1899 novella by Joseph Conrad
Heart of Darkness
(1899) is a
novella
by
Polish-English
novelist
Joseph Conrad
in which the sailor
Charles Marlow
tells his listeners the story of his assignment as steamer captain for a
Belgian
company in the African interior. The novel is widely regarded as a critique of
European colonial rule in Africa
, whilst also examining the themes of power dynamics and morality. Although Conrad does not name the river on which most of the narrative takes place, at the time of writing, the
Congo Free State
?the location of the large and economically important
Congo River
?was a private colony of Belgium's
King Leopold II
. Marlow is given a text by
Kurtz
, an ivory trader working on a trading station far up the river, who has "gone native" and is the object of Marlow's expedition.
Central to Conrad's work is the idea that there is little difference between "civilised people" and "savages."
Heart of Darkness
implicitly comments on
imperialism
and racism.
[1]
The novella's setting provides the
frame
for Marlow's story of his fascination for the prolific ivory trader Kurtz. Conrad draws parallels between
London
("the greatest town on earth") and Africa as places of darkness.
[2]
Originally issued as a three-part serial story in
Blackwood's Magazine
to celebrate the 1000th edition of the magazine,
[3]
Heart of Darkness
has been widely republished and translated in many languages. It provided the inspiration for
Francis Ford Coppola
's 1979 film
Apocalypse Now
. In 1998, the
Modern Library
ranked
Heart of Darkness
67th on their list of the
100 best novels
in English of the 20th century.
[4]
Composition and publication
[
edit
]
In 1890, at the age of 32, Conrad was appointed by a Belgian trading company to serve on one of its
steamers
. While sailing up the
Congo River
from one station to another, the captain became ill and Conrad assumed command. He guided the ship up the
tributary
Lualaba River
to the trading company's innermost station,
Kindu
, in
Eastern Congo Free State
; Marlow has similar experiences to the author.
[5]
When Conrad began to write the novella, eight years after returning from Africa, he drew inspiration from his
travel journals
.
[5]
He described
Heart of Darkness
as "a wild story" of a journalist who becomes manager of a station in the (African) interior and makes himself worshipped by a tribe of natives. The tale was first published as a three-part serial, in February, March, and April 1899, in
Blackwood's Magazine
(February 1899 was the magazine's 1000th issue: special edition).
Heart of Darkness
was later included in the book
Youth: a Narrative, and Two Other Stories
, published on 13 November 1902 by
William Blackwood
.
The volume consisted of
Youth: a Narrative
,
Heart of Darkness
and
The End of the Tether
in that order. In 1917, for future editions of the book, Conrad wrote an "
Author's Note
" where he, after denying any "unity of artistic purpose" underlying the collection, discusses each of the three stories and makes light commentary on Marlow, the narrator of the tales within the first two stories. He said Marlow first appeared in
Youth
.
On 31 May 1902, in a letter to William Blackwood, Conrad remarked,
I call your own kind self to witness ... the last pages of
Heart of Darkness
where the interview of the man and the girl locks in?as it were?the whole 30 000 words of narrative description into one suggestive view of a whole phase of life and makes of that story something quite on another plane than an anecdote of a man who went mad in the Centre of Africa.
There have been many proposed sources for the character of the antagonist, Kurtz.
Georges-Antoine Klein
, an agent who became ill and died aboard Conrad's steamer, is proposed by literary critics as a basis for Kurtz.
[7]
The principal figures involved in the disastrous "rear column" of the
Emin Pasha Relief Expedition
have also been identified as likely sources, including column leader
Edmund Musgrave Barttelot
,
his Scottish colleague,
James Sligo Jameson
,
[9]
[10]
slave trader
Tippu Tip
and the expedition leader, Welsh explorer
Henry Morton Stanley
.
[11]
Conrad's biographer
Norman Sherry
judged that Arthur Hodister (1847?1892), a Belgian solitary but successful trader, who spoke three Congolese languages and was venerated by Congolese to the point of deification, served as the main model, while later scholars have refuted this hypothesis.
