representative of European imperialism (“All Europe contributed to the making of Kurtz”) in whom Marlow finds a double or alter ego with whose moral struggle he can identify. According to Marlow, Kurtz at least judges himself in the end with the famously ambiguous last words “The horror! The horror!” Conrad’s ambivalent attitude toward colonialism—the African novelist Chinua Achebe called Conrad “a thoroughgoing racist” while other critics have considered the novella progressive in its critique of imperialism—has been a major reason for enduring interest in the story.

BIBLIOGRAPHY Achebe, Chinua. Hopes and Impediments: Selected Essays 1965–1987. London: Heinemann, 1988. Apocalypse Now (1979). Directed by Francis Coppola. Written by John Milius and Francis Coppola. Paramount Pictures, 1992. Conrad, Joseph. Heart of Darkness. Oxford: Oxford University Press, 1990. ———.Last Essays. New York: Doubleday & Page, 1926. Kimbrough, Robert, ed. Heart of Darkness: Norton Critical Edition. 3rd ed. New York and London: Norton, 1988. Said, Edward W. Culture and Imperialism. London: Chatto and Windus, 1993. Watt, Ian. Conrad in the Nineteenth Century. Berkeley: University of California Press, 1979.

‘The Uncanny’ and ‘The Heart of Darkness’ — Literature Essays

Below, you’ll find literature essays on Freud’s ‘The Uncanny’, and Joseph Conrad’s ‘Heart of Darkness’.

I’ve recently discovered all of my old university literature essays so I thought I’d start posting them on here! Joseph Conrad’s ‘Heart of Darkness’ is one of those texts that had a profound impact on me as a teenager; despite its brevity (my copy was around 94 pages), it’s just this compact powerful story full of the deepest questions about human nature.

If you find this essay useful and need more help with essay writing and/or literature, take a look at my online video courses .

THE QUESTION

Discuss Sigmund Freud’s claim ‘that many things that would be uncanny if they occurred in real life are not uncanny in literature, and that in literature there are many opportunities to achieve uncanny effects that are absent in real life’ (The Uncanny)

In order to distinguish between uncanniness in real life and uncanniness in literature, we must first discern what we mean by ‘the uncanny’ and also the various ways in which it appears, within both the spheres of reality and fiction. One thing that we may determine from Freud’s essay on ‘The Uncanny’ is that the term is in itself uncanny as it refuses to be compartmentalized into one specific category and both manifests itself in many different forms and subtly changes meaning according to its contextual milieu. For instance, Freud discusses the various etymological similarities between the uncanny and other forms of uneasiness, mystery, and ‘unhomeliness’, as well as noting the fact that ‘ heimlich […] merges with its antonym, unheimlich’ [1] which alludes to the idea that the familiar suddenly becoming unfamiliar is a particularly frightening branch of uncanniness. In An Introduction to Literature, Criticism, and Theory, Bennett and Royle separate the uncanny into thirteen different forms and discuss Schelling’s notion that the uncanny pertains to that which ‘ought to have remained…secret and hidden but has come to light’. [2] They proclaim that ‘literature is uncanny’ [3] due to the fact that it has the potential to mimic, heighten, or subvert aspects of reality. If this is the case, then it would suggest that uncanniness within literature would be intensified by the concept of literature pertaining to a form of the uncanny in itself, as the events that occur or ideas that are portrayed would have a kind of reverberating echo-effect, in other words, they would signify uncanniness within the uncanny. If literature is seen to be fundamentally a fictitious construct of the author’s psyche, then it would follow that any form of uncanniness within the writer’s work would be intentionally created to arouse feelings of uneasiness or uncertainty within the reader and thus the author is given scope to use the uncanny as a kind of literary device to create tension, mystery or suspense. This would support the claim that ‘ in literature, there are many opportunities to achieve uncanny effects that are absent in real life’ . Equally, the author may choose to create a fictional world in which ‘many things that would be uncanny if they occurred in real life’ are no longer found to be strange or intimidating. [4] For instance, within the genre of magic realism, magic itself ceases to belong to the uncanny and turns back into something familiar, or expected. Freud also states that ‘the uncanny that we find […] in creative writing, imaginative literature […] actually deserves to be considered separately’ [5] , supporting his claim that uncanniness in real life is not commensurate to that which can be found within literature and also indicating that it is intentionally a different type of uncanniness; the concept becomes a literary device as opposed to the mere concept of an unsettling feeling.

However, as I intend to prove, it may also be possible for the uncanny to transfer directly from real life into literature in some cases. Joseph Conrad’s novel ‘Heart of Darkness’ is one such example, where the uncanny is a prevalent theme throughout and a technique of merging Conrad’s own frightening experiences of the Congo with fictional characters who depict the extremes of what he experienced and portray his critical view of colonialism. In ‘The Uncanny’, Freud states that Hoffman’s story ‘The Sand Man’ ‘creates a kind of uncertainty by preventing us — certainly not unintentionally — from guessing whether he is going to take us into the real world or into some fantastic world of his own’ [6] and this technique is also employed in the ‘Heart of Darkness’ where we become conscious that the real world is interspersed with elements of the supernatural. It is arguably this conflict of uncertainty between fact and fiction that heightens the atmosphere of uneasiness within the novel. For instance, the wilderness and the darkness are both at times subject to anthropomorphism (a form of the uncanny outlined by Bennett and Royle), [7] such as Marlow’s description of the wilderness when he is on the river — ‘I felt often its mysterious stillness watching me at my monkey tricks’. [8] The sense of these two inanimate concepts being attributed to human traits such as ‘watching’ is undoubtedly eerie, as in Marlow’s world they are inescapable all-pervasive, seemingly omniscient entities the sense of eeriness is heightened dramatically. There is a sense that the people watching Marlow within the forests and the darkness are somehow at one with the surroundings, and this merging additionally heightens the uncanny mood. The impression of the familiar would also have been disrupted for Conrad’s intended audience because they would have been conscious of the background being based on his experiences from the real world and yet aware of it containing so many foreign, unfamiliar aspects which may or may not have derived from reality; it is a world they are conscious of but have not experienced for themselves. Freud states that a writer may ‘[trick] us by promising us everyday reality and then going beyond it’. [9] Conrad (and also Marlow) certainly appropriate this technique of deception to accentuate the atmosphere of mystery and uncertainty.

Conrad’s own experiences in the Congo were the source of inspiration behind and also the fundamental reason for writing Heart of Darkness . When in Africa, he documented his own experiences (which later became The Congo Diary ) many of which he found unsettling or uncanny, and this is the source text upon which Heart of Darkness is based. For instance, on Tuesday 29th July 1890 he observed: ‘on the road today passed a skeleton tied-up to a post. Also white man’s grave — no name.’ [10] (p106). Thus, Conrad could be seen to project his own fears and feelings of horror and repulsion onto his readers by replicating what he witnessed. This would suggest that uncanniness in real life and in literature can be linked, and are sometimes transferred from one to the other. Indeed, the feeling of uneasiness is intensified when we discover that much of Conrad’s novel has materialised out of reality. The image of the skeleton on a post is possibly converted directly into an even more horrific omen of dried heads on sticks outside Kurtz’s house. Marlow describes the head in great detail as if he is transfixed and mesmerized by its uncanniness:

‘I returned deliberately to the first I had seen — and there it was, black, dried, sunken, with closed eyelids — a head that seemed to sleep at the top of that pole, and, with the shrunken dry lips showing a narrow white line of the teeth, was smiling too, smiling continuously at some endless and jocose dream of that eternal slumber’ [11]

This elaboration of Conrad’s real-life uncanny experience indicates that he is given more scope to create a greater sense of the uncanny and to instill it upon his readers. The use of repetition exacerbates this horrific image; the head is ‘smiling too, smiling continuously’. Another aspect of the journey that is magnified within the novel is the illness that takes hold of Conrad at various points in the voyage. ‘Conrad’s Last Voyage’, an article in the Times Literary Supplement discusses the various diseases that plague him throughout and after his voyage, the most notable of these being malaria. [12] Both Kurtz and Marlowe experience fevers and illnesses throughout the novel, which become progressively worse, culminating in Kurtz’s death and Marlow teetering on the brink of insanity due to all the horrific encounters he has experienced. Through Kurtz and Marlow, Conrad turns his own physical illness into a more psychological struggle with madness and the primitive urges which, once repressed, rise up within the two men. The article also discusses the ‘emotional disturbances [which were] the privation of Conrad’s boyhood’, [13] and we can perhaps also ascertain Conrad’s projection of these disturbances upon the main characters within his novel. Freud states that this particular strain of the uncanny, ‘the variety that derives from repressed complexes’, is unlike the other forms, which differ according to where they occur, and ‘remains as uncanny in literature as in real life’ [14] (p. 157) Conrad’s impetus for writing the novel was to express his first-hand experience of colonialism, and his distaste for the morals and conduct of the European colonisers within Africa. He was certainly in an unusual, if not unique, the position regarding colonialism, having experienced its effects from both the perspective of the coloniser and the colonised, and therefore had the ability to simultaneously observe both subjective perspectives. He chose to write the novel in English, despite English being his third language, perhaps to indicate that he was writing from the perspective of the coloniser, and so that his characters also spoke the language of the colonisers. With these influences in mind, it could be argued that he amplified the uncanny ordeals to which he was subjected in order to shed light on the immorality and horrors of the techniques used by the European colonisers. Throughout the novel, there are several specific allusions and references to these colonisers, particularly at the beginning of the novel, which serves as a forewarning of what is about to come. Marlow says of his experience: ‘It was just robbery with violence, aggravated murder on a great scale, and men going at it blind — as is very proper for those who tackle a darkness’, [15] his nonchalant dismissal of this manifestation of horror and violence that lies latent within men already indicative of the uncanny atmosphere which later haunts his words. Marlow also notes that he ‘was going into the yellow’, [16] which can be seen as a specific allusion to the Belgians.

While the novel purposefully accentuates many problems and horrors concerning colonialism, indicating Conrad’s narrative voice and authorial intentions, it also paradoxically appears to illustrate many techniques of distancing the author from their text, exemplifying experimentation of modernist techniques. Conrad’s choice of narrative, for instance, is intriguing in that it furthers the notion that the ideas presented within the text arguably do not always reflect his own. The decision to distance himself from the text by structuring the novel as a frame narrative could be coupled with his decision to not write in his first language in that they both appear to suggest that his intentions and viewpoint are not necessarily the main focus of the text. This distancing and blurring of the authorial voice with the narrator’s voice in itself creates a sense of esoteric uncertainty, as the reader becomes unsure as to whether Conrad is speaking through Marlow, a notion which immediately evokes the uncanniness of possession, or whether he is letting Marlow tell his own story and present his own ideas, which would in another sense evoke uncanniness in that Marlow would be seen to be a sentient character liberated from the author’s control. Conrad himself appeared to encourage this latter notion when he wrote: ‘Of all my people he’s the one that has never been a vexation to my spirit. A most discreet, understanding man…’ [17] However, if we take the first notion to be true, then it would follow that Marlow becomes a means for Conrad to comment on the situation, allowing him to overcome the monologic colonialism. Virginia Woolf noted that ‘It is Marlow who comments, Conrad who creates’, [18] concurring with the idea that Marlow gives his own person and is partially freed from Conrad’s control. Conrad also plays with our expectations and furthers the atmosphere of uncertainty within the reader’s mind when the original narrator (who is nameless) relinquishes his position of a storyteller to Marlow. This layering of techniques that distance the reader and text suggests that Conrad is creating a cocoon around the heart of darkness, perhaps in order to protect us from it and perhaps to further the sense of mystery. When Marlow’s method of storytelling is explained to us at the beginning of the novel, it also appears to concur with this concept:

