The Help Essay On Racism In Heart

Heart of Darkness by Joseph Conrad tells the story (via an unnamed narrator) of sailor Charles Marlow’s time as captain of an ivory-hauling steamboat along the Congo River. The 1899 novel, rooted in Conrad’s own experiences as a merchant sailor on the Congo, vividly portrays the horrors of Belgian colonial rule over and exploitation of Africa. Many aspects of the book are nothing short of brilliant. Consequently, it has been a widely-taught classic that has influenced a host of literary writers and speculative fiction authors such as Michael Bishop, James Blish, Ian MacDonald, and Robert Silverberg, just to name a few.

In 1975, author Chinua Achebe analyzed Conrad’s portrayal of Africans in the book and accused the Conrad and his novel of racism:

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 bestiality. (Achebe 1785)
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. (Achebe 1789)

Many critics reacted strongly to Achebe’s condemnation and rose to Conrad’s defense. Conrad’s supporters (like supporters of H.P. Lovecraft, whose work is more frequently criticized as racist) often assert that he and his book were products of their time and thus shouldn’t be judged in the unforgiving light of modern racial morality.

British and European culture was undoubtedly far more virulently racist than it is today, and to expect a white writer educated in that culture to fail to hold some type of racial bias is no more plausible than to expect a writer living and working next to an oil refinery to not smell a bit like petroleum. It’s difficult to notice an everyday, background evil if everyone presents it as normal. Heart of Darkness is a fictionalized chronicle of what the protagonist (and author) recognized as a horrific time in human history and is a vivid critique of it. However, Conrad’s narrator relates the atrocities committed against the people of Africa without ever fully conveying the ultimate bitter truth of colonialism: that those inhuman horrors were made possible because even people who did not directly profit from Africa’s exploitation (and who otherwise might have protested or worked against it) bought into racist political and nationalist narratives.

Can a book portray racism through the eyes of a racist character without itself being racist? That question concerns me as a writer; I’ve watched enough other white writers attempt to handle race and handle it badly to know that it’s a subject I need to explore and remain mindful of.

So I started reading Heart of Darkness looking for signs that the novel is (or is not) inherently racist. And what I found was a narrative in which practically nobody (African or European) is portrayed in a positive light. Marlow objectifies the few female European characters, and through that objectification, Conrad uses them mostly as symbols instead of portraying them as real people:

She seemed uncanny and fateful. Often far away there I thought of these two, guarding the door of Darkness, knitting black wool as for a warm pall, one introducing, introducing continuously to the unknown, the other scrutinizing the cheery and foolish faces with unconcerned old eyes. (Conrad 74)
It’s queer how out of touch with truth women are. They live in a world of their own, and there had never been anything like it, and never can be. It is too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset. Some confounded fact we men have been living contentedly with ever since the day of creation would start up and knock the whole thing over. (Conrad 77)
They— the women, I mean— are out of it— should be out of it. We must help them to stay in that beautiful world of their own, lest ours gets worse. (Conrad 121)

The single female African character is likewise symbolically objectified:

She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul. (Conrad 137)

The passage above seems entirely positive at first glance with descriptors like “magnificent” and “superb”, but it’s objectification nonetheless. And it’s similar to the most positive type of portrayal that the male African characters receive; they’re presented as part of a beautiful, savage landscape that’s being despoiled:

They shouted, sang; their bodies streamed with perspiration; they had faces like grotesque masks— these chaps; but they had bone, muscle, a wild vitality, an intense energy of movement, that was as natural and true as the surf along their coast. They wanted no excuse for being there. (Conrad 78)

However, Conrad description of the African men’s “faces like grotesque masks” lumps them in with all the other distasteful, ugly things Marlow sees in the Congo. And that thread of inhuman grotesquery carries through in the other superficially sympathetic portrayals of African men:

