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In Chinua Achebe's essay, "An Image of Africa: Racism in Conrad's Heart of Darkness," he passionately objects to Joseph Conrad's portrayal of Africa and Africans in the novel "Heart of Darkness." Achebe's own novel, "Things Fall Apart," can be seen as a direct challenge to Conrad's Western-centric perspective. This essay seeks to explore the validity of Achebe's critique in relation to language, characterization, religion, and culture. Additionally, we will consider other critical perspectives on both "Things Fall Apart" and "Heart of Darkness." Achebe argues that Conrad's novel "others" Africa and Africans, representing them as colonized people devoid of "common sense" and authority.
Achebe's primary objection to "Heart of Darkness" revolves around Conrad's use of language to depict Africans as "other." Conrad's portrayal of Africa perpetuates Western stereotypes and marginalizes African cultures.
Achebe points out that the term "common sense," which Conrad employs to describe Western beliefs, excludes African cultures. This exclusion reinforces the Western-centric worldview and diminishes the richness of African thought systems.
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“ She followed all my directions. It was really easy to contact her and respond very fast as well. ”
In Achebe's view, this linguistic bias reinforces the dehumanization of Africans by equating them with a lack of "common sense," effectively denying their intellectual agency.
Furthermore, Conrad's narrative paints Africans as a distinct race or species, emphasizing their perceived inferiority and savagery. This portrayal reinforces the dehumanizing discourse that underpinned colonialism. By characterizing Africans as separate and alien, "Heart of Darkness" contributes to their distancing from the reader, preventing any genuine understanding or empathy. Achebe's critique aligns with the "Postcolonial Theory," which challenges the dominant Western perspective and underscores the need to recognize African agency and humanity in literature.
Language plays a crucial role in conveying the novel's perspective on Africa and its people.
A closer examination of the diction and linguistic choices in "Heart of Darkness" reveals both racist and non-racist elements. For example, a passage such as, "The Man seemed young - almost a boy - but you know with them it's hard to tell," (Heart of Darkness, Penguin Classics 2000, pg 35, line 21) can be viewed as both racist and innocent. It creates a distance between Africans and colonists, but it may also reflect ignorance about unfamiliar cultures.
A similar comment in the novel is made with regard to the white men: "... white men being so much alike at a distance that he could not tell who I might be." (Heart of Darkness, Penguin Classics 2000, pg 33, line 27). This comment, too, reflects a lack of understanding based on distance and unfamiliarity. In "Things Fall Apart," Achebe also employs language that could be seen as problematic, such as describing white missionaries as "four eyes," highlighting the Africans' struggle to comprehend the unfamiliar.
Conrad's use of language is not consistently racist. For instance, when he writes, "Fine fellows - cannibals - in their place," (Heart of Darkness, Penguin Classics 2000, pg 61, line 6), the comment may distance Africans by saying "in their place" and employ the term "cannibals," but it also presents Africans in a friendly light with the phrase "Fine fellows." While Conrad uses insulting language regarding Africans at times, he also employs language that praises them. Thus, Achebe's characterization of "Heart of Darkness" as "parading in the most vulgar fashion prejudices and insults" may not capture the full complexity of the novel's linguistic portrayal of Africans.
Another aspect of Achebe's critique centers on the dehumanization of Africans in "Heart of Darkness." The novel portrays Africans as mere background elements or props in the narrative, with little individuality or agency. This dehumanization is exacerbated by Conrad's use of racial stereotypes, reducing African characters to caricatures and reinforcing harmful biases. Achebe argues that this devaluation of African lives and experiences perpetuates the notion that Africans are inferior to their Western counterparts.
Edward Said's concept of Orientalism also resonates with Achebe's critique, as it highlights how Western literature has historically constructed and manipulated the image of the "other" to justify colonial dominance. In "Heart of Darkness," the dehumanization of Africans serves to legitimize the oppressive colonial project, portraying it as a necessary intervention to civilize and enlighten a supposedly backward and savage population.
Achebe further criticizes "Heart of Darkness" for its portrayal of religion as a tool of cultural superiority. The novel depicts the European missionaries as saviors, bringing Christianity to the benighted Africans. This representation overlooks the fact that African societies had their own rich religious traditions and belief systems. By framing Christianity as the only legitimate faith, Conrad's narrative reinforces the notion that African cultures are inferior and in need of Western salvation.
Religious superiority, as depicted in the novel, parallels the broader colonial project of imposing Western values and norms on African societies. It perpetuates the idea that African traditions are backward and superstitious, in need of replacement by Western ideals. Achebe's critique highlights the harmful impact of such narratives on the perception of African cultures and their relegation to the margins of global discourse.