‘But, as has been said, Marlow was not typical (if his propensity to spin yarns be excepted), and to him, the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that, sometimes, are made visible by the spectral illumination of moonshine’ [19] (p6)

Marlow’s method of ‘spinning yarns’, therefore, befits both his tale and character in terms of its atypicality and also reinforces the air of mystery by his refusing to recount the story directly and choosing instead to skirt around the heart of it, revealing only the essence of what happened so that we may piece together the tale for ourselves, which contributes to the sense of obscurity by furthering the effect of recursive layers of meaning. Another aspect of Marlow’s storytelling which may strike us as uncanny is that his voice is bestowed with an unusual eloquence that arguably befits neither his situation nor his position; he is merely recounting a tale among friends, and, unlike Kurtz, he is not highly educated and yet, despite the use of quotation marks at the beginning of each paragraph to remind us that the story is being spoken aloud and references to him being a well accomplished and well-traveled sailor, Marlow’s words adopt no perceptible accent or dialect and contain no phrases or words which pertain particularly to the speech of either sailors or colonisers, as one might have expected. Bennett and Royle state that ‘Nothing is stranger, or more familiar than the idea of a voice.’, [20] and in literature voices have even more potential for uncanniness and strangeness than they do in real life. A certain type of voice may be the distinguishing feature of a particular character, and the power of a deeply evocative or rhetorical voice can have a significant impact on what is being said. A character’s voice is often indicative of their essence and conscience. The multiplicity of voices and within a singular voice itself, for instance quoting others or adopting their tone of voice, can create a sense of confusion or corroboration, and Conrad uses this technique to great effect within The Heart Of Darkness . His own narrative voice is sublimated, as is the voice of the original narrator, and the story is recounted by a physical voice; it is heard first before being read. Voices become a useful technique for Conrad’s experiments in the fragmentation of Kurtz’s character, and sophistically contribute to the aura of mysteriousness throughout the novel as a whole; Marlow initially hears of Kurtz only through the descriptions of others, and consistently is notified of his intelligence and pre-eminence — ‘He is a prodigy…an emissary of pity, and science, and progress, and the devil knows what else’ [21] The act of storytelling itself is an example of what Freud describes as the ‘compulsion to repeat’, [22] as it expresses a desire, and perhaps a need, to recount what we have experienced for ourselves or at least heard elsewhere. It signifies the return of the repressed, which again Freud acknowledges as a form of uncanniness. The readers and audience within the novel are all ‘listening’ intently to Marlow, and there are barely any interjections from the others during his tale, which mimics the way in which everyone was captivated by Kurtz’s words. The original narrator notes that is precisely the sense of uncanniness or uneasiness which demands our complete attention:

‘I listened, I listened on the watch for the sentence, for the word, that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips in the heavy night of the river’ [23]

In the same passage, he notes that darkness has descended upon the camp and that Marlow has become ‘no more…than a voice’, [24] just as Kurtz was often no more than a voice to him. Marlow says of Kurtz: ‘a voice. He was very little more than a voice. And I heard — him — it — this voice — other voices — all of them were so little more than voices’. [25] In real life, hearing multiple voices within your own mind is a sign of madness, and insanity is another theme which runs throughout the novel. Conrad purposefully ascribes the idea of disembodied voices to Marlow and Kurtz (and also the others) to create the uncanny effect of merging and also perhaps to hauntingly evoke that there is something about the darkness which pulls at the soul, attempting to dissociate it from the body and consume it, which lingers still within Marlow.

The concept of doubles is a theme that runs throughout the novel, both in the form of binary oppositions and also more specifically in the form of the Doppelganger. There are darkness and light, white colonisers and black natives, and also Kurtz and Marlow. One of the most striking uncanny effects is created when these opposites appear to merge. Freud discusses the concept of the doppelganger in his essay and states that ‘a person may identify himself with another and so become unsure of his true self, or he may substitute the other’s self for his own. The self may thus be duplicated, divided, and interchanged’. [26] When Marlow empathises with Kurtz he realizes that Kurtz represents what he could become and when Kurtz dies his words and his essence lives on through Marlow, who recounts his tale, although he is also in part concealed by (and therefore interred within) him, as Marlow decides to keep some of his secrets for himself, opting to dissemble Kurtz’s last words and instead of comfort the intended, so that in her eyes he remained charismatic and homely rather than the disintegrated person he had become. Marlow then justifies his decision to lie to her and ends his tale with the words ‘it would have been too dark altogether…’. [27] It could also be argued that in some ways Marlow is Conrad’s double, in that he has assumed Conrad’s role of storyteller and is recounting his horrific experiences from the Congo. There are also several elements of Marlow’s character which refer to Conrad’s own personality, such as Marlow’s passion for maps and interest in exploring the previously unexplored spaces — ‘But there was one yet — the biggest, the most blank, so to speak — that I had a hankering after’. [28] This also expresses the allure of the unknown, the unfamiliar and potentially frightening that attracted many men of that period to colonialism, and serves as a warning to others. Freud discusses O. Rank’s studies on doubles, noting that he connects ‘the double with mirror-images, shadows, guardian spirits, the doctrine of the soul and the fear of death’. [29] The black people are at times described as ‘shadows’, and tend often to merge into the background whereas the white people are always elaborately characterised. This suggests that the blacks are seen as negative doubles of the whites, that they are the shadows that serve as a reminder of the more primitive, less ‘civilised’ past, and is an element of the mind which, according to Freud, ‘was long familiar to the psyche and was estranged from it only through being repressed’. [30] (p148). Many of the white people in the novel find the natives frightening, as their beliefs and superstitions differ greatly. Marlow is not afraid of the ‘savages’, although he does regard them with curious amusement, and his tone when describing them is still at times condescending. For instance, when he describes the man who helps him on the boat, he notes that ‘He was an improved specimen; he could fire up a vertical boiler.’ [31] although it could be argued that he is sardonically displaying the conventional opinion of the white colonisers as opposed to stating his own viewpoint.

The figure and concept of Kurtz are both highly uncanny in many different ways; his body, for instance, is ‘a compendium of decadent excesses’, [32] a vessel for all the possible corruptions of the soul to collect together and culminate in one terrifying ‘horror’ [33] His body and soul, at times, appear to have become dissociated; he is physically ill and yet his voice contains a preternatural strength and charm. As the merging of that which should remain separate creates a sense of the uncanny, so we may also say that the untimely separation of that which should remain together has an equally frightening effect. Kurtz also possesses the uncanny ability to captivate and bewitch those who he encounters with his eloquence and intellect. When he dies, Conrad notes that ‘The voice was gone’, suggesting that it was Kurtz’s words and not his physical presence that had mattered, and also creating a sense of uncanniness due to the fact that his voice is clearly distinguished from his body. The youth that Marlow encounters in the wilderness is completely devoted to Kurtz — ‘The man filled his life, occupied his thoughts, swayed his emotions’. [34] The way in which Kurtz’s influence on the youth is described evokes the uncanniness of possession; he does not only have a large impact upon the youth but also appears to penetrate his thoughts and his being. There is a sense that his voice and each word he speaks contains a contagious dose of the darkness with which he is himself possessed:

‘of all his gifts the one that stood out pre-eminently, that carried with it a sense of real presence, was his ability to talk, his words — the gift of expression, the bewildering, the illuminating, the most exalted and the most contemptible, the pulsating stream of light, or the deceitful flow from the heart of an impenetrable darkness’ [35]

The idea of possession surrounds and consumes Kurtz; he is both possessed by the darkness and is also himself highly possessive — ‘My intended, my ivory, my station, my river, my — ‘ Everything belonged to him.’ [36] In order to conquer the darkness and illuminate the ‘dark spaces’, the body of Kurtz becomes voracious; it assumes the darkness and attempts to combat it internally.

Conrad purposefully discloses Kurtz’s character in stages, so that his characterization is fragmented; we hear about the power of his voice long before we experience the effect he has in person, which contributes to the aura of uncanniness and otherworldliness within which he is shrouded as he is seen to have a profound effect upon both Marlow and ourselves before we have even encountered him. This exemplifies another form of modernist experimentation. The supernatural quality which he possesses pertains to what Freud describes as the ‘omnipotence of thoughts’. [37] The International Dictionary of Psychoanalysis unconscious hostile wishes that lead to animistic thinking and obsessional neurosis.’ [38] and Kurtz appears to be subject to both these factors. Throughout the novel, Marlow queries several times whether Kurtz has lost his mind, and is told repeatedly that ‘Mr. Kurtz couldn’t be mad.’ [39] When he finally encounters Kurtz, he discovers that ‘his intelligence was perfectly clear […] But his soul was mad. ’ [40] Kurtz’s vision as he dies, the ‘horror’ which he voices, is the closest we get to a physical manifestation of the all-pervasive darkness which has throughout shrouded the tale in mystery and haunted Marlow’s words. Darkness becomes more than physical, it relates also to the psychological darkness within the mind. Although the truth about this ‘horror’ is never revealed, we may presume that it relates to the darkness deep within the soul, within man’s own heart. The binary opposites of darkness and light relate directly to the idea of civilization and savagery; the colonisers are attempting to illuminate the ‘dark spaces’ on the map and to tame the savage wilderness that lies within this darkness. The novel’s title itself is uncanny — it subverts the conventional symbolism associates with the heart, that of love, tenderness, and emotion, and turns it into a place of mystery and uncertainty. Marlow is aware of this connection between the heart of the wilderness and the environmental darkness to his own heart and soul — ‘the silence of the land went home to one’s very heart — its mystery, its greatness, the amazing reality of its concealed life.’ [41] This merging of the two definitions of the heart once again contributes to the climate of uncertainty and heightens the aura of uncanniness by associating the familiar with the unfamiliar.

Jentsch said that ‘the essential condition for the emergence of a sense of the uncanny is intellectual uncertainty’, [42] and the presence of the uncanny that perseveres throughout Heart Of Darkness certainly derives partially from the sense that the reader is suspended between many different uncertainties for instance the ambiguity regarding the world within Heart of Darkness, as it appears to be a real world authentically constructed from Conrad’s own experiences in the Congo and yet contains aspects where the realism appears to be broken, such as the ethereal qualities Kurtz possesses and the savages, the uncanny sense of possession and the anthropomorphism of the darkness and wilderness. Heart of Darkness is an example with both supports and contradicts Freud’s claim, as it derives from Conrad’s authentic experience and yet also contains many examples of where his experience of the uncanny has been exaggerated or exacerbated to heighten the effect. Although it originates from reality and Conrad’s intentions were to elucidate the horrors of colonialism, the uncanny is used as a literary device throughout to exacerbate the climate of uneasiness within the text.

Bibliography

Primary Texts:

Joseph Conrad, Heart of Darkness , (London: Penguin Classics, 2007) (also includes The Congo Diary )

Sigmund Freud, ‘The Uncanny’ (1919) in The Uncanny trans. by David McLintock, Penguin Freud, ed. by Adam Philips (London : Penguin, 2003) p123–62

Secondary Texts:

Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory, 4th ed.(Hemel Hempstead: Prentice Hall Europe, 2009)

Frank Kermode, The Genesis of Secrecy: On The Interpretation Of Narrative , The Charles Eliot Norton Lectures : 1977–1978 (Cambridge, Mass: Harvard UP, 1979)

Neil Hertz, ‘Freud and the Sandman’, in Textual Strategies : Perspectives in Post-Structuralist Criticism, ed. by Josue V. Harari (London: Methuen, 1979)

Nicholas Royle, The Uncanny (Manchester: Manchester UP, 2002)

Jonathan Culler, Literary Theory : A Very Short Introduction (Oxford: Oxford UP, 1997)

Sigmund Freud, ‘Beyond The Pleasure Principle’, in The Penguin Freud Library Vol 2 On Metapsychology , trans. by James Strachey (London: Penguin, 1984)

http://www.enotes.com/psychoanalysis-encyclopedia/

[1] Sigmund Freud, ‘The Uncanny’ (1919) in The Uncanny trans. by David McLintock, Penguin Freud, ed. by Adam Philips (London: Penguin, 2003) p. 132

[2] Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory, 4th ed.(Hemel Hempstead: Prentice Hall Europe, 2009) p. 40

[3] Ibid. p. 35

[4] Freud, ‘The Uncanny’, pp. 155–156

[5] Ibid. p.157

[6] Neil Hertz, ‘Freud and the Sandman’, in Textual Strategies : Perspectives in Post-Structuralist Criticism, ed. by Josue V. Harari (London: Methuen, 1979)

[7] Bennett and Royle, An Introduction to Literature, Criticism and Theory, p. 37

[8] Joseph Conrad, Heart of Darkness , (London: Penguin Classics, 2007) p.42

[9] Freud, ‘The Uncanny’, p. 157

[10] Joseph Conrad, ‘The Congo Diary’ in Heart of Darkness , p. 106

[11] Joseph Conrad, Heart of Darkness , p.72

[12] p. 3 — find reference!