[12]
[13]
[14]
Adam Hochschild
, in
King Leopold's Ghost
, believes that the Belgian soldier
Leon Rom
influenced the character.
[15]
Peter Firchow mentions the possibility that Kurtz is a composite, modelled on various figures present in the Congo Free State at the time as well as on Conrad's imagining of what they might have had in common.
[16]
A corrective impulse to impose one's rule characterises Kurtz's writings which were discovered by Marlow during his journey, where he rants on behalf of the so-called "International Society for the Suppression of Savage Customs" about his supposedly altruistic and sentimental reasons to civilise the "savages"; one document ends with a dark proclamation to "Exterminate all the brutes!".
[17]
The "International Society for the Suppression of Savage Customs" is interpreted as a sarcastic reference to one of the participants at the
Berlin Conference
, the
International Association of the Congo
(also called "
International Congo Society
").
[18]
[19]
The predecessor to this organisation was the "
International Association for the Exploration and Civilization of Central Africa
".
Summary
[
edit
]
Charles Marlow
tells his friends the story of how he became captain of a river steamboat for an
ivory trading
company. As a child, Marlow was fascinated by "the blank spaces" on maps, particularly Africa. The image of a river on the map particularly fascinated Marlow.
In a flashback, Marlow makes his way to Africa, taking passage on a steamer. He travels 30 mi (50 km) up the river where his company's station is. Work on a railway is taking place. Marlow explores a narrow ravine, and is horrified to find himself in a place full of critically ill Africans who worked on the railroad and are now dying. Marlow must wait for ten days in the company's devastated Outer Station. Marlow meets the company's chief accountant, who tells him of a
Mr. Kurtz
, who is in charge of a very important trading post, and is described as a respected first-class agent. The accountant predicts that Kurtz will go far.
Marlow departs with 60 men to travel to the Central Station, where the steamboat that he will command is based. At the station, he learns that his steamboat has been wrecked in an accident. The general manager informs Marlow that he could not wait for Marlow to arrive, and tells him of a rumour that Kurtz is ill. Marlow fishes his boat out of the river and spends months repairing it. Delayed by the lack of tools and replacement parts, Marlow is frustrated by the time it takes to perform the repairs. He learns that Kurtz is resented, not admired, by the manager. Once underway, the journey to Kurtz's station takes two months.
The journey pauses for the night about 8 miles (13 km) below the Inner Station. In the morning the boat is enveloped by a thick fog. The steamboat is later attacked by a barrage of arrows, and the helmsman is killed. Marlow sounds the steam whistle repeatedly, frightening the attackers away.
After landing at Kurtz's station, a man boards the steamboat: a Russian wanderer who strayed into Kurtz's camp. Marlow learns that the natives worship Kurtz and that he has been very ill. The Russian tells of how Kurtz opened his mind and admires Kurtz even for his power and his willingness to use it. Marlow suspects that Kurtz has gone mad.
Marlow observes the station and sees a row of posts topped with the severed heads of natives. Around the corner of the house, Kurtz appears with supporters who carry him as a ghost-like figure on a stretcher. The area fills with natives ready for battle, but Kurtz shouts something and they retreat. His entourage carries Kurtz to the steamer and lays him in a cabin. The manager tells Marlow that Kurtz has harmed the company's business in the region because his methods are "unsound". The Russian reveals that Kurtz believes the company wants to kill him, and Marlow confirms that hangings were discussed.
After midnight, Kurtz returns to shore. Marlow finds Kurtz crawling back to the station house. Marlow threatens to harm Kurtz if he raises an alarm, but Kurtz only laments that he did not accomplish more. The next day they prepare to journey back down the river.
Kurtz's health worsens during the trip. The steamboat breaks down, and while stopped for repairs, Kurtz gives Marlow a packet of papers, including his commissioned report and a photograph, telling him to keep them from the manager. When Marlow next speaks with him, Kurtz is near death; Marlow hears him weakly whisper, "The horror! The horror!" A short while later, the manager's boy announces to the crew that Kurtz has died (the famous line "Mistah Kurtz?he dead" would become the
epigraph
of
T. S. Eliot
's poem "
The Hollow Men
"). The next day Marlow pays little attention to Kurtz's pilgrims as they bury "something" in a muddy hole.
