Racism In Heart Of Darkness Essay

In "An Image of Africa: Racism in Conrad's Heart of Darkness," Chinua Achebe criticizes Joseph Conrad for his racist stereotypes towards the continent and people of Africa. He claims that Conrad propagated the "dominant image of Africa in the Western imagination" rather than portraying the continent in its true form (1793). Africans were portrayed in Conrad's novel as savages with no language other than grunts and with no "other occupations besides merging into the evil forest or materializing out of it simply to plague Marlow" (1792-3). To Conrad, the Africans were not characters in his story, but merely props. Chinua Achebe responded with a

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.

In the article "An Image of Africa: Racism in Conrad's Heart of Darkness," Chinua Achebe criticizes Joseph Conrad for his racist views toward the natives of Africa. After one reads Achebe’s critique, it is clear that Conrad wanted the novella to be perceived as a racist text. Conrad depicts the uncivilized treatment of nonwhites during the period of colonization without condemning such actions. After analyzing Achebe’s famous work and Conrad’s novella I have come to agree with Achebe; Conrad “was a thoroughgoing racist.” (Achebe) Heart of Darkness portrays this position clearly. Throughout the novella, Conrad describes and represents the Africans and Africa itself in a racist way. According to Chinua Achebe, the harsh behavior of English people towards the natives, the lack of equality felt by the English towards the Africans, and the word choices of the English to and about the savages reveal Conrad's racist position in the work.

Heart of Darkness creates a prejudice way of presenting Africa, Joseph Conrad shows the African Congo through the perspective of the colonising Europeans, who describe all the natives as savages, which perpetuates the stereotype of the uncivilised African in the eyes of the European readers.

Joseph Conrad 's Heart of Darkness is both a dramatic tale of an arduous trek into the Belgian Congo at the turn of the twentieth century and a symbolic journey into the deepest recesses of human nature. On a literal level, through Marlow 's narration, Conrad provides a searing indictment of European colonial exploitation inflicted upon African natives. By employing several allegoric symbols this account depicts the futility of the European presence in Africa.

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,

    Joseph Conrad's novel Heart of Darkness portrays an image of Africa that is dark and inhuman.  Not only does he describe the actual, physical continent of Africa as "so hopeless and so dark, so impenetrable to human thought, so pitiless to human weakness" (Conrad 94), as though the continent could neither breed nor support any true human life, but he also manages to depict Africans as though they are not worthy of the respect commonly due to the white man.  At one point the main character, Marlow, describes one of the paths he follows: "Can't say I saw any road or any upkeep, unless the body of a middle-aged negro, with a bullet-hole in the forehead, upon which I

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.

In his famous critical essay, “An Image of Africa” (1975), Chinua Achebe takes a strong stance against Joseph Conrad’s Heart of Darkness. He asserts that Conrad was a racist and his novella is a product of his racism. A following quote that is good to show Achebe opinion for Conrad is:

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)

A famous criticism of Conrad’s novella is called An Image of Africa, which was written by an African native named Chinua Achebe. In Achebe’s criticisms of Heart of Darkness, he points out the difference between descriptions of the European woman and the African woman, who was Kurtz’s mistress. The narrator describes the European woman as being calm and mature, and the African woman as being “savage” (341 Norton). Even though many writers claim that Marlow is kind to the Africans by bringing light to their situation, the real problem does not lie in his description of their situations, but his descriptions of the people themselves (30 Heart of darkness Interpretations).

He uses derogatory and offensive remarks that devalue people of color and make them out to be savages. Chinua Achebe, a well-known writer, talked 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 "set Africa up as a foil to Europe,"(Achebe) while he also "projects the image of Africa as “the other world”. Africa is said to be a “prehistoric” world. Conrad described this land as non-advanced and inferior to the western countries.

looked at a map of it in a shop window, it fascinated me as a snake

In “An Image of Africa”, Chinua Achebe comes to the bold conclusion that Joseph Conrad “was a bloody racist” (788), with his discussion centering primarily on Conrad’s Heart of Darkness as a racist text. Achebe’s reasoning for this branding rests on the claims that Conrad depicts Africa as “a place of negations at once remote and vaguely familiar in comparison with which Europe 's own state of spiritual grace will be manifest” (783), that Africans in Heart of Darkness are dehumanized through both the characterization of individual Africans and the Congo as a setting, and finally that Marlow is no more than a mouthpiece for Conrad’s personal views on race and imperialism. However, Achebe makes critical oversights and contradictions in the development of each of these argumentative pillars, which prove fatal to the validity of his overarching contention. This should not be construed, though, as a yes-or-no assessment of whether Conrad was a racist outside of what his written work suggests—Achebe himself has “neither the desire nor, indeed, the competence to do so with the tools of the social and biological sciences” (783)—but as an assessment of claims specific to Heart of Darkness and their implications for Conrad’s views and attitudes.

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.