[13] Ibid. p. 5

[14] Freud, ‘The Uncanny’, p. 157

[15] Conrad, Heart of Darkness, p.7

[16] Ibid.

[17] Ibid. p.112

[18] Discussed in a seminar by Miss Jessica Gildersleeve

[19] Conrad, Heart of Darkness, p. 6

[20] Bennett and Royle, ‘Voice’ in An Introduction to Literature, Criticism and Theory, p. 71

[21] Conrad, Heart of Darkness, p. 30

[22] Sigmund Freud, ‘Beyond the Pleasure Principle’ in The Penguin Freud Library Vol. 2 On Metapsychology trans. By James Strachey (London: Penguin, 1984) p.290

[23] Conrad, Heart of Darkness, p. 33

[24] Ibid.

[25] Ibid. p. 59

[26] Freud, ‘The Uncanny’, p. 142

[27] Conrad, Heart of Darkness, p. 96

[28] Ibid. p. 9

[29] Freud, ‘The Uncanny’, p. 142

[30] Ibid. p. 148

[31] Conrad, Heart of Darkness, p. 45

[32] Ibid. p. xxi

[33] Ibid.p.86

[34] Ibid. p.70

[35] Ibid. p. 58

[36] Ibid. p.60

[37] Ibid. p154

[38] http://www.enotes.com/psychoanalysis-encyclopedia

[39] Conrad, Heart of Darkness, p. 70

[40] Ibid. p.83

[41] Ibid. p.31

[42] Freud, ‘The Uncanny’, p.138

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Heart of Darkness Introduction

We really can't say it better than Joseph Conrad himself. Heart of Darkness is:

A wild story of a journalist who becomes manager of a station in the (African) interior and makes himself worshipped by a tribe of savages. Thus described, the subject seems comic, but it isn't. ( Source )

No—not comic at all.

Set in the African Interior and based on Conrad's own experiences as the captain of a Belgian steamer, Heart of Darkness isn't much like the rousing adventure story that it sounds like. It's less Indiana Jones and the Ivory Traders than, psychological horror with a dash of the horrors (the horrors!) of colonialism. And in February of 1899, readers of Blackwood's Magazine —a high-falutin' literary rag , kind of like The New Yorker —were treated to the first of its three parts.

Conrad is one of the most important English writers of the late 19th and early 20th Centuries. And get this: he wasn't even a native English speaker . Conrad was Polish, and he didn't actually learn English until he was in his twenties—and after he'd already learned French. (Think about that next time you complain about having to write an essay.) His works explore the seedy underbelly of imperialism , the move of European countries to stake out claim to various far-flung parts of the world.

Heart of Darkness is set right after the Scramble for Africa , the period of the late nineteenth century when imperial powers sliced up and doled out Africa like some particularly delicious—and ivory-rich—birthday cake. None of the Western countries really come off looking good in this whole debacle, but Belgium, unfortunately, looks particularly bad. They were after the valuable ivory hidden away in the African Interior, and they weren't afraid to brutalize and oppress the Africans in order to get it. Heart of Darkness follows the disturbing journey of English ivory-trading agent Marlow, who, working for a Belgian company, travels into the jungles of Africa in search of a mysterious man named Kurtz who appears to have (1) become a god-like figure, and (2) gone totally off his rocker.

But Heart of Darkness is much, much more than a story about a trip up the river. It's a searching exploration of difference : of good and evil, black and white, sanity and insanity. In the end, what we're left with is …nothing.

Most contemporary critics agree that the novel is about the essential emptiness at the core of humanity—and language. That's why T. S. Eliot used a quotation from the novel as an epigraph to his poem " The Hollow Men ," a super important and famous literary exploration of modern life.

One last and important thing: in 1975, Nigerian writer Chinua Achebe spoke out against the novel. He accused it of making its point by dehumanizing Africans and reducing them to extensions of the hostile and primal jungle environment. Conrad's language was beautiful and seductive, he said—but it was wrong. Hmmm. Beautiful, seductive, and wrong. To us, that sounds a lot like how Marlow would describe Kurtz—and it's a good example of how head-twistingly complex this novel is.

Get comfy. This is going to take a while.

What is Heart of Darkness About and Why Should I Care?

Debaters gonna debate, debate, debate.

For a simple—or is that complex?—reason: Heart of Darkness continues to generate some seriously heated debate even today.

And we're not talking about the kind of squabbling that English PhD candidates engage in—the kind that includes obscure citations and footnotes. We're not talking about the arguments that arises in undergraduate survey courses. We're not even talking about the raised voices in an English Lit classroom in high school.

We're talking about something way bigger. After all, this single book has influences artists as important as William Golding, T.S. Eliot , Orson Welles, and Francis Ford Coppola . Conrad's work has some staying power—including the power to get people to argue passionately.

And we're going to hand the mic over to the good people at The Guardian so they can explain:

Heart of Darkness is probably the title that has aroused, and continues to arouse, most literary critical debate, not to say polemic. This is partly because the story it tells has the visceral simplicity of great myth, and also because the book takes its narrator (Charles Marlow), and the reader, on a journey into the heart of Africa. ( Source )

Let's talk about these seemingly disparate reasons for the kerfuffle that surrounds Heart of Darkness about a hundred and twenty years after it was published: it a) seems like a myth and b) it takes place in Africa. For Chinua Achebe , the fact that "myth" and "Africa" go hand in hand in Conrad's work is a problem. A huge, racist problem.

Achebe's "An Image Of Africa" Vs. Horrible First Person Narrators

Let's let him explain:

[ Heart of Darkness has] Africa as setting and backdrop which eliminates the African as human factor. Africa as a metaphysical battlefield devoid of all recognizable humanity, into which the wandering European enters at his peril. Can nobody see the preposterous and perverse arrogance in thus reducing Africa to the role of props for the break-up of one petty European mind? But that is not even the point. The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered and continues to foster in the world. ( Source )

Basically, Achebe's arguing that the fact that Heart of Darkness uses Africa as a semi-mythical place is exactly the problem. By mythologizing Africa, Africa is portrayed as this big, bad Other that white Europeans get lost within. By using the structure of a myth or fairy tale (Marlow's journey down the Congo is a little bit like Red Ridinghood going to Grandma's) Conrad is legitimizing the idea of Africa as mythological. And that's racist as all get-out.

Because this is a debate, though, there's another side: the side of people that argue that this Africa-as-myth nonsense isn't Conrad speaking, but Marlow. Marlow isn't getting any gold medals for heroism or even truth-telling—he's a flawed character, with a flawed view of the world. There are tons of other first-person narrators that believe and do terrible things—think of Mersault , or Humbert Humbert . We don't take the character of Mersault as proof that Camus believes that killing is a-okay, or the character of Humbert Humbert as proof that Nabokov thought molesting kids was fine.

Praise-Worthy: Yay or Nay?

And then there's this big question: does Heart of Darkness deserve literary praise....even if it is racist? Achebe has some thoughts on that matter:

And the question is whether a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, can be called a great work of art. My answer is: No, it cannot. ( Source )

But of course—because of the whole Heart-of-Darkness- stirring-the-debate-pot we talked about, other people have competing views:

However, despite Achebe's compelling "evidence", I am still finding it difficult to dismiss this man and his short novel. Are we to throw all racists out of the canon? Are we, as Achebe suggests, to ignore the period in which novels are written and demand that the artist rise above the prejudices of his times? ( Source )

The debate rages on. Believe us when we say this: every point in the Heart of Darkness debate has a counter-point, and a point to counter that counterpoint.

We can't give you any easy answers here—you'll have to join the debate yourself and take a stand.

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W hy's T his F unny?

129 Heart of Darkness Essay Topic Ideas & Examples

⁉️ how to write a critical review on heart of darkness, 🏆 best heart of darkness topic ideas & essay examples, 💡 interesting topics to write about heart of darkness, 🎓 simple & easy heart of darkness essay titles, 📌 most interesting heart of darkness topics to write about, 👍 good research topics about heart of darkness, ❓ heart of darkness essay questions.

If you’re looking for a study guide on how to write Heart of Darkness essay, you should definitely check this post. Below we will share a few ideas that will help you to cope with the assignment.

The key idea of a critical review is that you have to evaluate the main issues, arguments, theme of the book, etc.

The first step to a successful essay is the active reading. Take notes that will help you to understand what the author wanted to show you and the way he does it.

Here are few Heart of Darkness essay questions to analyse in your paper:

Narrator’s point of view.

Joseph Conrad uses two different first-person point of view. The book begins and ends with narration of a traveler who listens to Marlow’s story while the main part of the plot is told by Marlow.

Think, why does the author use this technique instead of traditional third-person or first-person narration? How does this framing changes the reader’s interpretation of the story? How do you think, is Marlow’s story real? Is there any evidence to prove it? Is the traveler reliable? Check our Heart of Darkness essay samples to get more inspiration!

Symbolism in the story

If you’re assigned to write Heart of Darkness symbolism essay, than you have a lot of opportunities! The Conrad’s book is full of symbols. And here are a few examples:

Think, what does fog symbolizes in Marlow travel. Is it a nuisance or a kind of barrier? Can it symbolize the Marlow’s journey uncertainty or his mental state?

Examine Kurtz’s character and personality. In your paper, explore episodes when he acts as God for native Africans. Or, you can analyze the greed and power in Kurtz’s actions.

The accountant

The accountant symbolizes the company and its goals. The way he appears in the story reflects the actual image that the company wishes to create while undergoing the colonization: elegant outside, but destructive inside.

Of course, we didn’t mention all the symbols presented in a book. Make your own research and define what else symbols are represented in Heart of Darkness.

Heart of Darkness essay themes

If you’re looking for the themes of Heart of Darkness, check some of them below:

Racial discrimination theme

Theme of racial discrimination in the novel shows how is dominating in Africa. Analyze how the racial crimes that Kurtz committed against Africans correspond to racism today.

Evil and good theme

Explore how Kurtz’s ambitions that seems good relate to his true goals which are not so admirable. On the other hand, you might want to analyze Marlow’s struggles to make the right decisions.

Violence and greed

Conrad describes two types of violence in the novel: provoked cruelty and violence among the savages. Explore how Kurtz uses violence to dominate the Africans and to attack steam carrying Marlow.

Investigate the period of ivory trade and how it has impacted the native Africans’ freedom and life. What were the role of violence in the competition between the European companies.

Are you dissatisfied with your Heart of Darkness essay because it does not make enough of an impression? Try looking at our collection of examples and get more ideas on how to improve it!