Returning to Europe, Marlow is embittered and contemptuous of the "civilised" world. Several callers come to retrieve the papers Kurtz entrusted to him, but Marlow withholds them or offers papers he knows they have no interest in. He gives Kurtz's report to a journalist, for publication if he sees fit. Marlow is left with some personal letters and a photograph of Kurtz's fiancee. When Marlow visits her, she is deep in mourning although it has been more than a year since Kurtz's death. She presses Marlow for information, asking him to repeat Kurtz's final words. Marlow tells her that Kurtz's final word was her name.
Critical reception
[
edit
]
The novella was not a big success during Conrad's life.
[20]
When it was published as a single volume in 1902 with two novellas, "Youth" and "The End of the Tether", it received the least commentary from critics.
[20]
F. R. Leavis
referred to
Heart of Darkness
as a "minor work" and criticised its "adjectival insistence upon inexpressible and incomprehensible mystery".
[21]
Conrad did not consider it to be particularly notable;
[20]
but by the 1960s it was a standard assignment in many college and high school English courses.
[22]
Literary critic
Harold Bloom
wrote that
Heart of Darkness
had been analysed more than any other work of literature that is studied in universities and colleges, which he attributed to Conrad's "unique propensity for ambiguity".
[23]
In
King Leopold's Ghost
(1998),
Adam Hochschild
wrote that literary scholars have made too much of the psychological aspects of
Heart of Darkness
, while paying scant attention to Conrad's accurate recounting of the horror arising from the methods and effects of colonialism in the Congo Free State. "
Heart of Darkness
is experience ... pushed a little (and only very little) beyond the actual facts of the case".
Other critiques include Hugh Curtler's
Achebe on Conrad: Racism and Greatness in Heart of Darkness
(1997).
[25]
The French philosopher
Philippe Lacoue-Labarthe
called
Heart of Darkness
"one of the greatest texts of Western literature" and used Conrad's tale for a reflection on "The Horror of the West".
[26]
Heart of Darkness
is criticised in
postcolonial
studies, particularly by Nigerian novelist
Chinua Achebe
.
[27]
[28]
In his 1975 public lecture "
An Image of Africa
: Racism in Conrad's
Heart of Darkness
", Achebe described Conrad's novella as "an offensive and deplorable book" that
de-humanised
Africans.
[29]
Achebe argued that Conrad, "blinkered ... with xenophobia", incorrectly depicted Africa as the antithesis of Europe and civilisation, ignoring the artistic accomplishments of the
Fang people
who lived in the Congo River basin at the time of the book's publication. He argued that the book promoted and continues to promote a prejudiced image of Africa that "depersonalises a portion of the human race" and concluded that it should not be considered a great work of art.
[27]
[30]
Achebe's critics argue that he fails to distinguish Marlow's view from Conrad's, which results in very clumsy interpretations of the novella.
[31]
In their view, Conrad portrays Africans sympathetically and their plight tragically, and refers sarcastically to, and condemns outright, the supposedly noble aims of European colonists, thereby demonstrating his scepticism about the moral superiority of European men.
[32]
Ending a passage that describes the condition of chained, emaciated slaves, Marlow remarks: "After all, I also was a part of the great cause of these high and just proceedings." Some observers assert that Conrad, whose native country had been conquered by imperial powers, empathised by default with other subjugated peoples.
[33]
Jeffrey Meyers
notes that Conrad, like his acquaintance
Roger Casement
, "was one of the first men to question the Western notion of progress, a dominant idea in Europe from the
Renaissance
to the
Great War
, to attack the hypocritical justification of
colonialism
and to reveal... the savage degradation of the white man in Africa."
[34]
: 100?01
Likewise,
E.D. Morel
, who led international opposition to
King Leopold II
's rule in the Congo, saw Conrad's
Heart of Darkness
as a condemnation of colonial brutality and referred to the novella as "the most powerful thing written on the subject."
