Heart of Darkness projects the image of Africa as "the other world," the antithesis of Europe and therefore of civilization, a place where man's vaunted intelligence and refinement are finally mocked by triumphant beastiality. The book opens on the River Thames, tranquil, resting, peacefully "at the decline of day after ages of good service done to the race that peopled its banks." But the actual story will take place on the River Congo, the very antithesis of the Thames. The River Congo is quite decidedly not a River Emeritus. It has rendered no service and enjoys no old-age pension. We are told that "Going up that river was like traveling back to the earliest beginnings of the world."
Is Conrad saying then that these two rivers are very different, one good, the other bad? Yes, but that is not the real point. It is not the differentness that worries Conrad but the lurking hint of kinship, of common ancestry. For the Thames too "has been one of the dark places of the earth." It conquered its darkness, of course, and is now in daylight and at peace. But if it were to visit its primordial relative, the Congo, it would run the terrible risk of hearing grotesque echoes of its own forgotten darkness, and falling victim to an avenging recrudescence of the mindless frenzy of the first beginnings.
These suggestive echoes comprise Conrad's famed evocation of the African atmosphere in Heart of Darkness. In the final consideration his method amounts to no more than a steady, ponderous, fake-ritualistic repetition of two antithetical sentences, one about silence and the other about frenzy. We can inspect samples of this on pages 36 and 37 of the present edition: a) it was the stillness of an implacable force brooding over an inscrutable intention and b) The steamer toiled along slowly on the edge of a black and incomprehensible frenzy. Of course there is a judicious change of adjective from time to time, so that instead of inscrutable, for example, you might have unspeakable, even plain mysterious, etc., etc.
The eagle-eyed English critic F. R. Leavis drew attention long ago to Conrad's "adjectival insistence upon inexpressible and incomprehensible mystery." That insistence must not be dismissed lightly, as many Conrad critics have tended to do, as a mere stylistic flaw; for it raises serious questions of artistic good faith. When a writer while pretending to record scenes, incidents and their impact is in reality engaged in inducing hypnotic stupor in his readers through a bombardment of emotive words and other forms of trickery much more has to be at stake than stylistic felicity. Generally normal readers are well armed to detect and resist such under-hand activity. But Conrad chose his subject well -- one which was guaranteed not to put him in conflict with the psychological predisposition of his readers or raise the need for him to contend with their resistance. He chose the role of purveyor of comforting myths.
The most interesting and revealing passages in Heart of Darkness are, however, about people. I must crave the indulgence of my reader to quote almost a whole page from about the middle of the stop/when representatives of Europe in a steamer going down the Congo encounter the denizens of Africa.
We were wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet. We could have fancied ourselves the first of men taking possession of an accursed inheritance, to be subdued at the cost of profound anguish and of excessive toil. But suddenly as we struggled round a bend there would be a glimpse of rush walls, of peaked grass-roofs, a burst of yells, a whirl of black limbs, a mass of hands clapping, of feet stamping, of bodies swaying, of eyes rolling under the droop of heavy and motionless foliage. The steamer toiled along slowly on the edge of a black and incomprehensible frenzy. The prehistoric man was cursing us, praying to us, welcoming us -- who could tell? We were cut off from the comprehension of our surroundings; we glided past like phantoms, wondering and secretly appalled, as sane men would be before an enthusiastic outbreak in a madhouse. We could not understand because we were too far and could not remember, because we were traveling in the night of first ages, of those ages that are gone, leaving hardly a sign -- and no memories.
The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there -- there you could look at a thing monstrous and free. It was unearthly and the men were .... No they were not inhuman. Well, you know that was the worst of it -- this suspicion of their not being inhuman. It would come slowly to one. They howled and leaped and spun and made horrid faces, but what thrilled you, was just the thought of their humanity -- like yours -- the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough, but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you -- you so remote from the night of first ages -- could comprehend.
Herein lies the meaning of Heart of Darkness and the fascination it holds over the Western mind: "What thrilled you was just the thought of their humanity -- like yours .... Ugly."
Having shown us Africa in the mass, Conrad then zeros in, half a page later, on a specific example, giving us one of his rare descriptions of an African who is not just limbs or rolling eyes:
And between whiles I had to look after the savage who was fireman. He was an improved specimen; he could fire up a vertical boiler. He was there below me and, upon my word, to look at him was as edifying as seeing a dog in a parody of breeches and a feather hat walking on his hind legs. A few months of training had done for that really fine chap. He squinted at the steam-gauge and at the water-gauge with an evident effort of intrepidity -- and he had filed his teeth too, the poor devil, and the wool of his pate shaved into queer patterns, and three ornamental scars on each of his cheeks. He ought to have been clapping his hands and stamping his feet on the bank, instead of which he was hard at work, a thrall to strange witchcraft, full of improving knowledge.
As everybody knows, Conrad is a romantic on the side. He might not exactly admire savages clapping their hands and stamping their feet but they have at least the merit of being in their place, unlike this dog in a parody of breeches. For Conrad things being in their place is of the utmost importance.
