An Outpost Of Progress Short Story

Joseph Conrad's novella, Heart of Darkness, describes a life-altering journey that the protagonist, Marlow, experiences in the African Congo.  The story explores the historical period of colonialism in Africa to exemplify Marlow's struggles.  Marlow, like other Europeans of his time, is brought up to believe certain things about colonialism, but his views change as he experiences colonialism first hand. This essay will explore Marlow's view of colonialism, which is shaped through his experiences and also from his relation to Kurtz.  Marlow's understanding of Kurtz's experiences show him the effects colonialism can have on a man's soul.

The novel also touches on how primal the Congolese peoples beliefs are compared to the United States when it depicts how, “most believe white people know how to turn the sun on and off and make the river flow backward.” (Kingsolver 280) This shows how backwards both of the nations views are of each other, while one thinks the other is savages the Congolese believe that Americans are gods. This same idea is also established later when Leah states, “I’ve heard foreign visitors complain that the Congolese are greedy, naïve, and inefficient. They have no idea. The Congolese are skilled at survival and perceptive belief or else dead at an early age.” (Kingsolver 501) The quote yet again shows how little the people of each country know each other

Africa, being the second largest continent on earth, has always enticed foreigners to exploit their land and way of life. The biggest offender of trying to diminish their way of life is the western presence, always attempting to alter their normality into their own because they see it as the best way to live, which is not always the case. Throughout history, Africa has been under the impression of the white man and their customs, which can be demonstrated in the novels The Posionwood Bible, by Barbra Kingsolver, and The Heart of Darkness, by Joseph Conrad. Both Conrad and Kingsolver display the futile efforts of the western presence to “civilize” Africans with their numerous points of view, clever symbolism, and conveying diction.

First, the author uses imagery to describe Africa and the horrors of it. In the text it says, “so feverishly and startlingly real that you could feel the prickling fur on your hand, and your mouth was stuffed with the dusty upholstery smell of their heated

The reader is capable of learning that even in such a troublesome environment, Kek is able to animadvert new aspects of a country he was unfamiliar with - calling airplanes a “flying boat” and characterizing traffic lights as “red and round like a baby sun.” It is imperative to Kek’s personality that he is characterized as a caring, self-reliant young adult who struggles to coincide in a country that offers both opportunities and hindrances in a path for a more desirable and improved life. Moreover, it becomes clear throughout the progression of the novel that Kek is extremely self-reliant, determined, and set to achieve whatever he sets out to do; while still remaining true to his African heritage and

The sheer guise of philanthropical charity scarcely conceals the colonist’s true objective, the hunt for ivory. The colonists attempt to extinguish any and all forms of African culture in their wild quest for ivory. One night while at the camp, Marlow witnesses a fire engulf a shed housing trading goods. “One evening a grass shed full of calico, cotton prints, beads, and I don’t know what else, burst into a blaze so suddenly that you would have thought the earth had opened to let an avenging fire consume all that trash.” In a somewhat symbolic retaliation, the African culture seizes its revenge on the imposing imperialist culture. As the flames ravish the shed, Marlow watches as a man attempts to put out the fire “…[he] dipped about a quart of water and tore back again. I noticed there was a hole in the bottom of his pail.” This hopeless effort signifies the futile efforts to suppress the overbearing strength of the African culture.

In Joseph Conrad’s book, Heart of Darkness, the globe is imagined as one where there are those that are civilized and those that are considered “savages” and “barbarians” by the civilized people. These civilized people are the Europeans, and the so-called “savages” are the African slaves.

In Cry, the beloved country, Alan Paton tells the story of his journey across Africa, his experiences with the colonized Africa, and the destruction of the beautiful, pre-colonialism native land of Africa. Heart of Darkness also tells the story of a man and his experiences with colonialism, but a man who comes from a different time period and a very different background than Alan Paton’s Stephen Kumalo. Although, both Joseph Conrad and Alan Paton portray the colonized areas as very negative, death filled, and sinful places, it is when one analyzes the descriptions of the native lands of Africa that the authors reasons for their disapproval of colonialism are truly revealed. When comparing the writing styles of Alan Paton and Joseph Conrad,

Heart of Darkness, written by Joseph Conrad and “Apocalypse Now”, a movie directed by Francis Coppola represent two outstanding examples that compare relevant ideas regarding racism, colonialism, and prejudices. The two combine film along with descriptive language to portray their mastery during different eras. For Heart of Darkness, Conrad uses his writing techniques to illustrate Marlow in the Congo, while in “Apocalypse Now”, Coppola uses film editing and close ups on important scenes with unique sounds to identify Willards’ quest for Kurtz. Both portray the idea of colonization in foreign lands that otherwise may have been uninhabited by their own people if left alone.