Six black men advanced in a file, toiling up the path. They walked erect and slow, balancing small baskets full of earth on their heads, and the clink kept time with their footsteps. Black rags were wound round their loins, and the short ends behind wagged to and fro like tails. … They were called criminals, and the outraged law, like the bursting shells, had come to them, an insoluble mystery from over the sea. All their meager breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily uphill. They passed me within six inches, without a glance, with that complete, deathlike indifference of unhappy savages. (Conrad 80)
They were dying slowly— it was very clear. They were not enemies, they were not criminals, they were nothing earthly now, — nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom. … The black bones reclined at full length with one shoulder against the tree, and slowly the eyelids rose and the sunken eyes looked up at me, enormous and vacant, a kind of blind, white flicker in the depths of the orbs, which died out slowly. The man seemed young —almost a boy— but you know with them it’s hard to tell. (Conrad 82)

In the passage above, Conrad describes the “unhappy savages” as one might describe animals, particularly when he describes their rags wagging like tails, as though they were dogs. Nothing in that passage would lead a reader to believe that the Africans Marlow has encountered are essentially human. In the following sentences, Marlow experiences a fit of basic decency and gives the dying young man a biscuit to eat (again, as he might feed a starving dog back on familiar European streets).

And that moment of slight kindness highlights the protagonist’s lazy racism: he documents the blatant injustices that are clear to his privileged European eyes, but he never thinks to try to do anything of substance to help the Africans he sees suffering around him. He never even thinks to make sure that the native crewmembers working in service to his captaincy have anything to eat on their journey down the Congo (Conrad 111). In fact, if the Africans in question are out of sight, and not of personal use to him, they and their fates are pretty much out of mind and of less importance than the loss of pack animals:

In a few days the Eldorado Expedition went into the patient wilderness, that closed upon it as the sea closes over a diver. Long afterwards the news came that all the donkeys were dead. I know nothing as to the fate of the less valuable animals. They, no doubt, like the rest of us, found what they deserved. I did not inquire. (Conrad 102)

Marlow thinks of Africans as part of the land, but never as the rightful masters of it. He notices native people when they suffer in large groups; individuals who suffer are largely beneath his notice and beyond his sympathy. He describes a murdered African much as another narrator might describe a road kill opossum:

Was looking after the upkeep of the road, he declared. Can’t say I saw any road or any upkeep, unless the body of a middle-aged negro, with a bullet-hole in the forehead, upon which I absolutely stumbled three miles farther on, may be considered as a permanent improvement. (Conrad 86)

The solitary instance in which Marlow declares the African crew working aboard his steamboat to be humans like himself:

Yes; I looked at them as you would on any human being, with a curiosity of their impulses, motives, capacities, weaknesses, when brought to the test of an inexorable physical necessity. (Conrad 113)

… is almost immediately negated by a back-handed compliment that compares them to ghoulish animals:

It’s really easier to face bereavement, dishonor, and the perdition of one’s soul— than this kind of prolonged hunger. Sad, but true. And these chaps too had no earthly reason for any kind of scruple. Restraint! I would just as soon have expected restraint from a hyena prowling amongst the corpses of a battlefield. (Conrad 113)

Marlow first praises the utility of his African crew:

We had enlisted some of these chaps on the way for a crew. Fine fellows— cannibals— in their place. They were men one could work with, and I am grateful to them. (Conrad 104)

But he then spends passages minimizing their abilities in general — “They were big powerful men, with not much capacity to weigh the consequences” (Conrad 112) —and those of his unnamed helmsman in particular:

An athletic black belonging to some coast tribe, and educated by my poor predecessor, was the helmsman. He sported a pair of brass earrings, wore a blue cloth wrapper from the waist to the ankles, and thought all the world of himself. He was the most unstable kind of fool I had ever seen. He steered with no end of a swagger while you were by; but if he lost sight of you, he became instantly the prey of an abject funk, and would let that cripple of a steamboat get the upper hand of him in a minute. (Conrad 116)

Prior to this passage, the reader has been treated to a variety of portrayals of arrogant, entitled, corrupt European men of little skill and even less wisdom. So why is the nameless helmsman presented as the “most unstable kind of fool” in the book? Presumably because he is black.