"Fine fellows -- cannibals --in their place," he tells us pointedly. Tragedy begins when things leave their accustomed place, like Europe leaving its safe stronghold between the policeman and the baker to like a peep into the heart of darkness.
...
The point of my observations should be quite clear by now, namely that Joseph Conrad was a thoroughgoing racist. That this simple truth is glossed over in criticisms of his work is due to the fact that white racism against Africa is such a normal way of thinking that its manifestations go completely unremarked. Students of Heart of Darkness will often tell you that Conrad is concerned not so much with Africa as with the deterioration of one European mind caused by solitude and sickness. They will point out to you that Conrad is, if anything, less charitable to the Europeans in the story than he is to the natives, that the point of the story is to ridicule Europe's civilizing mission in Africa. A Conrad student informed me in Scotland that Africa is merely a setting for the disintegration of the mind of Mr. Kurtz.
Which is partly the point. 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. 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. I do not doubt Conrad's great talents. Even Heart of Darkness has its memorably good passages and moments:
The reaches opened before us and closed behind, as if the forest had stepped leisurely across tile water to bar the way for our return.
Its exploration of the minds of the European characters is often penetrating and full of insight. But all that has been more than fully discussed in the last fifty years. His obvious racism has, however, not been addressed. And it is high time it was!
Conrad was born in 1857, the very year in which the first Anglican missionaries were arriving among my own people in Nigeria. It was certainly not his fault that he lived his life at a time when the reputation of the black man was at a particularly low level. But even after due allowances have been made for all the influences of contemporary prejudice on his sensibility there remains still in Conrad's attitude a residue of antipathy to black people which his peculiar psychology alone can explain. His own account of his first encounter with a black man is very revealing:
A certain enormous buck nigger encountered in Haiti fixed my conception of blind, furious, unreasoning rage, as manifested in the human animal to the end of my days. Of the nigger I used to dream for years afterwards.
Certainly Conrad had a problem with niggers. His inordinate love of that word itself should be of interest to psychoanalysts. Sometimes his fixation on blackness is equally interesting as when he gives us this brief description:
A black figure stood up, strode on long black legs, waving long black arms...
As though we might expect a black figure striding along on black legs to wave white arms! But so unrelenting is Conrad's obsession.
...
Whatever Conrad's problems were, you might say he is now safely dead. Quite true. Unfortunately his heart of darkness plagues us still. Which is why an offensive and deplorable book can be described by a serious scholar as "among the half dozen greatest short novels in the English language." And why it is today the most commonly prescribed novel in twentieth-century literature courses in English Departments of American universities.
There are two probable grounds on which what I have aid so far may be contested. The first is that it is no concern of fiction to please people about whom it is written. I will go along with that. But I am not talking about pleasing people. I am talking about a book which parades in the most vulgar fashion prejudices and insults from which a section of mankind has suffered untold agonies and atrocities in the past and continues to do so in many ways and many places today. I am talking about a story in which the very humanity of black people is called in question.
Secondly, I may be challenged on the grounds of actuality. Conrad, after all, did sail down the Congo in 1890 when my own father was still a babe in arms. How could I stand up more than fifty years after his death and purport to contradict him? My answer is that as a sensible man I will not accept just any traveler's tales solely on the grounds that I have not made the journey myself. I will not trust the evidence even off man's very eyes when I suspect them to be as jaundiced as Conrad's. And we also happen to know that Conrad was, in the words of his biographer, Bernard C. Meyer, "notoriously inaccurate in the rendering of his own history."
But more important by far is the abundant testimony about Conrad's savages which we could gather if we were so inclined from other sources and which might lead us to think that these people must have had other occupations besides merging into the evil forest or materializing out of it simply to plague Marlow and his dispirited band. For as it happened, soon after Conrad had written his book an event of far greater consequence was taking place in the art world of Europe. This is how Frank Willett, a British art historian, describes it:
Gaugin had gone to Tahiti, the most extravagant individual act of turning to a non-European culture in the decades immediately before and after 1900, when European artists were avid for new artistic experiences, but it was only about 1904-5 that African art began to make its distinctive impact. One piece is still identifiable; it is a mask that had been given to Maurice Vlaminck in 1905. He records that Derain was 'speechless' and 'stunned' when he saw it, bought it from Vlaminck and in turn showed it to Picasso and Matisse, who were also greatly affected by it. Ambroise Vollard then borrowed it and had it cast in bronze. . . The revolution of twentieth century art was under way!
The mask in question was made by other savages living just north of Conrad's River Congo. They have a name too: the Fang people, and are without a doubt among the world's greatest masters of the sculptured form. The event Frank Willett is referring to marks the beginning of cubism and the infusion of new life into European art, which had run completely out of strength.
The point of all this is to suggest that Conrad's picture of the people of the Congo seems grossly inadequate even at the height of their subjection to the ravages of King Leopold's lnternational Association for the Civilization of Central Africa.