In Heart of Darkness by Joseph Conrad, the imperialism of Africa is described. Conrad tells the story of the cruel treatment of the natives and of the imperialism of the Congo region through the perspective of the main character, Marlow. Throughout the novel, Marlow describes how the Europeans continuously bestow poor treatment to the native people by enslaving them in their own territory. Analyzing the story with the New Criticism lens, it is evident that Conrad incorporates numerous literary devices in Heart of Darkness, including similes, imagery, personification, and antitheses to describe and exemplify the main idea of cruel imperialism in Africa discussed throughout the novella.

Chinua Achebe, a well-known writer, once gave a lecture at the University of Massachusetts about Joseph Conrad's Heart of Darkness, entitled "An Image of Africa: Racism in Conrad's Heart of Darkness." Throughout his essay, Achebe notes how Conrad used Africa as a background only, and how he "set Africa up as a foil to Europe,"(Achebe, p.251) while he also "projects the image of Africa as 'the other world,' the antithesis of Europe and therefore of civilization."(Achebe, p.252) By his own interpretations of the text, Achebe shows that Conrad eliminates "the African as a human factor," thereby "reducing Africa to the role of props."(Achebe, p.257)

In Heart of Darkness, Joseph Conrad uses the symbol of the painting of the veiled woman to epitomize his thoughts on colonialism. Kurtz’s painting shows not only the disjointed, purposeless, and violent colonization of Africa but the idealized facade of a noble cause that allows it to fester. Kurtz’s painting embodies the failures of European colonization in Africa. From the futile and meaningless work to the thoughtless and brutal massacre of Africans, the

Joseph Conrad often mocked the African peoples. In his novel, Heart of Darkness, he referred to the African people as “savages” and used strong language that looked down upon them. Conrad describes a passing native, “They passed me within six inches, without a glance, with that complete, deathlike indifference of unhappy savages.” Conrad depicts the Africans in very vivid descriptions and uses negative language with an almost disgusted tone. He sees the Africans as inhuman, feels they are not civilized, and believes himself to be far more superior than them. Conrad does not bother to try and understand their culture or language. He insults their language and believes it is merely just incomprehensible grunts. Conrad remarks that looking at an African “was as edifying as seeing a dog in a parody of breeches and a feather hat, walking on his hind legs.” The comparison he uses is very insulting to the African people and so degrading that Conrad found an African working as so surprising. He was taken away that an African could be civilized and Conrad was just mocking the natives. By using such cynical language, Conrad changes what the readers think of Africans to become negative. This view of African peoples from Conrad contrasts Achebe’s perspective of African peoples and their lives which was more influenced by his own race, culture, and beliefs just as Conrad’s novel was.

Heart of Darkness by Joseph Conrad and Things Fall Apart by Chinua Achebe are two novellas written to make a statement about the struggles of early societies. Both stories stir up moments of hope, anger, disappointment, despair, and enlightenment in an attempt to inform the reader of the injustices and societal differences during the 1800’s. Heart of Darkness tells the story from a European Colonist perspective while Things Fall Apart illustrates the outlook of the African tribe member being colonized. Throughout this piece I will investigate these unique texts in hopes of revealing the symbolism behind the trying stories. I will compare and contrast the narratives and decipher the outlooks so that the reader can learn to appreciate and

In Chinua Achebe’s essay, “An Image of Africa: Racism in Conrad 's Heart of Darkness,” Achebe purports that Joseph Conrad’s short story, Heart of Darkness, should not be taught due to it’s racist caricature of Africa and African culture. In Conrad’s book, Marlow, a sea captain, is tasked with venturing into the center of the Congo, otherwise known as the Heart of Darkness, to retrieve a mentally unstable ivory trader named Kurtz. Marlow narrates his adventures with a tinge of apathy for the enslaved Congolese who are repressed beneath the foot of the colonizing Belgians. In Heart of Darkness, the Africans are reduced to “savages” and cannibals with little or no moral values. It is Achebe’s argument that due to these characterizations, it is an abomination that Heart of Darkness be continued to be taught. Despite Achebe’s vehement opposition to the teaching of Conrad’s novel, academics should not only continue to teach Heart of Darkness in a lyrical sense, but also a historical one.