Quiet American Imperialism

Joseph Conrad, in his novel Heart of Darkness, uses the contrasting places of Europe and Africa in order to represent opposed forces or ideas that are central to the entirety of the work. This journey back in time, “to a prehistoric earth” illustrates Marlow’s physical journey as well as relates to his emotional and spiritual experience. Marlow characterizes events, ideas, and locations that he encounters in terms of light or darkness. Marlow continuously equates light with knowledge and civility and darkness with mystery and savagery. When he begins his narrative, Marlow evokes light and, therefore, civility, with reality, believing it to be a tangible expression of man's natural state. Similarly, Marlow uses darkness to depict savagery as a vice having escaped with nature. However, as he proceeds deeper into the heart of the African jungle and begins to understand savagery as a primitive form of civilization and, therefore, a reflection on his own reality, the metaphor shifts, until the narrator raises his head at the end of the novel to discover that the Thames seemed to 'lead into the heart of an immense darkness.'' The alteration of the light-dark metaphor corresponds with Marlow's awareness that the only reality, truth, or light about civilization is that it is, regardless of appearances, is instead darkness.

  Marlow was an average European man with average European beliefs. Like most Europeans of his time, Marlow believed in colonialism; that is, until he met Kurtz. Kurtz forces Marlow to rethink his current beliefs after Marlow learns the effects of colonialism deep in the African Congo. In Joseph Conrad’s Heart of Darkness, Marlow learns that he has lived his entire life believing in a sugar-coated evil.  Marlow's understanding of Kurtz's experiences show him the effects colonialism can have on a man's soul.

Another issue that has been raised continuously throughout time has been how women are depicted in novels. Conrad in particular, reflects his original context by objectifying the women he creates in his novel ‘Heart of Darkness’. The roles of women here are hardly acknowledged and are portrayed as naïve; senseless beings having to be protected, Marlow commenting that in essence, men ‘…must help them…stay in that beautiful world of their own…’ This is characterized in Kurtz’ Intended who is pictured as an ideal woman, ‘…smooth and white…illumined by the…light of belief and love…’ The soft gentle imagery, in particular the use of ‘white’ shapes this woman as pure, submissive and weak, but also isolated in her naivety of the real world. If not white, then the other kind of woman Conrad gives a role to is the savage African mistress. ‘…Savage and superb, wild-eyed and magnificent…ominous and stately…’ With such large and grand descriptions, Conrad portrays the native woman as defiantly capable however fearful. ‘Wild-eyed…ominous and stately…’ illustrate Conrad’s view that the black woman is untamed and uncivilized, akin to an animal and therefore not considered as graceful or a desired woman. These opposing ideas of woman in Conrad’s text inform the audience of today, the strict and patriarchal ideals of Conrad’s context that were imposed on women.

    Literature is never interpreted in exactly the same way by two different readers. A prime example of a work of literature that is very ambiguous is Joseph Conrad's, "Heart of Darkness". The Ambiguities that exist in this book are Marlow's relationship to colonialism, Marlow's changing feelings toward Kurtz, and Marlow's lie to the Intended at the end of the story.

  Conrad has been accused of racism because of the way he portrays the natives in his novel, Heart of Darkness. It has been argued that the natives cannot be an essential part of Heart of Darkness due to the manner in which they are depicted.  However, a careful reading reveals that the story would be incomplete without the natives. Marlow develops a relationship with one of the natives - perhaps the first time in his life that Marlow creates a bond with someone outside of his own race.

There is an abundance of literature in which characters become caught between colliding cultures. Often, these characters experience a period of growth from their exposure to a culture that’s dissimilar to their own. Such is the case with Marlow, Joseph Conrad’s infamous protagonist from ‘Heart of Darkness’. Marlow sets off to Africa on an ivory conquest and promptly found himself sailing into the heart of the Congo River. Along the way he is faced with disgruntled natives, cannibals, and the ominous and foreboding landscape. Marlow’s response to these tribulations is an introspective one, in which he calls into question his identity. This transcending of his former self renders the work as a whole a

What makes Joseph Conrad’s Heart of Darkness more than the run of the mill adventure tale, is its moral complexity. By the end of the novel, we find a protagonist who has immense appreciation for a man who lacks honest redemption, the mysterious Mr. Kurtz. It is the literal vivaciousness and unyielding spirit of this man, his pure intentionality, which Marlow finds so entrancing and which leaves the reader with larger questions regarding the human capacity. Therefore, Heart of Darkness is profoundly different given its character complexity and ambiguous narrative technique which ultimately deliver home a message of the complex motivations and capabilities of mankind.