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Taking a Glance Into the Heart of Darkness: The Ambitions and Failure of the Civilization Indeed, the goals of the people, heading for the terra incognita of the distant and savage lands are not quite clear; wisely enough, Conrad does not disclose the aims of the travelers from the very […]
Joseph Conrad: The Heart of Darkness The thematic core of his writings examined the trials and tribulations of the human spirit/soul in relation to duty and honor as well as the pervading affects of world empires.
Heart of Darkness and the Ceremony The plot is carefully developed by Silko such that in Tayo embarking on a journey full of personal ceremonies to bridge Native American traditions and those of the westerners.
Commitment in Terms of Sartre’s Existentialism in “Heart of Darkness” by Joseph Conrad
Chinua Achebe’s Criticism of the Depiction of Africa in Conrad’s “Heart of Darkness”
A Post-Colonial Criticism of “Heart of Darkness” by Joseph Conrad
A Psychological Journey Into an Individual’s Core of Evil in “Heart of Darkness” by Joseph Conrad
Characterism and Symbolism in “Heart of Darkness”
An Analysis of Similarity in Motif of the Journey and Different Ideas in “Flay Away Peter” and “Heart of Darkness”
Achebe’s Misinterpretation of Conrad’s “Heart of Darkness”
An Analysis of Colonialism and Imperialism in “Heart of Darkness” by Joseph Conrad
An Analysis of the Theme and Symbol Used in “Heart of Darkness” by Joseph Conrad
The Villian Archetype in “Heart of Darkness”
An Analysis of Mysterious Characters in “Heart of Darkness” by Joseph Conrad
An Interpretation of “Heart of Darkness” by Joseph Conrad
An Analysis of European Civilization’s Symbolism in “Heart of Darkness” by James Conrad
Characters, Setting, Themes, and Symbols of “Heart of Darkness”
The Importance of Setting in “Apocalypse Now” and “Heart of Darkness”
An Analysis of the Main Character Charles Marlow in Joseph Conrad’s “Heart of Darkness”
Achebe’s Failure to Understand Conrad’s “Heart of Darkness”
An Analysis of the System of Colonization in “Heart of Darkness” by Joseph Conrad
A Suspenseful Tale of a Man’s Journey in Joseph Conrad’s “Heart of Darkness”
An Analysis of Africans Dying in “Heart of Darkness” by Joseph Conrad
Literary Devices in “Heart of Darkness” by Joseph Conrad
An Analysis of the Civilization in “Heart of Darkness” by Joseph Conrad
The Use of Contrasting Places in “Heart of Darkness” by Joseph Conrad
A Comparison of “Heart of Darkness” and “Apocalypse Now” in Literature
An Analysis of the Concept of Light and Dark in “Heart of Darkness” by Joseph Conrad
A Personification of Darkness: A Comparison of Joseph Conrad’s “Heart of Darkness” and Oscar Wilde’s “The Picture of Dorian Gray”
A Comparative Analysis of “Heart of Darkness” and “A Passage to India”
Expression of Moral Ambiguity in “Heart of Darkness” by Joseph Conrad
An Analysis of a Man’s Ways of Survival in a Deserted Place in “Heart of Darkness” by Joseph Conrad
Human Greed and Deception in “Heart of Darkness” by Joseph Conrad
An Analysis of the Mystery in Joseph Conrad’s “Heart of Darkness”
Character Analysis of Eliots in “Heart of Darkness” by Joseph Conrads
A Literary Analysis of the Major Themes in “Heart of Darkness” by Joseph Conrad
A Story of Life and Death in “Heart of Darkness” by Joseph Conrad
Stylistic Devices That Make “Heart of Darkness” Proto-Modernist
An Analysis of Character Relations in “Heart of Darkness”
Character Analysis of Marlow and Kurtz in Joseph Conrad’s “Heart of Darkness”
Black and White as the Symbols of Civilization and Savagery in “Heart of Darkness”
A Representation of the Western Civilization Through the Character of Mr. Kurtz in “Heart of Darkness”
The White Collars in Joseph Conrad’s “Heart of Darkness”
A Perfect Depiction of Alienation and Isolation in “Heart of Darkness”
The Connection Between Physical Illness and Madness in “Heart of Darkness”
Attitude Towards Women in “Heart of Darkness” by Joseph Conrad
The Use of Allegories in “Inferno” by Dante Aligheiri and “Heart of Darkness” by Joseph Conrad
Use of Irony in “Heart of Darkness” by Joseph Conrad
An Analysis of Heart and Soul Discovery in “Heart of Darkness” by Joseph Conrad
The Symbolism of the River in “Heart of Darkness” by Joseph Conrad
The Case of Marlow and Kurtz as Two Competing Heroes in “Heart of Darkness”
An Exploration of the Narrator’s Perspective in “Heart of Darkness”
An Analysis of Chinua Achebe’s Argument on Racism in Joseph Conrad’s “Heart of Darkness”
An Overview of the “Things Fall Apart” and “Heart of Darkness”’ Characters
A Postcolonial Perspective of “Heart of Darkness” by Joseph Conrad
An Analysis of the Africa Through the Novels “Heart of Darkness” and “Things Fall Apart”
An Analysis of the Abuse of Power in “Heart of Darkness” by Joseph Conrad
A Look at the Three Stations in “Heart of Darkness” by Joseph Conrad
The Use of Light to Symbolize Civilization in James Conrad’s “Heart of Darkness”
Understanding the Meanings of Heart and Darkness in “Heart of Darkness” by Joseph Conrad
The Advantages of Building a Society in “Heart of Darkness” by Joseph Conrad
What Is the Main Point of “Heart of Darkness”?
How Does the Novel “Heart of Darkness” Represent the Atrocities Occurring in the Congo Under King Leopold II?
Why Is It Called “Heart of Darkness”?
What Does Darkness Symbolize in “Heart of Darkness”?
What Is the Thesis of “Heart of Darkness”?
What Does Marlow Symbolize in “Heart of Darkness”?
What Is the Symbolism and Theme Analysis in “Heart of Darkness” by Joseph Conrad?
How Women Are Treated in Joseph Conrad’s “Heart of Darkness” and Francis Ford Coppola’s “Apocalypse Now”?
What Are the Major Themes in “Heart of Darkness”?
How Certain Death Scenes in “Heart of Darkness” Illuminate Key Themes?
How Do Characters Develop Throughout the Book “Heart of Darkness”?
What Groups Are Represented in “Heart of Darkness”?
Which Are the Strong Versus Weak Characters in Joseph Conrad’s “Heart of Darkness”?
How Is Proto-Modernism Displayed in “Heart of Darkness”?
What Does the Writing Style Add to the Book “Heart of Darkness”?
What Does the Ending of “Heart of Darkness” Mean?
What Do Kurtz’s Final Words Mean in “Heart of Darkness”?
What Is the Horror in “Heart of Darkness”?
What Is the Contrast Between Capitalism and Moral Enlightenment in Joseph Conrad’s “Heart of Darkness”?
Ethnocentrism: With Whom Resides the “Heart of Darkness”?
What Two Themes Affect Marlow and Kurtz in “Heart of Darkness”?
Who Are Unconventional Narrators Within “Heart of Darkness”?
Why Did Coppola Transform Conrad’s “Heart of Darkness” Into “Apocalypse Now”?
How Are the Female Characters Represented in the “Heart of Darkness”?
Was “Heart of Darkness” a True Story?
How Reliable Are the Narrators in the Novella “Heart of Darkness” by Joseph Conrad?
What Is the Dark and Light Imagery in “Heart of Darkness”?
Who Plays the Fool on the Hill in “Heart of Darkness”?
What Is the Conflict Between Truth and Ideals in “Heart of Darkness”?
What Are the Religion and Racism Themes in “Heart of Darkness” by Joseph Conrad?
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Heart of Darkness

Joseph conrad, ask litcharts ai: the answer to your questions.

Colonialism

Marlow's story in Heart of Darkness takes place in the Belgian Congo, the most notorious European colony in Africa because of the Belgian colonizers' immense greed and brutal treatment of the native people. In its depiction of the monstrous wastefulness and casual cruelty of the colonial agents toward the African natives, Heart of Darkness reveals the utter hypocrisy of the entire colonial effort. In Europe, colonization of Africa was justified on the grounds that not…

The Hollowness of Civilization

Heart of Darkness portrays a European civilization that is hopelessly and blindly corrupt. The novella depicts European society as hollow at the core: Marlow describes the white men he meets in Africa, from the General Manager to Kurtz , as empty, and refers to the unnamed European city as the " sepulchral city " (a sepulcher is a hollow tomb). Throughout the novella, Marlow argues that what Europeans call "civilization" is superficial, a mask created…

The Lack of Truth

Heart of Darkness plays with the genre of quest literature. In a quest, a hero passes through a series of difficult tests to find an object or person of importance, and in the process comes to a realization about the true nature of the world or human soul. Marlow seems to be on just such a quest, making his way past absurd and horrendous "stations" on his way up the Congo to find Kurtz …

In a world where truth is unknowable and men's hearts are filled with either greed or a primitive darkness that threatens to overwhelm them, Marlow seems to find comfort only in work. Marlow notes that he escaped the jungle's influence not because he had principles or high ideals, but because he had a job to do that kept him busy.

Work is perhaps the only thing in Heart of Darkness that Marlow views in an…

Students and critics alike often argue about whether Heart of Darkness is a racist book. Some argue that the book depicts Europeans as superior to Africans, while others believe the novel attacks colonialism and therefore is not racist. There is the evidence in the book that supports both sides of the argument, which is another way of saying that the book's actual stance on the relationship between black people and white people is not itself…

Heart of Darkness

By joseph conrad.

Heart of Darkness Summary

A group of men are aboard an English ship that is sitting on the Thames. The group includes a Lawyer , an Accountant , a Company Director /Captain, and a man without a specific profession who is named Marlow . The narrator appears to be another unnamed guest on the ship. While they are loitering about, waiting for the wind to pick up so that they might resume their voyage, Marlow begins to speak about London and Europe as some of the darkest places on earth. The narrator and other guests do not seem to regard him with much respect. Marlow is a stationary man, very unusual for a seaman. The others do not understand him because he does not fit into a neat category in the same manner that the others do. He mentions colonization and says that carving the earth into prizes or pieces is not something to examine too closely because it is an atrocity. He then begins to narrate a personal experience in Africa, which led him to become a freshwater sailor and gave him a terrible glimpse of colonization. With the exception of two or three small paragraphs, the perspective shifts to Marlow, who becomes the main narrator for the rest of the novel.

Marlow has always had a passion for travel and exploration. Maps are an obsession of his. Marlow decides he wants nothing more than to be the skipper of a steamship that travels up and down a river in Africa. His aunt has a connection in the Administration Department of a seafaring and exploration company that gathers ivory, and she manages to get Marlow an appointment. He replaces a captain who was killed in a skirmish with the natives. When Marlow arrives at the company office, the atmosphere is extremely dim and foreboding. He feels as if everyone is looking at him pityingly. The doctor who performs his physical asks if there is a history of insanity in Marlow's family. He tells Marlow that nothing could persuade him to join the Company down in the Congo. This puzzles Marlow, but he does not think much of it. The next day he embarks on a one-month journey to the primary Company station. The African shores that he observes look anything but welcoming. They are dark and rather desolate, in spite of the flurry of human activity around them. When he arrives, Marlow learns that a company member recently committed suicide. There are multitudes of chain-gang types, who all look at him with vacant expressions. A young boy approaches Marlow, looking very empty. Marlow can do nothing but offer him some ship biscuits. He is very relieved to leave the boy behind as he comes across a very well-dressed man who is the picture of respectability and elegance. They introduce themselves: he is the Chief Accountant of the Company. Marlow befriends this man and frequently spends time in his hut while the Accountant goes over the accounts. After ten days of observing the Chief Accountant's ill temper, Marlow departs for his 200-mile journey into the interior of the Congo, where he will work for a station run by a man named Kurtz .

