Introduction
Joseph Conrad’s novella *Heart of Darkness* (1899) stands as a seminal work in modernist literature, exploring themes of imperialism, human nature, and moral decay through the journey of Charles Marlow into the Congo. While often praised for its psychological depth and critique of European colonialism, the text has sparked significant debate regarding its portrayal of African characters and the underlying racial attitudes it conveys. This essay examines the manifestations of racism in *Heart of Darkness*, investigating whether Conrad’s narrative reinforces colonial stereotypes or offers a subversive critique of imperialist ideologies. By analysing the depiction of African characters, the language used to describe them, and the broader context of European imperialism, this essay argues that while Conrad critiques the brutality of colonialism, his work remains complicit in perpetuating racial hierarchies through its limited and often dehumanising portrayal of Africans. The discussion will draw on academic scholarship to evaluate these perspectives, considering the historical and cultural context of the novella’s publication at the turn of the 20th century.
Historical Context and Imperialist Ideology
To understand the racial dynamics in *Heart of Darkness*, it is essential to consider the historical backdrop of European imperialism during the late 19th century. The Scramble for Africa, formalised by the Berlin Conference (1884–1885), saw European powers carve up the African continent, with Belgium’s King Leopold II claiming the Congo Free State as his personal property. This period was marked by exploitative practices and widespread atrocities, including forced labour and violence, which Conrad witnessed during his own voyage to the Congo in 1890 (Watts, 1983). Imperialist ideology was underpinned by notions of racial superiority, with Europeans often viewing Africans as primitive or savage, justifications rooted in pseudo-scientific theories of race prevalent at the time.
In Heart of Darkness, Conrad reflects this imperialist mindset through Marlow’s initial perceptions of Africa as a “blank space” on the map, a place of mystery and darkness awaiting European exploration (Conrad, 2006, p. 8). This imagery aligns with colonial rhetoric that portrayed Africa as an empty, uncivilised land, devoid of history or culture, ripe for exploitation. However, Conrad also exposes the moral bankruptcy of imperialism through descriptions of suffering and chaos in the Congo, such as the “grove of death” where African labourers die under brutal conditions (Conrad, 2006, p. 19). Thus, while the novella critiques the destructive impact of European greed, it remains embedded in a worldview that often denies Africans individual agency or voice, raising questions about the depth of Conrad’s anti-imperialist stance.
Depiction of African Characters and Racial Stereotypes
One of the most contentious aspects of *Heart of Darkness* is Conrad’s portrayal of African characters, who are frequently presented as anonymous, silent, and dehumanised. Throughout the novella, Africans are rarely individualised; instead, they appear as a collective mass, described in terms that evoke animalistic or primal qualities. For instance, Marlow refers to the native workers as “black shadows of disease and starvation” and notes their “wild vitality” and “savage discords” (Conrad, 2006, pp. 17, 14). Such language reinforces stereotypes of Africans as uncivilised and inferior, aligning with colonial narratives that justified domination by portraying colonised peoples as less than human.
Furthermore, the character of Kurtz’s African mistress, though briefly described, is laden with exoticised and sexualised imagery. She is presented as a “wild and gorgeous apparition of a woman” adorned with “barbarous ornaments,” embodying the trope of the exotic Other (Conrad, 2006, p. 60). This depiction contrasts sharply with the European Intended, who represents purity and restraint, highlighting a binary opposition between African savagery and European civility. As Achebe (1977) famously argued, Conrad reduces Africa to a mere backdrop for European psychological exploration, with Africans serving as “props” rather than fully realised characters. Achebe’s critique underscores how the novella, despite its anti-colonial undertones, fails to challenge the racial hierarchies inherent in imperialist discourse.
Language and the Construction of Otherness
The language of *Heart of Darkness* plays a pivotal role in constructing racial difference and perpetuating a sense of Otherness. Conrad’s use of terms like “savage,” “primitive,” and “darkness” to describe both the African landscape and its inhabitants reflects the Eurocentric lens through which Marlow narrates his journey. The metaphor of “darkness” itself is problematic, as it equates Africa with ignorance and evil, while Europe is implicitly associated with light and reason. This binary framing, though arguably employed to critique European hypocrisy, nonetheless reinforces racial prejudices by failing to offer a nuanced or empathetic portrayal of African perspectives (Parry, 1983).
Moreover, the silence imposed on African characters amplifies their marginalisation. They are rarely given a voice, and when they do speak, it is in ways that Marlow cannot comprehend, further alienating them as incomprehensible and unknowable. This linguistic exclusion mirrors the broader imperialist tendency to deny colonised peoples the right to self-representation, a point raised by scholars like Said (1993), who argue that such narratives perpetuate cultural domination. While Conrad may have intended to expose the emptiness of European claims to moral superiority, his language often undercuts this critique by reproducing the very stereotypes he seeks to question.
Conrad’s Intent: Critique or Complicity?
The question of whether Conrad’s portrayal of race constitutes a critique of imperialism or complicity in its ideologies remains a matter of scholarly debate. On one hand, the novella vividly illustrates the horrors of colonial exploitation, from the chained workers to Kurtz’s descent into madness, suggesting a condemnation of European greed and moral decay. As Watts (1983) notes, Conrad’s depiction of the Congo as a site of chaos and brutality serves as a powerful metaphor for the corrupting influence of imperialism on both coloniser and colonised.
On the other hand, the absence of African agency and the reliance on racial stereotypes limit the extent to which Heart of Darkness can be read as a truly subversive text. Indeed, Conrad’s perspective remains firmly Eurocentric, with Marlow’s internal conflict taking precedence over the lived realities of the African people he encounters. This focus, while psychologically complex, arguably sidelines the human cost of imperialism for those most directly affected by it. Parry (1983) suggests that Conrad’s critique, though present, is constrained by the cultural assumptions of his time, preventing a full reckoning with the racial ideologies that underpin colonial power structures.
Conclusion
In conclusion, *Heart of Darkness* offers a complex but ultimately limited engagement with the issue of racism within the context of European imperialism. While Conrad exposes the moral failings of colonialism through vivid imagery and Marlow’s disillusionment, his portrayal of African characters as dehumanised and voiceless perpetuates racial stereotypes prevalent in his era. The language of darkness and savagery, coupled with the marginalisation of African perspectives, reveals the novella’s entanglement with imperialist ideologies, even as it critiques their consequences. This duality underscores the importance of reading Conrad’s work within its historical and cultural context, recognising both its literary innovations and its shortcomings in addressing race. For contemporary readers, *Heart of Darkness* serves as a reminder of the enduring impact of colonial narratives, prompting reflection on how literature can both challenge and reinforce systemic inequalities. Ultimately, while Conrad’s novella raises critical questions about power and morality, it falls short of fully dismantling the racial hierarchies it seeks to interrogate, leaving a legacy that remains deeply contested.
References
- Achebe, C. (1977) An Image of Africa: Racism in Conrad’s *Heart of Darkness*. Massachusetts Review, 18(4), pp. 782-794.
- Conrad, J. (2006) *Heart of Darkness*. Edited by Paul B. Armstrong. 4th ed. New York: W.W. Norton & Company.
- Parry, B. (1983) *Conrad and Imperialism: Ideological Boundaries and Visionary Frontiers*. London: Macmillan.
- Said, E. W. (1993) *Culture and Imperialism*. London: Chatto & Windus.
- Watts, C. (1983) ‘A Bloody Racist’: About Achebe’s View of Conrad. *The Yearbook of English Studies*, 13, pp. 196-209.
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