[35]
Conrad scholar
Peter Firchow
writes that "nowhere in the novel does Conrad or any of his narrators, personified or otherwise, claim superiority on the part of Europeans on the grounds of alleged genetic or biological difference". If Conrad or his novel is racist, it is only in a weak sense, since
Heart of Darkness
acknowledges racial distinctions "but does not suggest an essential superiority" of any group.
[36]
[37]
Achebe's reading of
Heart of Darkness
can be (and has been) challenged by a reading of Conrad's other African story, "
An Outpost of Progress
", which has an omniscient narrator, rather than the embodied narrator, Marlow.
Masood Ashraf Raja
has suggested that Conrad's positive representation of
Muslims
in his
Malay
novels complicates these charges of racism.
[38]
In 2003, Motswana scholar Peter Mwikisa concluded the book was "the great lost opportunity to depict dialogue between Africa and Europe".
[39]
Zimbabwean scholar Rino Zhuwarara, however, broadly agreed with Achebe, though considered it important to be "sensitised to how peoples of other nations perceive Africa".
[40]
The novelist
Caryl Phillips
stated in 2003 that: "Achebe is right; to the African reader the price of Conrad's eloquent denunciation of colonisation is the recycling of racist notions of the 'dark' continent and her people. Those of us who are not from Africa may be prepared to pay this price, but this price is far too high for Achebe".
[41]
In his 1983 criticism, the British academic Cedric Watts criticises the insinuation in Achebe's critique?the premise that only black people may accurately analyse and assess the novella, as well as mentioning that Achebe's critique falls into self-contradictory arguments regarding Conrad's writing style, both praising and denouncing it at times.
[29]
Stan Galloway writes, in a comparison of
Heart of Darkness
with
Jungle Tales of Tarzan
, "The inhabitants [of both works], whether antagonists or compatriots, were clearly imaginary and meant to represent a particular fictive cipher and not a particular African people".
[42]
More recent critics like Nidesh Lawtoo have stressed that the "continuities" between Conrad and Achebe are profound and that a form of "postcolonial mimesis" ties the two authors via productive mirroring inversions.
[43]
Adaptations and influences
[
edit
]
Radio and stage
[
edit
]
Orson Welles
adapted and starred in
Heart of Darkness
in a
CBS Radio
broadcast on 6 November 1938 as part of his series,
The Mercury Theatre on the Air
. In 1939, Welles adapted the story for his first film for
RKO Pictures
,
[44]
writing a screenplay with
John Houseman
. The story was adapted to focus on the rise of a
fascist
dictator.
[44]
Welles intended to play Marlow and Kurtz
[44]
and it was to be entirely filmed as a POV from Marlow's eyes. Welles even filmed a short presentation film illustrating his intent. It is reportedly lost. The film's prologue to be read by Welles said "You aren't going to see this picture - this picture is going to happen to you."
[44]
The project was never realised; one reason given was the loss of European markets after the outbreak of
World War II
. Welles still hoped to produce the film when he presented another radio adaptation of the story as his first program as producer-star of the CBS radio series
This Is My Best
. Welles scholar
Bret Wood
called the broadcast of 13 March 1945, "the closest representation of the film Welles might have made, crippled, of course, by the absence of the story's visual elements (which were so meticulously designed) and the half-hour length of the broadcast."
[45]
: 95, 153?156, 136?137
In 1991, Australian author/playwright
Larry Buttrose
wrote and staged a theatrical adaptation titled
Kurtz
with the Crossroads Theatre Company,
Sydney
.
[46]
The play was announced to be broadcast as a radio play to Australian radio audiences in August 2011 by the
Vision Australia Radio
Network,
[47]
and also by the RPH ?
Radio Print Handicapped Network
across Australia. In 2011, composer
Tarik O'Regan
and librettist
Tom Phillips
adapted an
opera of the same name
, which premiered at the
Linbury Theatre
of the
Royal Opera House
in London.
[48]
A suite for orchestra and narrator was subsequently extrapolated from it.