In Achebe's view, "Heart of Darkness" not only devalues African cultures but also erases them from the narrative. The novel positions Westerners as the dominant and superior force, marginalizing African cultures and relegating them to the background. This cultural erasure reinforces the idea that Africa and Africans are insignificant in the grand narrative of human history. Achebe's critique aligns with the broader discourse of postcolonial scholars who emphasize the need to acknowledge and respect the cultural diversity and agency of formerly colonized peoples.
Achebe's argument finds support in the work of Raymond Williams, who emphasizes the importance of recognizing the plurality of cultures and perspectives in literature. "Heart of Darkness" exemplifies the Eurocentric approach to storytelling, wherein African voices and experiences are silenced, further entrenching the colonial narrative.
To contextualize Achebe's critique within the broader discourse on colonization, we can turn to the insights of Patrick Brantlinger. Brantlinger's analysis provides a framework for understanding different stances on colonization, shedding light on the complexities of colonial discourse.
Brantlinger identifies five distinct stances on colonization. The abolitionist stance, despite its good intentions, tends to pity Africans and assumes that they are incapable of advocating for themselves. This well-meaning but patronizing perspective underscores the prevalent Western view of Africans as inferior. Achebe's critique of "Heart of Darkness" can be seen as an extension of this critique of pity and paternalism in colonial narratives.
Explorers, as Brantlinger explains, exploited Africa and its people, viewing Africans as subhuman savages with little importance. This perspective aligns with Achebe's criticism of Conrad's dehumanizing portrayal of Africans and the ruthless exploitation that resulted from such attitudes.
Scientists, influenced by Social Darwinism, saw Africans as a separate species, placing them in a position of either survival or extinction. This perspective further devalues African lives and justifies the brutality of colonialism. Achebe's critique of "Heart of Darkness" can be understood as a rejection of this pseudoscientific hierarchy.
Missionaries, in their zeal to convert Africans to Christianity, often regarded them as heathens in need of salvation. This perspective neglects the rich diversity of African religious beliefs and reinforces the idea of Western cultural superiority, which Achebe condemns in "Heart of Darkness."
Western writers, in their portrayal of Africans as inferior or in need of guidance, contributed to the perpetuation of stereotypes and biases against Africans. This aligns with Achebe's argument that Conrad's novel is a reflection of broader Western attitudes and prejudices.
Brantlinger's analysis serves as a valuable framework for understanding the multifaceted nature of colonial discourse and the various ways in which Africans were marginalized and devalued in colonial narratives.
Achebe's critique is not limited to literature but extends to the broader media landscape. Jane Brookes' examination of how stereotypes of Africa are perpetuated in contemporary newspapers resonates with Achebe's concerns. Brookes highlights how headlines, such as "Why give life-blood to this heart of darkness?" contribute to the perception of Africa as a violent, repressive, and helpless continent.
These headlines set up a false dichotomy between Africa and Western standards, perpetuating stereotypes that reinforce Achebe's critique of Western biases. Brookes' analysis underscores the role of media in shaping public perception and the danger of perpetuating harmful stereotypes in journalism.
Africans. Achebe takes offense at Conrad's racial insensitivity, arguing that "Heart of Darkness" projects a distorted image of Africa as "the other world," contrasting it with Europe and civilization. In Achebe's view, Conrad's narrative mocks African intelligence and refinement while reinforcing the triumph of bestiality. Achebe contends that Conrad's narrator, Marlowe, shares the same racist ignorance as the author himself, portraying colonists as god-like and superior, while Africans are depicted as savages, heathens, and infidels, perpetuating their inferiority.
Achebe's critique extends to the portrayal of Africa itself as a dark and mystical place that threatens foreign intruders. Furthermore, Achebe believes that "Heart of Darkness" suggests that Africa infects Westerners, driving them mad, as exemplified by Kurtz's descent into madness. Achebe accuses Conrad of attempting to convert readers to his racist beliefs and infecting them with xenophobia, the fear of foreigners. Achebe not only labels Conrad as a "thoroughgoing racist" but also expresses his dismay that the novel has not faced widespread criticism, but rather, it continues to be praised and studied.
While Achebe's critique offers a powerful perspective on the novel's racism, C.P. Sarvan provides a more nuanced examination of "Heart of Darkness." Sarvan's analysis considers both the strengths and weaknesses of the author and the narrative. Sarvan argues that the colonists in the novel are portrayed as corrupt and morally bankrupt. Instead of depicting Africa as entirely negative, Sarvan believes Conrad uses it as a backdrop to highlight the colonists' derangement, contrasting their impurity with the perceived purity of African culture.
Sarvan references a critic's observation that "Africa per se is not the theme of 'Heart of Darkness,' but it is used as a locale symbol for the very core of an 'accursed inheritance.'" This perspective suggests that the novel serves as an allegory, with the journey ending in the realization of the darkness within the human heart. In contrast to Achebe's viewpoint, Sarvan sees Marlowe and Conrad as separate entities, allowing for the possibility that Marlowe's views may not necessarily align with those of the author. Sarvan acknowledges that while the novel contains moments of racism, it also serves as a critique of the colonists' immorality and lack of ethics.
