By Joseph Conrad
Author note: Edited and creation through Harold Bloom
Publish yr note: First released in 1987
Joseph Conrad's middle of Darkness isn't really easily a critique of colonialism within the Congo; it's a story of the human tendency towards selfendangering corruptibility. Harold Bloom indicates it has taken on a few energy of delusion.
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Additional resources for Joseph Conrad's Heart of Darkness (New Edition)
The rest of the world is gone, so the only reality is the steamer itself, which is human-made and hence not an organic part of the world to which the humans wish to belong. ” The steamer too then is becoming unreal, and with it reality itself is disintegrating with perhaps only nothingness to remain. The fact that this incident occurs on water further emphasizes the shifting nature of images and events in this scene. . . 5 Although Conrad speaks here specifically of the sea, much of what he says applies equally to any body of water.
The fog that appears in the white fog incident in “Heart of Darkness” does obscure—but it does more than merely obscure. In many ways, it actually clarifies certain issues for Marlow and his listeners (and perhaps his readers as well): the fog in fact uncovers—rather than obscures— issues concerning western civilization and western world view. In narrating this event, Marlow discusses a number of subjects that seem to have little in common except that he happens to mention them at this point in the tale.
When Marlow said things of which they approved, they might give Conrad credit; when he said things that embarrassed them, they might cite the oblique convention, blame Marlow, and exonerate Conrad. Clearly, such logic could be neatly reversed by their opponents. 15 Other Third World writers, including Ngugi wa Thiong’o, Wilson Harris, Frances B. Singh, and C. P. Sarvan, argued that while Conrad was certainly ambivalent on racial matters, ‘Heart of Darkness’ was progressive in its satiric accounts of the colonialists.