Although the author Joseph Conrad never met the German philosopher Gottfried Wilhelm Leibniz, who died more than a century before Conrad’s birth, their distinct philosophies still have numerous points of intersection, suggesting some fundamental truths within the structure of the human reality. Through the novella, Heart of Darkness, Conrad details his perspectives on the faults of man and reality as a whole, with views often coinciding with many of Leibniz’s own, as found in his numerous philosophical works. Consequently, the two perspectives combine together, like a cyclopean image, to enhance and deepen each of the two men’s philosophies on humanity.

The book The Heart of Darkness talks about a guy named Marlow that shows leadership traits. A good leader should have willing to pay the consequence in order to succeed. In the book The Heart of Darkness Marlow explains, "I don't like work but, I do like what is in the work." This trait is an important trait because a leader is willing to work and get the benefit of it later on. Marlow connects back to this and shows good examples because he really does not like work but always does it in order to find the outcome of it in a near future. In addition a great leader needs to learn to deal with confusion. According to Cashman, "As leaders too often we step forward with action to deal with complexity without first stepping for the clarity we need."

In Joseph Conrad’s story “Heart of Darkness,” Marlow, the main character, can be described as racist. It can be debated whether he really is racist or not depending on how the reader interpreted the story. Because this story was written in 1899 with the setting taking place in Africa and a plot about Europeans taking over African land, the idea of discrimination and racism can be explained. While the opposite opinion can be described as learned statements and opinions that obstruct the views Marlow has once he stays in Africa after awhile. Racism is “[a] belief that one’s own racial or ethnic group is superior, or that other such groups represent a threat to one's cultural identity, racial integrity, or economic well-being; (also) a belief that the members of different racial or ethnic groups possess specific characteristics, abilities, or qualities, which can be compared and evaluated. Hence: prejudice, discrimination, or antagonism directed against people of other racial or ethnic groups (or, more widely, of other nationalities), esp. based on such beliefs.” Marlow is racist because his initial thoughts display specified characteristics of Africans, evaluated qualities

Women and the savages are brought together under one umbrella of mingled patronization and awe. In this respect, Marlow’s view of women is the perfect oxymoron (Nadelhaft). Marlow’s tone concerning women and the Amazon is reverent, but belittling. These two groups of people are sub-human to Marlow in that he considers them of a lesser intellect and lesser value.

For the most part people who read Heart of Darkness by Joseph Conrad may feel that the novella is strictly a story of exploration and racial discrimination. But to Johanna Smith who wrote “’Too Beautiful Altogether’: Ideologies of Gender and Empire in Heart of Darkness” it is much more than that. Johanna Smith along with Wallace Watson and Rita A. Bergenholtz agree that throughout Heart of Darkness there are tones of gender prejudice, but the way that these three different authors perceive and interpret those gender tones are to a certain extent different.

Beyond the shield of civilization and into the depths of a primitive, untamed frontier lies the true face of the human soul. It is in the midst of this savagery and unrelenting danger that mankind confronts the brooding nature of his inner self.  Joseph Conrad’s novel, Heart of Darkness, is the story of one man's insight into life as he embarks on a voyage to the edges of the world. Here, he meets the bitter, yet enlightening forces that eventually shape his outlook on life and his own individuality. Conrad’s portrayal of the characters, setting, and symbols, allow the reader to reflect on the true nature of man.

Heart of Darkness is written by Joseph Conrad and published in 1899. It is a novella written in the early modernism literary period.

The two major themes of Heart of Darkness are the conflict between “reality” and “darkness,” and the idea of restraint and whether or not it is necessary. Conrad’s passage describing the restraint of the hungry cannibals exemplifies both themes:  It describes how reality shapes human behavior, and contrasts the characters of Kurtz and Marlow.  “Reality,” as it is used here, is defined as “that which is civilized.”