After the helmsman dies in a skirmish, Marlow claims to mourn him while simultaneously declaring him to be of almost no worth:

I missed my late helmsman awfully,— I missed him even while his body was still lying in the pilot-house. Perhaps you will think it passing strange this regret for a savage who was no more account than a grain of sand in a black Sahara. (Conrad 124)

And after that, we find out that instead of giving him a proper burial (or even giving him over to the starving “cannibal” crew so they’d finally have something to eat) Marlow simply chucks his body overboard and remarks that he was anxious to take the wheel. (Conrad 125)

Given all of the objectification and minimization in the narrative, it’s pretty clear that Marlow is a passively racist protagonist documenting an aggressively racist world. But does that make the novel itself racist? And should we as readers take Marlow as a reliable narrator in all this?

I believe that Conrad ultimately intended for Marlow to be taken as a reliable narrator. On one hand, Conrad’s framing of the novel via the unnamed narrator — rather than simply telling Marlow’s story directly by using him as a first-person protagonist — does seem imply that Conrad had a certain uneasiness with the material and didn’t want to imply that Marlow was his fictional mouthpiece. But on the other hand, Conrad never took the opportunity to use his unnamed narrator (or any other character) to mitigate his protagonist’s racism. Nobody in the novel questions or challenges Marlow’s fundamental experience. There are no Africans behaving as intelligent, civilized characters despite Marlow’s low opinion of them. We get Marlow’s racist worldview without any cues that we the readers should consider any other view of Africa and its people.

And that lack of mitigation, that lack of alternate viewpoints in the novel, lends weight to Achebe’s accusation. Glossing over the more uncomfortable aspects of this or any other classic novel does it a disservice. The book remains brilliant, and can surely withstand an honest discussion of its flaws.


Works Cited

Achebe, Chinua. “An Image of Africa: Racism in Conrad’s Heart of Darkness”. The Norton Anthology of Theory and Criticism. New York: Norton, 2001. Print.

Conrad, Joseph. Heart of Darkness and The Secret Sharer. New York: New American Library, 1963. Print.

“SFE: The Science Fiction Encyclopedia.” Authors : Conrad, Joseph : SFE : Science Fiction Encyclopedia. Gollancz, n.d. Web. 19 Oct. 2015.


Lucy A. Snyder is a four-time Bram Stoker Award-winning writer who wrote the novels Spellbent, Shotgun Sorceress, and Switchblade Goddess. She also authored the nonfiction book Shooting Yourself in the Head for Fun and Profit: A Writer’s Survival Guide and the story collections While the Black Stars Burn, Soft Apocalypses, Orchid Carousals, Sparks and Shadows, Chimeric Machines, and Installing Linux on a Dead Badger.

Her writing has been translated into French, Russian, Italian, Czech, and Japanese editions and has appeared in publications such as Apex Magazine, Nightmare Magazine, Pseudopod, Strange Horizons, Weird Tales, Steampunk World, In the Court of the Yellow King, Shadows Over Main Street, Qualia Nous, Seize the Night, and Best Horror of the Year, Vol. 5.

She lives in Columbus, Ohio and is a mentor in Seton Hill University’s MFA program in Writing Popular Fiction. She also writes a column for Horror World. You can learn more about her at and you can follow her on Twitter at @LucyASnyder.

In his essay entitled An image of Africa: Racism in Conrad’s Heart of Darkness Chinua Achebe makes the claim that Joseph Conrad was a ‘thoroughgoing racist’ giving specific examples from Conrad’s Heart of Darkness. This essay will attempt to show that while Heart of Darkness may contain certain racist elements Joseph Conrad was not a racist and that Heart of Darkness is not a racist text. One of the first claims for racism in Heart of Darkness that Achebe makes is that ‘Africa is presented as the antithesis of Europe and therefore civilisation’ (Achebe33).