The journey is arduous. Marlow crosses many paths, sees deserted dwellings, and encounters black men working. Marlow never describes them as humans. Throughout the novel, the white characters refer to them in animalistic terms. Marlow finally arrives at a secondary station, where he meets the Manager , who for now will oversee his work. It is a strange meeting. The Manager smiles in a manner that is very discomfiting. The ship on which Marlow is supposed to set sail is broken. While they await the delivery of the rivets needed to fix it, Marlow spends his time on more mundane tasks. He frequently hears the name "Kurtz" around the station. Clearly everyone knows his future boss. It is rumored that he is ill. Soon the entire crew will depart for a trip to Kurtz's station.

The Manager's uncle arrives with his own expedition. Marlow overhears them saying that they would like to see Kurtz and his assistant hanged so that their station could be eliminated as ivory competition. After a day of exploring, the expedition has lost all of their animals. Marlow sets out for Kurtz's station with the Pilgrims , the cannibal crew, and the Manager. About eight miles from their destination, they stop for the night. There is talk of an approaching attack. Rumor has it that Kurtz may have been killed in a previous one. Some of the pilgrims go ashore to investigate. The whirring sound of arrows is heard; an attack is underway. The Pilgrims shoot back from the ship with rifles. The helmsman of the ship is killed, as is a native ashore. Marlow supposes that Kurtz has perished in the inexplicable attack. This upsets him greatly. Over the course of his travels, he has greatly looked forward to meeting this man. Marlow shares Kurtz's background: an English education, a woman at home waiting for him. In spite of Marlow's disappointment, the ship presses onward. A little way down the river, the crew spot Kurtz's station, which they had supposed was lost. They meet a Russian man who resembles a harlequin. He says that Kurtz is alive but somewhat ill. The natives do not want Kurtz to leave because he has expanded their minds. Kurtz does not want to leave because he has essentially become part of the tribe.

After talking for a while with the Russian, Marlow has a very clear picture of the man who has become his obsession. Finally, he has the chance to talk to Kurtz, who is ill and on his deathbed. The natives surround his hut until he tells them to leave. While on watch, Marlow dozes off and realizes that Kurtz is gone. He chases him and finds Kurtz in the forest. He does not want to leave the station because his plans have not been fully realized. Marlow manages to take him back to his bed. Kurtz entrusts Marlow with all of his old files and papers. Among these is a photograph of his sweetheart. The Russian escapes before the Manager and others can imprison him. The steamboat departs the next day. Kurtz dies onboard a few days later, Marlow having attended him until the end.

Marlow returns to England, but the memory of his friend haunts him. He manages to find the woman from the picture, and he pays her a visit. She talks at length about his wonderful personal qualities and about how guilty she feels that she was not with him at the last. Marlow lies and says that her name was the last word spoken by Kurtz—the truth would be too dark to tell her.

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Heart of Darkness Questions and Answers

The Question and Answer section for Heart of Darkness is a great resource to ask questions, find answers, and discuss the novel.

How does Marlow think the Roman conquest of Britain compares and contrasts to the British imperial enterprise of his own day?

Marlow reminds us that Britain was once considered savage by civilized Romans. The river Thames (to the ancient Romans) was much like the Congo to the present day Belgians.

What are the main five incidents in the central station in part 1?

He is taken to his Company's station. He walks through pieces of "decaying machinery" and observes a stream of black people walking slowly, very thin and indifferent. One of the "reclaimed" carries a rifle at "its middle." Marlow walks around to...

According to Benita Parry, Heart of Darkness both reiterates and challenges colonial stereotypes. What evidence of this contradiction can you find in this passage?

colonialism is at the heart of Heart of Darkness: it is linked to the idea of cultural identity. The European colonizers seek to impose their own culture and way of life on the African natives, leading to a loss of cultural identity and a sense of...

Study Guide for Heart of Darkness

Heart of Darkness study guide contains a biography of Joseph Conrad, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

About Heart of Darkness
Character List

Essays for Heart of Darkness

Heart of Darkness essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Heart of Darkness by Joseph Conrad.

Alienation: A Modernist Theme
Darkness and Light: the Illumination of Reality and Unreality in Heart of Darkness
An Inward Journey
Matters of the Truth
The Real Heart of Darkness: The Manager of the Central Station in Heart of Darkness

Lesson Plan for Heart of Darkness

About the Author
Study Objectives
Common Core Standards
Introduction to Heart of Darkness
Relationship to Other Books
Bringing in Technology
Notes to the Teacher
Related Links
Heart of Darkness Bibliography

E-Text of Heart of Darkness

Heart of Darkness e-text contains the full text of Heart of Darkness by Joseph Conrad.

Wikipedia Entries for Heart of Darkness

Introduction
Composition and publication
Critical reception
Adaptations and influences

Heart Of Darkness Essay

When it comes to morality, Joseph Conrad’s Heart of Darkness is a complex and thought-provoking novel. On the surface, the book appears to be a simple tale of good versus evil. However, upon closer inspection, it becomes clear that Conrad is raising important questions about the nature of morality itself.

Conrad does not offer easy answers to these questions. Instead, he allows readers to explore the moral ambiguities of the story for themselves. This makes Heart of Darkness a challenging but ultimately rewarding read.

Those who are looking for a straightforward story of good versus evil may be disappointed by Heart of Darkness. However, those who are willing to engage with its complex themes will find much to appreciate in this classic novel.

Throughout history, morality has been understood in many ways, but there is only one real meaning, which results to the actual nature of society. In Heart of Darkness, Joseph Conrad employs storytelling to clarify and assess human moral beliefs. It’s true that all humans are savages by nature; however, this feral quality does not make someone a bad person.

A lot of Heart of Darkness is spent on Marlow’s journey up the Congo River and his interactions with the different people he meets. Conrad uses these interactions to show how each character is struggling with their own morality.

Marlow’s first interaction is with the Russian sailor, who promptly tries to kill him. This shows that even though humans may have a sense of right and wrong, they can still be tempted by greed or power. The Russian sailor represents all of humanity in that he knows what he is doing is wrong, but he does it anyway. This sets the stage for the rest of the book and Marlow’s struggle with his own morality.

When Marlow finally meets Kurtz, he is shocked by the state of his mind. Kurtz has gone mad and lost all sense of right and wrong. He has become a slave to his own power and greed. This is the ultimate example of what can happen when someone gives in to their savage nature. Conrad is showing that even the most civilized person can become a monster if they let themselves.

In the end, Marlow comes to realize that Kurtz was not a bad person, but he was simply human. He made mistakes and allowed his darker impulses to take over. However, Marlow also realizes that Kurtz’s story is not unique. Every human has a darkness inside them, but it is up to each individual to decide what they do with it.

Conrad’s purpose in writing Heart of Darkness was to show the reality of human nature. We are all capable of great evil, but we are also capable of great good. It is up to each of us to decide which path we will take.

If a person abuses one’s savage characteristics for evil, it is because he or she does not refrain from doing so. For the sake of society, restraint is required since it aids in the transition from ignorance to wisdom with regard to the harsh reality of life. Morality is defined as the ability to control oneself and refrain from utilizing one’s animal nature for destruction of society.

In Joseph Conrad’s novel Heart of Darkness, restraint is a critical aspect in the Congo and in London that allows for different aspects of society to remain stable.

Restraint is necessary for different reasons. In the Congo, it is needed to maintain order within the company. The company has a strict set of rules that everyone must follow or else they will be punished. If someone does not restrain themselves from breaking the rules, then they will face dire consequences. In London, restraint is needed to keep the government and society stable. Without it, there would be chaos and anarchy.

Conrad uses the character of Kurtz to show how important restraint is. Kurtz is a man who has no restraint and as a result, he is evil. He breaks all the rules of the company and does whatever he wants. He does not care about the consequences of his actions. He is a danger to society and must be stopped.

The novel Heart of Darkness is about the importance of morality and restraint. It shows how without restraint, people can become evil and dangerous. It is important for people to have restraint in order to maintain a stable society.

However, the manner in which one deals with their savage nature determines whether it is utilized for good or evil. The image of savagery has been used to describe individuals who are “uncivilized” or live lives and beliefs that differ from those accepted by Western society. Cannibalism, for example, is rejected simply because it is regarded indecent and primitive.

However, if one takes a step back to look at the big picture it can be easy to see that many of the “savage” practices that are rejected by society are actually done with good intentions. The novella Heart of Darkness, by Joseph Conrad, is a great example of how even people who seem to have good intentions can quickly turn into monsters driven by greed.

The novel revolves around Marlow, an ivory transporter, and his journey up the Congo River to deliver ivory to the manager of a trading post. On this expedition, he witnesses first-hand the atrocities that are being committed in the name of greed and power.

One scene in particular that illustrates this is when he comes across a group of African slaves who are chained together and being forced to march. The slave-drivers are whipping them mercilessly, and Marlow is horrified by the sight. He later learns that these same slaves were being used to transport the ivory that he was supposed to be delivering.

What’s even more appalling is the fact that many of the people who are responsible for these atrocities are Westerners, people who should know better. But instead, they have succumbed to the lure of power and greed. This just goes to show that anyone is capable of becoming a monster if they let themselves be consumed by darkness.

Conrad’s novella is a cautionary tale about the dangers of greed and power. It is a reminder that even the most civilized people are capable of terrible things if they allow themselves to be consumed by darkness.

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Summary of Heart of Darkness by Joseph Conrad

Joseph Conrad's "Heart of Darkness" remains a timeless masterpiece that continues to captivate readers with its haunting portrayal of the human psyche. Through the enigmatic journey of Marlow into the heart of Africa, Conrad delves into themes of imperialism, morality, and the darkness that resides within us all. This article offers a Heart of Darkness book summary, dissecting its key elements and enduring significance in the literary landscape. Before you continue reading, buy essay paper online to have your current workload handled by expert writers.

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Heart of Darkness Short Summary

Heart of Darkness author Joseph Conrad first published the novella in 1899. It is widely regarded as one of the greatest works of English literature. Set in the Congo Free State during the late 19th century, the story follows Charles Marlow, a sailor and narrator, who recounts his journey into the African jungle to find Kurtz, an enigmatic ivory trader.

Marlow takes a job as a steamboat captain for a Belgian ivory trading company, which leads him deep into the jungle. Along the way, Marlow witnesses the brutal exploitation of the native Africans by European colonizers and encounters various characters who represent different aspects of colonialism and human nature.

In the Heart of Darkness plot, the protagonist becomes increasingly fascinated by Kurtz, an ivory trader who has gone rogue and established himself as a god-like figure among the native population. Kurtz has embraced the jungle's darkness and embodies the worst aspects of European imperialism.

As the Heart of Darkness protagonist, Marlow, travels deeper into the jungle, he confronts the darkness within himself and struggles with the moral ambiguity of his actions and those around him. When he finally reaches Kurtz's station, he finds Kurtz on the brink of death but still wielding immense power over the people around him.

After Kurtz's death, Marlow returns to Europe and struggles to accept what he has witnessed. The novella explores themes such as human nature's darkness, colonialism's destructive effects, and the thin line between civilization and savagery. We also recommend that you read a 1984 summary , George Orwell's anti-utopian novel that still holds immense relevance in the present day. Don't kow how to write a statement of purpose ? Your personal essay writer have your back!

Heart of Darkness Part 1 Summary

"Heart of Darkness" is typically divided into three parts. These parts are not explicitly labeled within the novella but are often recognized based on shifts in narrative focus and tone.

In Part 1, the story begins aboard a boat anchored on the Thames River in London, where an unnamed narrator recounts Marlow's story to a group of sailors. Marlow, who is also present, begins his tale.

Marlow, the main character in Heart of Darkness, describes his fascination with maps and exploration since childhood, which leads him to pursue a job as a steamboat captain with a Belgian company engaged in ivory trading in Africa. He is hired to pilot a steamboat up the Congo River to retrieve ivory from the remote interior.