"Things Fall Apart" and "Heart of Darkness" approach the exploration of culture from different angles. In Chinua Achebe's work, African culture takes center stage, with a detailed examination of the Igbo tribe's customs, traditions, and values. The novel offers a rich tapestry of African life, showcasing the complexity and depth of the culture. Additionally, it briefly touches upon the encounter with Western culture, providing a balanced view of the clash between traditions and colonial influences. Achebe's portrayal of African culture is respectful and multifaceted.
Conversely, in Joseph Conrad's "Heart of Darkness," Western culture dominates the narrative. There is little effort made by the characters to understand or appreciate African culture. The novel presents Africa as an enigmatic and threatening place, further alienating it from Western readers. The colonists' failure to engage with African culture is evident, as exemplified by the quote, "In the empty immensity of the earth, sky, and water, there she was, incomprehensible, firing into a continent." This passage reflects a lack of understanding and empathy toward the African culture, reinforcing the idea of Western superiority.
The characterization of Africans and Westerners in "Things Fall Apart" differs significantly from that in "Heart of Darkness." Chinua Achebe portrays African characters as fully developed individuals with a sense of morality, ethics, and cultural identity. They exhibit human traits such as maternal instincts, the desire for success, knowledge of right and wrong, and respect for their elders. Achebe presents Africans as equals to Westerners, with their own distinct culture and values.
Conversely, "Heart of Darkness" depicts Africans as less than fully human, often portraying them as savages or even animals. While this dehumanization can be seen as a commentary on the colonists' moral decay, it reinforces harmful stereotypes. However, it is worth noting that Conrad's intention may have been to critique Western colonists rather than to endorse racism. The characterizations in "Heart of Darkness" are complex and can be interpreted in various ways.
A crucial aspect of Achebe's critique revolves around societal stereotypes associated with Africa. Both Brookes and Brantlinger's papers support Achebe's contention that such stereotypes have deeply influenced Western perceptions of Africa, perpetuating notions of darkness, mystery, savagery, and lack of intelligence and resources. These stereotypes have been ingrained in society to such an extent that they are rarely questioned.
Joseph Conrad's portrayal of Africa in "Heart of Darkness" reflects these societal stereotypes, as he discusses and displays them throughout the narrative. While Conrad's intent may have been to criticize the colonists, his use of these stereotypes contributes to the overall negative depiction of Africans in the novel.
In conclusion, our exploration of Chinua Achebe's critique of Joseph Conrad's "Heart of Darkness" has taken us on a journey through the intricate landscapes of two novels: "Things Fall Apart" and "Heart of Darkness." Achebe's passionate objection to Conrad's portrayal of Africa and Africans as racist and dehumanizing has been a focal point of our analysis. Throughout this essay, we have delved into Achebe's concerns regarding language, characterization, religion, culture, and the broader societal influences that shape perceptions of Africa.
While Achebe's critique offers a powerful lens through which to examine the issues of racism and colonialism in literature, a more nuanced understanding emerges when we consider the counterpoints and themes present in both novels. "Things Fall Apart" stands as a testament to the possibility of balanced representation, where African and Western religions coexist without overt prejudice, and where African culture is portrayed with depth and respect. In contrast, "Heart of Darkness" presents a more one-sided view, where Western culture and religion dominate the narrative, leaving little room for understanding or appreciation of African culture.
Characterization in these novels varies significantly. Achebe's African characters in "Things Fall Apart" are depicted as fully realized individuals with a strong sense of morality and culture. In "Heart of Darkness," Africans are often dehumanized and portrayed as savages, although Conrad's intent may have been more complex than simple racism.
Societal stereotypes and their perpetuation have played a crucial role in shaping perceptions of Africa, as discussed by Brookes and Brantlinger. These stereotypes have influenced both literature and society, and Achebe's critique serves as a reminder of the need to critically examine and challenge these biases.
In reevaluating Achebe's critique while considering the broader themes and perspectives, we find that while his objections to "Heart of Darkness" are valid, Joseph Conrad's intent may not have been entirely racist, but rather a commentary on Western colonialism. This complex exploration of two literary works underscores the importance of engaging in critical discourse about literature, colonialism, and the impact of societal prejudices. Ultimately, it is a reminder of the power of literature to provoke thought, inspire reflection, and challenge deeply ingrained beliefs and stereotypes.
Achebe's Critique of Racism in Conrad's "Heart of Darkness". (2016, Jun 20). Retrieved from https://studymoose.com/achebes-an-image-of-africa-racism-in-conrads-heart-of-darkness-essay
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