Achebe discusses the opening scene in which The Nellie is at rest on the river Thames which is calm and tranquil. Achebe states that Conrad is worried by the similarities that the river Thames shares with the river Congo; England too was once one of the dark places long ago before it was conquered by the ‘civilised’ Romans. Conrad seems to say though that the darkness never truly leaves a place; Marlow states “it is like a running blaze in a plain, like a flash of lightning in the clouds.

We live in the flicker – may it last as long as the old earth keeps rolling! ” In this passage it seems as though Marlow is saying that there has been darkness in this place and that darkness shall return to this place and that the present time is the flicker of light in the darkness. This darkness resides in the hearts of people, and with some careful prodding it can be set loose. Having been to the Congo and having seen the atrocities that Europeans are capable of Marlow has had firsthand experience of the darkness.

It is not that Africa is a place that makes men wicked, there are most definitely wicked men living in Europe, however Africa happens to be a place where the wicked men of Europe do not encounter the checks and balances that keep their wickedness curbed. , and in fact Conrad states “all Europe contributed to the making of Kurtz. ” Conrad tells us that Europe made Kurtz what he was; Africa merely gave him the opportunity to embrace who he truly was. Another case that Achebe makes for racism in Heart of Darkness is the passage dealing with the fireman, which is a rare example of a specific description of an African.

The fireman is an African who has been trained to operate the boat's vertical boiler. Marlow says that through instruction he's an "improved specimen," but he doesn't really understand the machine- he thinks there's an evil spirit inside who gets angry if you don't give him enough water. Marlow gives a not particularly flattering description of the fireman likening him to a dog dressed as a person. However Marlow also states that the fireman “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.

Despite the less than flattering likening of the fireman to a dog dressed as a human, it seems as though Marlow sympathises with the fireman. Marlow feels as though the fireman would be better off engaged in the tribal activity of his kinsmen, instead he has been separated from his family and forced to work for the Europeans who in return are providing him with ‘improving knowledge’. Perhaps Marlow is being ironic in his use of the words ‘improving knowledge’ realising that the knowledge gained from this man’s work for the Europeans will do very little to improve his way of life.

Marlow is likely sincere in his statement that the fireman should be out clapping his hands and stomping his feet, taking part in the day to day life of and African tribesman. Achebe discusses the fact that, “for Conrad, things being in their place is of the utmost importance” (Achebe 340). Achebe states that “Tragedy begins when things leave their accustomed place, like Europe leaving its safe stronghold between the policeman and the baker to take a peek into the heart of darkness” (Achebe 340).

It is true that all of the events and tragedies discussed in Heart of Darkness would have been avoided had the Europeans not decided to colonise Africa. This fact seems to reflect the idea that Conrad felt that Europeans had no business being in Africa and that all of the hurt and suffering that stems from their occupation is the fault of the occupiers alone. None of the Europeans depicted in Heart of Darkness are interested in trying to help or educate the Africans and most of them seem happy to ignore human suffering in order to continue their work.

The fact that Conrad decided to portray the Europeans in such a negative light seems to suggest that he disagreed with the European occupation of Africa, and hoped to show the negative effects of this occupation to his audience. Conrad himself said “Barbarism per se is no crime deserving of a heavy visitation; and the Belgians are worse than the seven plagues of Egypt insomuch that in that case it was a punishment sent for a definite transgression; but in this the Upoto man is not aware of any transgression, and therefore can see no end to the infliction.

It must appear to him very awful and mysterious; and I confess that it appears so to me too. ” (Hawkins 368). Achebe uses the argument that Conrad’s lack of focus on any of the African characters in Heart of Darkness is a sign of the works racist nature. However Conrad seems more concerned with showing the savagery of the ‘civilized’ Europeans, the first instance of which is the scene focussing on the French man-of-war. The French ship is at war with a camp of natives in the jungle.