Before departing, Marlow encounters the company's officials, including his aunt, who secures him the job and the company's chief accountant, who appears fastidious and out of place in the rugged African setting.

Marlow discusses his views on colonialism and imperialism, expressing skepticism about the so-called "civilizing mission" and the exploitation of Africa by European powers.

As he prepares for his journey, Marlow reflects on the mysterious allure of Africa and the unknown dangers that lie ahead, foreshadowing the darkness he will encounter.

Upon arriving in Africa, Marlow travels to the outer station Heart of Darkness, where he witnesses the harsh conditions and the mistreatment of the native workers. He meets the station manager, obsessed with efficiency and profit, and begins grasping the colonial enterprise's brutality.

Overall, Part 1 of "Heart of Darkness" establishes the protagonist, introduces key themes such as imperialism and the unknown, and sets the stage for Marlow's expedition into the heart of Africa. Use our service if you need to rewrite an essay you just did but feel needs improving.

Heart of Darkness Part 2 Summary

In Part 2 of "Heart of Darkness," Marlow sets sail up the Congo River aboard a steamboat, accompanied by a crew of native Africans and a few white men, encountering various characters and witnessing the brutal realities of colonialism. As they journey deeper into the jungle, Marlow becomes increasingly disturbed by the harsh conditions and the treatment of the native workers by the European colonizers.

He observes the brutality of the colonial system, including the use of violence and coercion to extract ivory from the land and the mistreatment of the native population. Marlow is particularly troubled by the dehumanizing effect of the colonial enterprise on both the oppressors and the oppressed.

Along the way, Marlow encounters several characters who represent different aspects of colonialism and human nature, including the company's station manager, obsessed with efficiency and profit, and the brickmaker, scheming and opportunistic.

As Marlow travels deeper into the jungle, he becomes increasingly fascinated by the figure of Kurtz, an ivory trader who has gone rogue and established himself as a god-like figure among the native population. Kurtz's reputation looms large, and Marlow is determined to uncover the truth about him.

Overall, Part 2 of "Heart of Darkness" explores the harsh realities of colonialism and the descent into darkness as Marlow journeys deeper into the heart of Africa. It sets the stage for Marlow's encounter with Kurtz and his confrontation with the darkness within himself.

Heart of Darkness Part 3 Summary

In Part 3, Marlow reaches Kurtz's station deep in the Congo, confronts the horrors of colonialism, and grapples with the darkness within himself.

Arriving at Kurtz's station, Marlow is struck by the atmosphere of decay and madness that surrounds it. He encounters the Russian trader, who admires Kurtz and reveals some of Kurtz's disturbing actions, including his exploitation of the native population and his megalomaniacal ambitions.

Marlow finally meets Kurtz, who is gravely ill but still exerts a powerful influence over those around him. Kurtz is revealed to be a complex and enigmatic figure, torn between his lofty ideals and his descent into barbarity.

As Kurtz's health deteriorates, Marlow witnesses his final moments and hears his cryptic last words: "The horror! The horror!" Kurtz dies, and Marlow retrieves some of his writings, which he later reads and reflects upon.

After Kurtz's death, Marlow returns to Europe and visits Kurtz's fiancée to deliver his final words. He struggles to articulate the truth about Kurtz's character and the horrors he witnessed in the Congo, realizing the darkness within himself and humanity as a whole.

Overall, Part 3 of "Heart of Darkness" concludes Marlow's journey into the heart of Africa and his confrontation with colonialism's brutality and moral obscurity. It explores themes of power, corruption, and the darkness of the human soul, leaving Marlow and the reader to deal with the implications of Kurtz's legacy and the truths revealed in the heart of darkness.

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Heart of Darkness Character List

Here's a summary of key characters in "Heart of Darkness." These characters contribute to the thematic depth and complexity of the book, exploring themes such as imperialism, the darkness of human nature, and the ambivalence of human moral values.

The main character of Heart of Darkness and narrator of the story, Marlow is a sailor who undertakes a journey into the Congo Free State as a steamboat captain for a Belgian ivory trading company. He is reflective and contemplative, grappling with the moral complexities of imperialism and the darkness within humanity.

An ivory trader who has gone rogue in the Congo, Kurtz has become a god-like figure among the native population. He embodies the extremes of the European colonial enterprise and the darkness of human nature. His descent into madness is a focal point for Marlow's journey and the novella's exploration of imperialism and moral ambiguity.

An official of the Belgian company, the station manager represents the ruthless efficiency and exploitation inherent in colonialism. He is obsessed with maximizing profits and maintains control over the station through intimidation and coercion.

A young idealist who admires Kurtz and follows him into the jungle. The Russian trader provides Marlow with insights into Kurtz's character and actions, serving as a foil to Marlow's perspective on imperialism.

A meticulous and precise individual who works for the company, the chief accountant symbolizes the detachment and indifference of those who benefit from colonial exploitation. He is preoccupied with his paperwork and appears oblivious to the suffering around him.

Marlow's aunt , a well-intentioned but naïve woman, she secures Marlow's job with the company. Her actions highlight the paternalistic attitudes of Europeans toward Africa and the colonial enterprise.

Heart of Darkness Essay Themes

"Heart of Darkness" explores several main themes, revealing the complexities of human nature and the consequences of imperialism. These themes intertwine to create a rich and complex narrative that continues to resonate with readers, prompting reflection on the nature of humanity, power, and the legacy of colonialism. Choosing one of these themes will be perfect for writing an essay:

Imperialism and Colonialism

One of the central themes of the novella is the exploration of European imperialism and its devastating impact on Africa and its people. Conrad depicts the brutal exploitation of the African continent by European colonizers, highlighting the greed, cruelty, and dehumanization inherent in the colonial enterprise.

Darkness and Light

The title, "Heart of Darkness," suggests a journey into the depths of human depravity and moral ambiguity. The novella explores the darkness within each individual, the darkness of the jungle, and the colonial project. On the other hand, light symbolizes enlightenment, truth, and morality, but it is often obscured or corrupted by darkness.

Ambiguity of Morality

"Heart of Darkness" challenges conventional notions of morality by depicting characters who operate in shades of gray rather than black and white. Marlow confronts moral dilemmas throughout his journey, struggling to reconcile his actions and the actions of those around him with his sense of right and wrong. The novella suggests that morality is not absolute but rather subjective and context-dependent.

The Savage Nature of Civilization

Through the character of Kurtz and his descent into madness, "Heart of Darkness" explores the idea that civilization itself is often a thin veneer, masking the savage instincts that lie beneath. Kurtz, once a highly respected and civilized man, becomes consumed by his primal urges in the jungle's heart, highlighting civilization's fragility and the capacity for darkness within all humans.

Alienation and Isolation

Marlow's journey into the Congo is marked by isolation and alienation from the world he knows. He feels disconnected from his fellow Europeans, who seem indifferent to the suffering and brutality around them, and he struggles to communicate the truth of his experiences to others upon his return. "Heart of Darkness" explores the existential loneliness that can accompany a confrontation with the darkest aspects of human nature.

Don’t forget to add references to your essay. The Heart of Darkness MLA citation format for Joseph Conrad's "Heart of Darkness" would typically follow this structure:

Conrad, Joseph. Heart of Darkness. Penguin Classics, 1999.

Ensure to italicize the title of the novella and provide the correct publisher and publication year based on the edition you are referencing.

Essay Sample

Unpack the layers of the Heart of Darkness in our sample essay, where critical examination meets scholarly insight.

Final Thought

"Heart of Darkness" remains important today because it delves into timeless themes that still affect us. Its criticism of imperialism and colonialism makes us think about power imbalances and the consequences of exploitation, which are relevant to ongoing debates about global inequality and social justice. The novella's exploration of the dark side of human nature and moral equivocacy encourages us to reflect on ethical questions and the complexities of being human. In a world where issues like power abuse and moral dilemmas are ever-present, "Heart of Darkness" continues to offer valuable insights and provoke thought about our society and ourselves. Are you, by any chance, applying to college? Then, our admission essay writing services will be useful.

Have You Already Written Your Heart of Darkness Essay?

Use our literature writing service to submit a first-class paper.

What Year Does Heart of Darkness Take Place?

When was heart of darkness written, where does heart of darkness take place, when does heart of darkness take place.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

A Different Kind of Female Protagonist

Two new literary works from Colombe Schneck and R. O. Kwon feature fascinating, flawed women.

This is an edition of the Books Briefing, our editors’ weekly guide to the best in books. Sign up for it here.

This week, we published two essays about new books featuring unusual, surprising female protagonists. In her review of Swimming in Paris , a collection of three pieces of memoir by the French author Colombe Schneck, Katie Roiphe observes that Schneck’s writing is “sinewy, tough, sharp”; that it “rejects the narrative of personal innocence that many writers are infatuated with,” instead turning her unsparing analysis on herself.

First, here are three new stories from The Atlantic ’s Books section:

The Brooklyn sequel asks the most American of questions about immigration.
A powerful indictment of the art world
Making fun of your friends is good for them (and you).

Though Schneck’s work reckons with the “difficulty of women’s experience, the obstacles and inequities it entails,” writes Roiphe, “the narrator is not presented as a consummate victim.” She is a woman who suffers (and she suffers because she is a woman), but that’s not all she is. Not an ounce of self-pity is to be found in Schneck’s work; her strongest critiques are applied to herself, not society. She denounces her own snobbishness, her competitiveness, her jealousy. She isn’t afraid to portray herself in a less-than-positive light, to accept the consequences of her choices.

In Exhibit , R. O. Kwon’s second novel, the protagonist, Jin, is a young Korean American photographer who, faced with her husband’s sudden, unwelcome desire to have a child, her inability to make art she’s proud of, and her desire to explore BDSM, begins a secret affair with a woman she meets at a party.

That woman is Lidija, an injured former ballet dancer who introduces Jin to kink. As Hannah Giorgis writes , Kwon isn’t interested in justifying Jin’s behavior or in weighing the morality of her decision to act on her desires. The novel is more about the nature and complexity of that wanting. Jin is uncomfortable with her own wish to submit during sex, for instance, because of stereotypes that cast Asian women as subservient. But with Lidija, she can explore her inclinations. Kwon seems to be suggesting that absent a power difference, pain isn’t necessarily abuse.

Kwon doesn’t excuse Jin’s cheating or provide any rationalization for her behavior. In the novel’s world, to live by “right” and “wrong” is a fool’s errand, beside the point. Giorgis describes Jin and Lidija’s relationship as “clarifying and sacrosanct even as it sows deceit.” Wrong, yes, but also, in some ways, good.

Both Schneck and Kwon seem to be writing about the political realities that can shape the most intimate aspects of our lives. But there’s no sentimentality or even a sense of resentment of their position. For both these writers, women aren’t victims of their circumstances. They’re something much more interesting.

A French Reproach to Our Big, Baggy American Memoirs

By Katie Roiphe

In her slim books, the French writer Colombe Schneck stares honestly at her own life, without illusions or sentimentality.

Read the full article.