[49]
In 2015, an adaptation of Welles' screenplay by
Jamie Lloyd
and
Laurence Bowen
aired on
BBC Radio 4
.
[50]
The production starred
James McAvoy
as Marlow. Another BBC Radio 4 adaptation, first broadcast in 2021, transposes the action to the 21st century.
[51]
Film and television
[
edit
]
In 1958, the
CBS
television anthology
Playhouse 90
(
S3E7
) aired a loose 90-minute television play adaptation. This version, written by
Stewart Stern
, uses the encounter between Marlow (
Roddy McDowall
) and Kurtz (
Boris Karloff
) as its final act, and adds a backstory in which Marlow had been Kurtz's adopted son. The cast includes
Inga Swenson
and
Eartha Kitt
.
[52]
Perhaps the best known adaptation is
Francis Ford Coppola
's 1979 film
Apocalypse Now
, based on the screenplay by
John Milius
, which moves the story from the Congo to
Vietnam
and
Cambodia
during the
Vietnam War
.
[53]
In
Apocalypse Now
,
Martin Sheen
stars as Captain Benjamin L. Willard, a
US Army
Captain assigned to "terminate the command" of Colonel Walter E. Kurtz, played by
Marlon Brando
. A film documenting the production, titled
Hearts of Darkness: A Filmmaker's Apocalypse
, was released in 1991. It chronicles a series of difficulties and challenges that director Coppola encountered during the making of the film, several of which mirror some of the novella's themes.
A 1993 television film
adaptation was written by
Benedict Fitzgerald
and directed by
Nicolas Roeg
. The film, which was aired by
TNT
, starred
Tim Roth
as Marlow,
John Malkovich
as Kurtz,
Isaach de Bankole
as Mfumu, and
James Fox
as Gosse.
[54]
James Gray
's 2019 science fiction film
Ad Astra
is loosely inspired by the events of the novel. It features
Brad Pitt
as an astronaut travelling to the edge of the
Solar System
to confront and potentially kill his father (
Tommy Lee Jones
), who has gone rogue.
[55]
In 2020,
African Apocalypse
, a documentary film directed and produced by Rob Lemkin and featuring Femi Nylander portrays a journey from
Oxford
, England to
Niger
on the trail of a colonial killer called Captain
Paul Voulet
. Voulet's descent into barbarity mirrors that of Kurtz in Conrad's
Heart of Darkness
. Nylander discovers Voulet's massacres happened at exactly the same time that Conrad wrote his book in 1899. It was broadcast by the
BBC
in May 2021 as an episode of the
Arena
documentary series
.
[56]
A British animated film adaption of the novella is planned, directed by Gerald Conn. It was written by Mark Jenkins and Mary Kate O Flanagan and is produced by Gritty Realism and
Michael Sheen
. Kurtz is voiced by Sheen and Harlequin by
Andrew Scott
.
[57]
The animation uses sand to better convey atmosphere of the book.
[58]
A Brazilian animated film (2023) also adapts the novella. It is directed by Rogerio Nunes and Alois Di Leo and moves the story to a near future
Rio de Janeiro
.
[59]
[60]
[61]
Video games
[
edit
]
The video game
Far Cry 2
, released on 21 October 2008, is a loose modernised adaptation of
Heart of Darkness
. The player assumes the role of a mercenary operating in Africa whose task it is to kill an arms dealer, the elusive "Jackal". The last area of the game is called "The Heart of Darkness".
[62]
[63]
[64]
Spec Ops: The Line
, released on 26 June 2012, is a direct modernised adaptation of
Heart of Darkness
. The player assumes the role of
Delta Force
operator
Captain Martin Walker
as he and his team search
Dubai
for survivors in the aftermath of catastrophic sandstorms that left the city without contact to the outside world. The character John Konrad, who replaces the character Kurtz, is a reference to Joseph Conrad.
[65]
Literature
[
edit
]
T. S. Eliot
's 1925 poem "
The Hollow Men
" quotes, as its first epigraph, a line from
Heart of Darkness
: "Mistah Kurtz ? he dead."