Marlow describes the scene; “In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. ” The idea of a French warship shelling a small village armed with spears and arrows seems ridiculous. The appalling treatment of the natives at the Company’s station further highlights the savagery of the civilised whites. First Marlow sees a chain gang of Africans who seem starved and nearly worked to death. As they pass by, they seem to have the blank stare of death, unconscious to Marlow's presence even though they pass within six inches of him.

Again in the grove of death, Marlow sees the effect of the civilizing light of Europe upon the natives. "They were dying slowly . . . nothing but black shadows of disease and starvation . . . lost in uncongenial surroundings, fed on unfamiliar food, they sickened, became inefficient, and were then allowed to crawl away and rest". Marlow implies in this passage that the natives were mistreated, used relentlessly for labour until they were spent, at which point they were "allowed" by the civilized whites to crawl into the grove of death to die.

Marlow begins to give insights into some of the Africans that crew his ship. He states of the cannibals “fine fellows – cannibals - in their place. They were men one could work with, and I am grateful to them. ” Marlow places great stock in the importance of work stating “I don’t like work, no one does, but I, like what is in the work, the chance to find yourself. ” The fact that Marlow places such an importance on the value of work, and the fact that he describes the Africans as “men one could work with” seems to how that Marlow at least has a respect for the Africans that work with him, in fact Marlow does not describe any of the Europeans as men one could work with. In another scene the European ‘pilgrims’ throw the cannibals only source of food overboard and Marlow expresses wonder at the restraint the cannibals show in not eating the Europeans; “No fear can stand up to hunger, no patience can wear it out, disgust simply does not exist where hunger is; and as to superstition, beliefs, and what you may call principles, they are less than chaff in a breeze.

Don't you know the devilry of lingering starvation, its exasperating torment, its black thoughts, its sombre and brooding ferocity? Well I do. It takes a man all his inborn strength to fight hunger properly. It's really easier to face bereavement, dishonour, and the perdition of one’s soul . . . " the restraint demonstrated by the cannibals is in stark contrast to the ‘pilgrims’ who “simply squirt lead into that bush” paralleling the French man-of-war depicted earlier in the story.

Here Marlow is highlighting the differences between the Africans and Europeans and the savagery of the Europeans with the ‘nobility’ of the Africans. The Africans show an inexplicable integrity in not eating the Europeans whom they outnumber thirty to five, though this integrity is not based on any moral, religious or philosophical foundation Marlow seems to emphasize the importance of integrity as an end to itself. Another African whom Marlow forms a relationship is the Helmsman who is responsible for steering the ship.

Marlow is not particularly fond of the helmsman; however Marlow does state that finding Kurtz is not worth the death of the helmsman. Heart of darkness is not a racist text, and while it does have a tendency to focus on and give insights into European characters whilst somewhat marginalising African characters, this is not due to racism, but to a deliberate attempt to demonstrate the savagery of the European civilising mission and the European characters.

Conrad shows how being freed of the constraints of their society many of the European characters revert to primitive and animalistic states, whilst the ‘savage’ African cannibals show restraint that is lacking amongst the European characters. Joseph Conrad was trying to show the brutality of European imperialism to an audience that, for the most part, would have been ignorant of the events occurring. The true message of Heart of Darkness is that power corrupts and absolute power orrupts absolutely; the darkness exists inside of every person, and given the right conditions it may be set loose. In Kurtz’s case the right conditions happened to be his position in Africa. Works Cited Conrad, Joseph. Heart of Darkness Norton Critical Edition. New York: Norton, 2006 Achebe, Chinchua. An Image of Africa. In Heart of Darkness Norton Critical Edition, 336 – 348. Hawkins, Hunt. Heart of Darkness and Racism. In Heart of Darkness Norton Critical Edition, 365-375

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