An upside-down photograph of a woman whose face is covered in flowers

What Happens When Desire Fuels a Life

By Hannah Giorgis

R. O. Kwon’s new novel, Exhibit , takes an expansive view of the things that women are punished for wanting.

What to Read

Lone Women , by Victor LaValle

Exploration isn’t always about running toward something—at times, it’s about running away from something else. Lone Women uses the trappings of the American West, a complicated, enduring cultural symbol of a supposedly untouched frontier, to delve into the human tendency to try to escape the past. It follows Adelaide Henry, a Black woman who leaves her family's California farm in 1915 under violent circumstances and lugs a mysterious trunk to Montana, where the U.S. government is offering free land to those who homestead there. The trunk’s undisclosed, possibly supernatural contents disturb Adelaide, and seem directly related to what she’s trying to leave behind. Over the course of the book, we see her failed attempt to shut that part of her past away as she tries to build a life in the brutal landscape of the Great Plains, a place that can destroy anyone who’s unprepared or without friends—or be a refuge for those looking to build a new home with space for the love, and suffering, that comes with living. — Vanessa Armstrong

From our list: Six books that explore what’s out there

Out Next Week

📚 Housemates , by Emma Copley Eisenberg

📚 Heart of American Darkness , by Robert G. Parkinson

📚 Ninetails , by Sally Wen Mao

Your Weekend Read

Tennis Explains Everything

By Michael Nicholas

In Challengers, the topic of tennis plays a similar orienting role for three players whose “only skill in life is hitting a ball with a racket,” according to Tashi. Talking with Patrick and Art after she meets them, Tashi describes tennis as a “relationship.” On the court, she understands her opponent—and the crowd understands them both, watching them almost fall in love as they battle back and forth. For Tashi who has nothing but tennis to talk about, the tennis metaphor works because seeing things as a game based on one-on-one competition, long-standing rivalries, and extended strategic play makes intuitive sense. Although pretty much everything else in her life might be complicated, tennis is not.

When you buy a book using a link in this newsletter, we receive a commission. Thank you for supporting The Atlantic .

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Seven historical books to read this summer

If your idea of summer reading entails sitting on a beach with a book about World War II, the American frontier or the invention of dynamite, this list is for you.

1. ‘Fat Leonard: How One Man Bribed, Bilked, and Seduced the U.S. Navy,’ by Craig Whitlock

So much of this book , by a Washington Post investigative reporter, seems too ridiculous to be true: the way the con man at its center, Malaysian defense contractor Leonard Glenn Francis, broke out of prison and then took an Uber to the Mexican border; the ease with which he bribed U.S. Navy officials with his “legendary sex parties”; the sheer cunning of a high school dropout who let just about everyone underestimate him while he stole millions from the American government. Whitlock’s retelling of Francis’s eventual arrest , which led to a massive investigation ensnaring dozens of admirals, is as entertaining as it is astonishing. (Simon & Schuster)

2. ‘Heart of American Darkness: Bewilderment and Horror on the Early Frontier,’ by Robert G. Parkinson

“Although it is the historian’s remit to make sense of the people and events that came before,” Parkinson writes, “there are instances when our imposition of order on the past misleads.” Rather than make definitive pronouncements about the reality of early American expansion, Parkinson’s book uses Joseph Conrad’s “Heart of Darkness” — with its tale of imperialism breeding chaos, bewilderment and, of course, horror — to reconsider the European colonists who laid claim to the Upper Ohio Valley. To tell the story , he traces the lineage of two families, the colonial Cresaps and the Iroquois Shickellamys, whose brutal collision would reverberate for generations. (W.W. Norton)

3. ‘The Infernal Machine: A True Story of Dynamite, Terror, and the Rise of the Modern Detective,’ by Steven Johnson

Johnson, the author of more than a dozen nonfiction books, follows two histories in his newest release : the invention and proliferation of explosives, and the rise of the anarchy movement. The narratives coincide during a 40-year period beginning in 1880, when a spate of political bombings destabilized society and led to the creation of government institutions designed to investigate and prevent crime. Johnson closely follows 25 characters who influenced the trajectory of history as anarchist-led bombings — “arguably one of the most disastrous branding strategies in political history” — ultimately, and ironically, gave the state even more power. (Crown)

4. ‘Skies of Thunder: The Deadly World War II Mission Over the Roof of the World,’ by Caroline Alexander

When Japan blocked an Allied supply route through what was then Burma in 1942, the Hump operation was born. For the next three years, U.S. pilots — “often under-trained and ill-equipped young airmen,” Alexander writes — flew dangerous missions from India to deliver ammunition, bombs and other wartime cargo to Chiang Kai-shek’s military and U.S. forces stationed in China.

The route over the Himalayas was treacherous for various reasons, including extreme air systems that created “the worst flying weather in the world, which no aircraft then existing could reliably overfly.” Alexander, whose other books include “ The Endurance ,” about Ernest Shackleton’s harrowing Antarctic expedition, captures the perilous realities of fighting in — and flying over — the China-Burma-India theater. (Viking)

5. ‘We Refuse: A Forceful History of Black Resistance,’ by Kellie Carter Jackson

Jackson, a professor of Africana studies at Wellesley, begins her book with an anecdote: When her great-grandmother Arnesta was a girl in early-1900s Alabama, she stepped on a rusty nail and became gravely ill. A White doctor agreed to help on the condition that Arnesta live with him for the rest of her life and work for his family. But Arnesta’s grandmother, who had been born into slavery, would not hear of it and employed natural remedies to ensure the girl’s survival. This, Jackson writes, was a powerful form of resistance and part of a lineage of Black men and women fighting white supremacy in various ways. The book goes on to consider five such methods, with stories of activists using revolution, protection, force, flight and joy to subvert systemic racism. (Seal)

6. ‘The Washington Book: How to Read Politics and Politicians,’ by Carlos Lozada

Lozada, a former book critic at The Washington Post and current columnist at the New York Times, won a Pulitzer Prize in 2019, in part for his close reading of books by and about political insiders. This collection of essays , written between 2013 and 2023, includes some of that award-winning work and offers impressive insights about power and personal branding. “No matter how carefully these politicians sanitize their experiences and positions and records, no matter how diligently they present themselves in the best and safest and most electable or confirmable light,” Lozada writes, “they almost always end up revealing themselves.” (Simon & Schuster)

7. ‘When the Sea Came Alive: An Oral History of D-Day,’ by Garrett M. Graff

The author of “ The Only Plane in the Sky ” has a knack for finding fresh ways to consider exhaustively rehashed historical episodes. (Did we really need another book about Richard Nixon’s undoing? “The answer turns out to be yes — this one,” The Post’s reviewer wrote of “ Watergate: A New History .”) Graff again travels a well-trod path with his new book about D-Day . But the oral-history template lends the tale a striking immediacy, and he excavates stories from a wide swath of people from both sides of the war whose testimonies recall immense bravery and utter devastation while reminding readers of the capriciousness of victory, not to mention survival. As one U.S. Navy veteran put it: “Call it luck, divine providence, call it what you please, but here I am.” (Avid Reader)

Seven historical books to read this summer

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David French

‘Contact. I.E.D.’

Two soldiers embrace in front of a striped flag.

By David French

Opinion Columnist

“Contact. I.E.D.”

When I served in Iraq, I’d hear those words on the radio, and my heart would freeze. It meant that one of our vehicles had encountered an improvised explosive device — a roadside bomb. It meant damage. It meant injuries. It meant death. And when death comes for your brothers, it leaves a wound on your soul that never fully heals.

The unique demands of military service mean that soldiers experience loss differently from the vast majority of civilians. In the civilian world, death interrupts our lives — we drop everything to rush to the side of a dying relative or friend. Time can seem to stop. We put work on hold. We cancel family trips. The rituals of mourning and comfort take priority as we pause, sit with our families and grieve.

In war, death interrupts nothing. Time doesn’t stop; it seems to accelerate. And that’s deeply unnatural. The moment that contact call — which indicates a violent encounter with the enemy — comes to headquarters, you’re split in two. The human side of you desperately wants to know if anyone was hurt. And when you hear the radio crackle with the sound of “V.S.I.” (very seriously injured) or “K.I.A.” (killed in action), part of you is overcome with fear and concern.

But only part. In that moment and in that place, grief is the enemy. It can cloud your mind and color your judgment. Lives are at stake, so you shove it to the side and focus on your job. At the scene, the job is often simply staying alive. You fight, you treat the wounded and you call for help.

Back at the base, a different kind of frenzy sets in. There is the urgent necessity of both directing the fight and responding to the loss. One set of soldiers directs the fight, routing air assets to the scene of the attack, dispatching a quick reaction force, or Q.R.F., to support the soldiers under fire and ordering artillery to respond to immediate threats.

Other soldiers gather the personal effects of the fallen and still others pull the plug on the internet, cutting off the base from friends and relatives back home. We did not want families to learn of their loss by text message or social media post. Even worse, the online rumor mill could misidentify casualties, causing horrible and unnecessary pain.

Military families know that casualty notification should happen in person, and when communications go dark with units abroad, families at home know that someone has fallen. We know that our families are consumed with fear, but we can’t reach out. We can’t tell them we’re OK. In fact, when the internet goes dark, that’s sometimes the first indication even for the soldiers on the base that someone has died.

We were constantly whipsawed between our humanity and our roles. A torrent of personal and operational information flows in at once.

“Contact. The Q.R.F. is taking small-arms fire.”

“It’s confirmed. We lost Fox Six. We lost Torre.”

“F-16s are on station. The I.E.D. might be command-detonated.”

In one instant, we were completely focused on responding to the threat. In the very next instant, I would feel a punch in the gut. I wanted to vomit. My eyes clouded with tears. Torre Mallard, the commander of Fox Troop, Second Squadron, Third Armored Cavalry Regiment, was my friend. He was a husband and a father. We had just talked the day before his death about his plans after he got out of the Army. He had unlimited potential, but Torre was gone.

Torre died on March 10, 2008, the worst day of our deployment. The same I.E.D. that claimed Torre’s life also took the lives of a civilian interpreter named Albert Haroutounian and two other soldiers — Specialist Donald Burkett and Sgt. Phillip Anderson.

But we had to focus. A command-detonated I.E.D. meant that the explosion was manually triggered. The insurgents had to be in the line of sight of the convoy to detonate the explosive. If the I.E.D. was command-detonated, that meant thy might still be close. Perhaps we could find them. Or perhaps other insurgents were close by as well, and this was the start of a larger attack.

That’s the rhythm of life and death during war. There is never time to mourn. You experience more death, injury and loss in a compressed period of time than many people do in their entire lifetimes, yet there are no wakes. There are short memorials, but no true funerals. The rituals of grief don’t exist.

So you push the grief away. But you can’t escape it, not entirely. And the friends you lose haunt your heart. My mind played tricks on me for days after Torre’s death. I kept thinking I saw him out of the corner of my eye. I kept thinking I heard his laugh.

And just when you think that there’s a lull in our operations, when you can pause — when you can sit, remember and grieve — another call comes. “Contact. I.E.D.” Your heart freezes again, your mind focuses again and you do this over and over — until you come home.

When I talk to vets who struggle with civilian life after their service, two themes tend to emerge. One is that we struggle with a loss of purpose. As a friend of mine put it to me, “I hated my deployment, but I also knew every minute of every day why I was there and what I was supposed to do.” The other is that we finally confront the grief that we once shoved aside.

The names of the men who fell during my deployment are still fresh in my mind. Torre, Albert, Donald and Phillip lost their lives on the same terrible day in March 2008. Andrew Olmsted and Thomas Casey died in an ambush by Al Qaeda in January. Corey Spates was killed by an I.E.D. in February. Gregory Unruh died in a vehicle accident in March. Matthew Morris and Ulises Burgos-Cruz were killed by an I.E.D. in April. Andre Mitchell died in an accident in July. And my friend Michael Medders was killed by a suicide bomber in September.

When I came home, all the grief that I had pushed away came flooding back. As a reservist, I didn’t return to an Army base, but to my home and family, far from the people with whom I served. I talked to friends and family about men they’d never known. To fully grieve — and to even begin to heal — I had to be with my brothers. Even though we were scattered across the country, we still needed one another.

So, in the summer of 2011, we traveled together to Avon Lake, Ohio, to remember Mike Medders . He was the last of us to fall, and his death shattered us. We met his high school friends. We met his college friends. We sat with his mom and dad.

The last night of our visit, his sister hosted a party in Mike’s honor.