[66]
Eliot had planned to use a quotation from the climax of the tale as the epigraph for
The Waste Land
, but
Ezra Pound
advised against it.
[67]
Eliot said of the quote that "it is much the most appropriate I can find, and somewhat elucidative."
[68]
Biographer
Peter Ackroyd
suggested that the passage inspired or at least anticipated the central theme of the poem.
[69]
Chinua Achebe
's 1958 novel
Things Fall Apart
is Achebe's response to what he saw as Conrad's portrayal of Africa and Africans as symbols-- "the antithesis of Europe and therefore civilization".
[70]
Achebe set out to write a novel about Africa and Africans by an African. In
Things Fall Apart
we see the effects of colonialism and Christian missionary endeavours on an Igbo community in West Africa through the eyes of that community's West African protagonists.
Another literary work with an acknowledged debt to
Heart of Darkness
is
Wilson Harris
' 1960
postcolonial novel
Palace of the Peacock
.
[71]
[72]
[73]
J. G. Ballard
's 1962
climate fiction
novel
The Drowned World
includes many similarities to Conrad's novella. However, Ballard said he had read nothing by Conrad before writing the novel, prompting literary critic Robert S. Lehman to remark that "the novel's allusion to Conrad works nicely, even if it is not really an allusion to Conrad".
[74]
[75]
Robert Silverberg
's 1970 novel
Downward to the Earth
uses themes and characters based on
Heart of Darkness
set on the alien world of Belzagor.
[76]
In
Josef ?kvorecky
's 1984 novel
The Engineer of Human Souls
, Kurtz is seen as the epitome of exterminatory colonialism and, there and elsewhere, ?kvorecky emphasises the importance of Conrad's concern with Russian imperialism in Eastern Europe.
[77]
Timothy Findley
's 1993 novel
Headhunter
is an extensive adaptation that reimagines Kurtz and Marlow as psychiatrists in Toronto. The novel begins: "On a winter's day, while a blizzard raged through the streets of Toronto, Lilah Kemp inadvertently set Kurtz free from page 92 of
Heart of Darkness
."
[78]
[79]
Ann Patchett
's 2011 novel
State of Wonder
reimagines the story with the central figures as female scientists in contemporary Brazil.
[80]
[81]
Notes
[
edit
]
- ^
The Norton Anthology
, 7th edition, (2000), p. 1957.
- ^
Achebe, Chinua (2000). "An Image of Africa: Racism in Conrad's
Heart of Darkness
" in
The Norton Anthology of English Literature
, vol. 2 (7th edition), p. 2036.
- ^
National Library of Scotland:
Blackwood's Magazine
exhibition. In
Blackwood's
, the story is titled "The Heart of Darkness", but when published as a separate book, "The" was dropped from the title.
- ^
100 Best
Archived
7 February 2010 at the
Wayback Machine
, Modern Library's website. Retrieved 12 January 2010.
- ^
a
b
Bloom 2009
, p. 15
- ^
Karl, F. R. (1968). "Introduction to the dance macabre: Conrad's Heart of Darkness".
Modern Fiction Studies
.
14
(2): 143?156.
- ^
Richardson, J. A. (1993). "James S. Jameson and
Heart of Darkness
".
Notes and Queries
.
40
(1): 64?66.
- ^
Fletcher, Chris (2001).
"Kurtz, Marlow, Jameson, and the Rearguard: A Few Further Observations"
.
The Conradian
.
26
(1): 60?64.
ISSN
0951-2314
.
JSTOR
20874186
.
- ^
Hochschild, Adam (1998).
King Leopold's Ghost: A Story of Greed, Terror, and Heroism in Colonial Africa
. New York: Houghton Mifflin. pp.
98
, 145.
ISBN
978-0-395-75924-0
– via
Internet Archive
.
- ^
Sherry, Norman (1971).
Conrad's Western World
. Cambridge: Cambridge University Press. p. 95.
- ^
Coosemans, M. (1948). "Hodister, Arthur".
Biographie Coloniale Belge
.
I
: 514?518.
- ^
Firchow, Peter (2015).
Envisioning Africa: Racism and Imperialism in Conrad's Heart of Darkness
. University Press of Kentucky. pp. 65?68.
- ^
Ankomah, Baffour (October 1999). "The Butcher of Congo".
New African
.
- ^
Firchow, Peter (2015).
Envisioning Africa: Racism and Imperialism in Conrad's Heart of Darkness
. University of Kentucky Press. pp. 67?68.
- ^
Shah, Sonal (26 April 2018).
"A Photographer Takes the Bull by the Horns in His Jallikattu Series"
. Vice.com.
Archived
from the original on 26 January 2021
. Retrieved
13 September
2021
.
- ^
"Historical Context:
Heart of Darkness
." EXPLORING Novels, Online Edition. Gale, 2003.
Discovering Collection
.
(subscription required)
- ^
Stengers, Jean. "Sur l'aventure congolaise de Joseph Conrad".
In Quaghebeur, M. And van Balberghe, E. (Eds.), Papier Blanc, Encre Noire: Cent Ans de Culture Francophone en Afrique Centrale (Zaire, Rwanda et Burundi). 2 Vols. Pp. 15-34. Brussels: Labor
.
1
.
- ^
a
b
c
Moore 2004
, p. 4
- ^
Moore 2004
, p. 5
- ^
"13.02.01: Moving Beyond "Huh?": Ambiguity in Heart of Darkness"
.
Archived
from the original on 21 November 2021.
- ^
Bloom 2009
, p. 17
- ^
Curtler, Hugh (March 1997). "Achebe on Conrad: Racism and Greatness in Heart of Darkness".
Conradiana
.
29
(1): 30?40.
- ^
Lacoue-Labarthe, Philippe.
"The Horror of the West"
. Bloomsbury.
Archived
from the original on 21 November 2021.
- ^
a
b
Podgorski, Daniel (6 October 2015).
"A Controversy Worth Teaching: Joseph Conrad's Heart of Darkness and the Ethics of Stature"
.
The Gemsbok
. Your Tuesday Tome.
Archived
from the original on 21 November 2021
. Retrieved
19 February
2016
.
- ^
"Chinua Achebe Biography"
. Biography.com.
Archived
from the original on 25 October 2014
. Retrieved
30 November
2014
.
- ^
a
b
Watts, Cedric (1983). "
'A Bloody Racist': About Achebe's View of Conrad".
The Yearbook of English Studies
.
13
: 196?209.
doi
:
10.2307/3508121
.
JSTOR
3508121
.
- ^
Achebe, Chinua (1978). "An Image of Africa".
Research in African Literatures
.
9
(1): 1?15.
JSTOR
3818468
.
- ^
Lackey, Michael (Winter 2005). "The Moral Conditions for Genocide in Joseph Conrad's "Heart of Darkness"
".
College Literature
.
32
(1): 20?41.
doi
:
10.1353/lit.2005.0010
.
JSTOR
25115244
.
S2CID
170188739
.
- ^
Watts, Cedric (1983). "
'A Bloody Racist': About Achebe's View of Conrad".
The Yearbook of English Studies
.
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References
[
edit
]
- Bloom, Harold, ed. (2009).
Joseph Conrad's Heart of Darkness
.
Infobase Publishing
.
ISBN
978-1-4381-1710-2
.
- Hochschild, Adam (October 1999).
"Chapter 9: Meeting Mr. Kurtz"
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- Karl, Frederick R.; Davies, Laurence, eds. (1986).
The Collected Letters of Joseph Conrad
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978-0-521-25748-0
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- Moore, Gene M., ed. (2004).
Joseph Conrad's Heart of Darkness: A Casebook
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Oxford University Press
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- Murfin, Ross C., ed. (1989).
Joseph Conrad: Heart of Darkness. A Case Study in Contemporary Criticism
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- Sherry, Norman (30 June 1980).
Conrad's Western World
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.
Further reading
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edit
]
External links
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]
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