It was a beautiful summer night. We were gathered at his sister’s house, swapping stories and toasting Mike, when we heard the sound of bagpipes. One of Mike’s neighbors was standing by himself, shrouded in darkness at the end of the driveway. He played “Amazing Grace” and everyone fell silent. We raised our glasses in quiet tribute.

Then, just as suddenly, the bagpipes stopped. The song was over, and the neighbor walked back home without saying a word.

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David French is an Opinion columnist, writing about law, culture, religion and armed conflict. He is a veteran of Operation Iraqi Freedom and a former constitutional litigator. His most recent book is “Divided We Fall: America’s Secession Threat and How to Restore Our Nation .” You can follow him on Threads ( @davidfrenchjag ).

Opinion Why we should reschedule Memorial Day

Plus: Trump’s authoritarian rhetoric and a guide to Justice Alito’s flags.

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In today’s edition:

Reframing (and rescheduling) Memorial Day to imbue more meaning
We can’t become numb to Trump’s Hitler-lite rhetoric
A guide to whatever flag Sam Alito might fly next

Holiday exchange

This Monday is Memorial Day — to be distinguished from Veterans Day, and also from a simple kickoff to summer. What are you doing to mark it? If you’re visiting a gravesite or otherwise honoring deceased service members, good for you; less than 10 percent of Americans do in any given year.

Dan Pink says it’s time for a refresh. In his latest “Why Not?” essay , he looks at the whole year’s holiday calendar and mulls how to reinvigorate the national obligations that “have become personal entitlements to shop and relax.”

His suggestions include — gasp! — eliminating some federal holidays. Columbus Day, we barely knew ye. And Presidents’ Day, already a Washington-Lincoln “combo platter,” Dan says, has become too diffuse a tribute to all 45 people, “some less distinguished than others, who happen to have held our top job.”

As for Memorial Day, Dan is keen on a “direct assault on the three-day weekend industrial complex” — restoring the observance to its original May 30, irrespective of weekday. Alternatively: Move it to July 3. What better pairing than freedom and sacrifice?

“Reimagining national holidays isn’t about making them less enjoyable,” Dan reassures readers. “It’s about making them more meaningful … [and finding] satisfaction more enduring than momentary diversion.”

There’s plenty of meaning to be found in memorials, too, author Howard Mansfield writes — especially where there’s none we can see.

His op-ed examines the idea of invisible memorials, opening with a Holocaust monument in Germany where 2,146 of a plaza’s cobblestones are engraved with the names of former Jewish cemeteries in the country. The names, however, are on the sides of the stones facing the earth .

Only by absence can humans approach vast loss, the memorial’s designer explained. Mansfield took this notion into his own life, rethinking all the war stories his WWII veteran father never told him.

“I’ll be thinking about my father and those mute monuments when I attend our small town’s Memorial Day service,” Mansfield writes. “As the old veterans in their young men’s uniforms place a wreath on our small memorial, and ‘Taps’ is played, I’ll be thinking: We are the monument.”

Chaser: George Will is remembering this Memorial Day , helped on by the 400,000 headstones at Arlington National Cemetery.

Trump’s dangerous language

In 2019, Villanova professor Mitchell Nathanson riffed for us on “Casey at the Bat,” cleverly rewriting the beloved baseball poem for the modern era. (“Yet still to come was Casey, whom the fans had long extolled/ Though at the age of 31 the metrics deemed him old.”)

Now Dana Milbank presents his own ballpark pun , and it’s a little darker: three Reichs and you’re out.

That’s what the rule oughta be (really, one Reich seems like one too many already), but former president Donald Trump “keeps swinging” with his Hitlerian language, and Dana says this week in particular “provided a sobering measure of how numb we have become to his undeniably fascist rhetoric.”

Trump once again vilified a foreign-born judge, maligning Juan Merchan just as he slimed Gonzalo Curiel eight years ago. He played the victim in fundraising emails. He said that Jews “should have their head examined” if they support President Biden . Plenty of talk about driving out “the globalists,” too.

And, oh yes, barely blurred in the background of a video Trump posted to his social media site, a sign saying the quiet part loud: “unified Reich.”

Chaser: None of this was enough to lose for too long the support of former rival Nikki Haley , who announced this week she’ll vote for Trump. Karen Tumulty writes that Haley was never going to be part of the “resistance” and is now thinking only of her own electoral future.

More politics

Pirates have seized the home of Supreme Court Justice Samuel Alito!

That can be the only explanation if you see the Jolly Roger flying outside his front door, according to humor columnist Alexandra Petri’s handy guide to Supreme Court justices’ flags and their meanings. (Or, per one cut-for-space joke, it could mean the wife on whom Alito has tried to pin his actual flag controversies is involved in a community theater production of “Peter Pan.”)

Yellow flag: The justice has committed a penalty.

Blue flag: The justice loves France but only one-third of it.

Rainbow flag: The justice promises not to destroy the Earth *by flood.*

Weekend reading

This weekend’s recommendations come from Alexandra, who has been on a Larry McMurtry tear since reading the Old West author’s “Lonesome Dove” (“Phenomenal! A masterpiece!”) two months ago. She just finished “Dead Man’s Walk.”

“I’ve been on a giant Western kick generally,” Alex writes, “and have also enjoyed some Bret Harte (Oscar Wilde said on his Wild West tour that all the cowboys must have been reading Bret Harte because their dialogue sounded just like him) and ‘The Virginian,’ a wild ride by Teddy Roosevelt’s BFF, Owen Wister!”

Smartest, fastest

In his first week chronicling the stories that affect D.C. and its environs, new columnist (but Post old hand) Marc Fisher profiled a late local “rogue” who had his heart in the right place, and the rogues in Congress who love nothing more than pushing Washingtonians around .
Leana Wen explains in her newsletter what the new human case of avian flu means for the possibility of more widespread bird flu in the United States. (You can subscribe here for future updates.)
The International Criminal Court’s threats to prosecute members of Congress for opposing its attempt to indict Benjamin Netanyahu show just how out of control the institution is, Marc Thiessen writes.

It’s a goodbye. It’s a haiku. It’s … The Bye-Ku.

So are these red flags?

Or is the judge’s record

More checkered instead?

Plus! A Friday bye-ku (Fri-ku!) from reader Andre B.:

Inverting the flag —

A greater irreverence

Than taking the knee?

Have your own newsy haiku? Email it to me , along with any questions/comments/ambiguities. Have a great, reflective long weekend.

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COMMENTS

Heart of Darkness Sample Essay Outlines
1. Only Marlow admires Kurtz in an extreme way. 2. After Kurtz's death, Marlow keeps him alive by preserving his memory. IV. Conclusion: An argument can be made for either Marlow or Kurtz as the ...
Heart of Darkness: Analysis and Themes
By Dr Oliver Tearle (Loughborough University) First published in 1899, Heart of Darkness - which formed the basis of the 1979 Vietnam war film Apocalypse Now - is one of the first recognisably modernist works of literature in English fiction. Its author was the Polish-born Joseph Conrad, and English wasn't his first language (or even,….
Heart of Darkness Study Guide
Heart of Darkness is the source for the movie Apocalypse Now. The movie uses the primary plot and themes of Heart of Darkness, and shifts the story from Africa to Vietnam to explore the hypocrisy, inanity, and emptiness of the American war effort there. The best study guide to Heart of Darkness on the planet, from the creators of SparkNotes.
Heart of Darkness
Summary. Heart of Darkness tells a story within a story. The novella begins with a group of passengers aboard a boat floating on the River Thames. One of them, Charlie Marlow, relates to his fellow seafarers an experience of his that took place on another river altogether—the Congo River in Africa.
Analysis of Joseph Conrad's Heart of Darkness
Analysis of Joseph Conrad's Heart of Darkness. The essay "Geography and Some Explorers" (1924) describes Joseph Conrad as a schoolboy amusing classmates by pointing to Africa on a map and declaring, "When I grow up I shall go there.". Eighteen years later, in 1890, Conrad obtained a post as steamboat captain with a trading company in ...
'The Uncanny' and 'The Heart of Darkness'
Joseph Conrad's novel 'Heart of Darkness' is one such example, where the uncanny is a prevalent theme throughout and a technique of merging Conrad's own frightening experiences of the Congo with fictional characters who depict the extremes of what he experienced and portray his critical view of colonialism. In 'The Uncanny', Freud ...
Heart of Darkness Introduction
Heart of Darkness is: A wild story of a journalist who becomes manager of a station in the (African) interior and makes himself worshipped by a tribe of savages. Thus described, the subject seems comic, but it isn't. ( Source) No—not comic at all. Set in the African Interior and based on Conrad's own experiences as the captain of a Belgian ...
129 Heart of Darkness Essay Topic Ideas & Examples
Kurtz is a great threat to the entire organization especially the powerful position of the manager of the company that Marlow was working with. Heart of Darkness by Joseph Conrad: Novel Summary. This was the period when Marlow came to understand that the manager was deadly against Kurtz and wanted to get rid of him.
Heart of Darkness Essay
Long Essay on Heart of Darkness is usually given to classes 7, 8, 9, and 10. Joseph Conrad's Heart of Darkness could justifiably be described as an introverted journey, including thoughtful change in the voyager. Both metaphorical and literal journey was taken on by Marlow, the protagonist of the novel, into the "heart of darkness".
Heart of Darkness
Heart of Darkness (1899) is a novella by Polish-English novelist Joseph Conrad in which the sailor Charles Marlow tells his listeners the story of his assignment as steamer captain for a Belgian company in the African interior. The novel is widely regarded as a critique of European colonial rule in Africa, whilst also examining the themes of power dynamics and morality.
Heart of Darkness Themes
Heart of Darkness portrays a European civilization that is hopelessly and blindly corrupt. The novella depicts European society as hollow at the core: Marlow describes the white men he meets in Africa, from the General Manager to Kurtz, as empty, and refers to the unnamed European city as the " sepulchral city " (a sepulcher is a hollow tomb).
Heart of Darkness Summary
Essays for Heart of Darkness. Heart of Darkness essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Heart of Darkness by Joseph Conrad. Alienation: A Modernist Theme; Darkness and Light: the Illumination of Reality and Unreality in Heart of Darkness; An Inward Journey ...
Heart Of Darkness Essay
Heart Of Darkness Essay. When it comes to morality, Joseph Conrad's Heart of Darkness is a complex and thought-provoking novel. On the surface, the book appears to be a simple tale of good versus evil. However, upon closer inspection, it becomes clear that Conrad is raising important questions about the nature of morality itself. ...
Heart of Darkness Summary
Heart of Darkness Essay Themes "Heart of Darkness" explores several main themes, revealing the complexities of human nature and the consequences of imperialism. These themes intertwine to create a rich and complex narrative that continues to resonate with readers, prompting reflection on the nature of humanity, power, and the legacy of ...
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'Heart of American Darkness: Bewilderment and Horror on the Early Frontier,' by Robert G. Parkinson ... This collection of essays, written between 2013 and 2023, includes some of that award ...
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129 Heart of Darkness Essay Topic Ideas & Examples

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Seven historical books to read this summer

1. ‘Fat Leonard: How One Man Bribed, Bilked, and Seduced the U.S. Navy,’ by Craig Whitlock

2. ‘Heart of American Darkness: Bewilderment and Horror on the Early Frontier,’ by Robert G. Parkinson

3. ‘The Infernal Machine: A True Story of Dynamite, Terror, and the Rise of the Modern Detective,’ by Steven Johnson

4. ‘Skies of Thunder: The Deadly World War II Mission Over the Roof of the World,’ by Caroline Alexander

5. ‘We Refuse: A Forceful History of Black Resistance,’ by Kellie Carter Jackson

6. ‘The Washington Book: How to Read Politics and Politicians,’ by Carlos Lozada

7. ‘When the Sea Came Alive: An Oral History of D-Day,’ by Garrett M. Graff

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