Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness ” by Chinua Achebe. 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. What is Achebe’s purpose in this passage?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” 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. The author’s most likely reason for writing this passage is
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” It is clearly not part of Conrad's purpose to confer language on the "rudimentary souls" of Africa. In place of speech they made "a violent babble of uncouth sounds." They "exchanged short grunting phrases" even among themselves. But most of the time they were too busy with their frenzy. Read the excerpt from Joseph Conrad’s Heart of Darkness. "Catch 'im," he snapped with a bloodshot widening of his eyes and a flash of sharp white teeth—"catch 'im. Give 'im to us." "To you, eh?" I asked; "what would you do with them?" "Eat 'im!" he said curtly. Based on these excerpts, which statement best explains how Conrad uses language in Heart of Darkness ?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” 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. 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. Read the excerpt from Joseph Conrad’s Heart of Darkness. 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. Which statement best explains how these two excerpts are related?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” 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 traveller's tales solely on the grounds that I have not made the journey myself. I will not trust the evidence even of a man's very eyes when I suspect them to be as jaundiced as Conrad's. What type of evidence does Achebe use to support his claim in this passage?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness ” by Chinua Achebe. The Christian Science Monitor , a paper more enlightened than most, once carried an interesting article written by its Education Editor on the serious psychological and learning problems faced by little children who speak one language at home and then go to school where something else is spoken. It was a wide-ranging article taking in Spanish-speaking children in America, the children of migrant Italian workers in Germany, the quadrilingual phenomenon in Malaysia and so on. And all this while the article speaks unequivocally about language. But then out of the blue sky comes this: In London there is an enormous immigration of children who speak Indian or Nigerian dialects, or some other native language. I believe that the introduction of "dialects," which is technically erroneous in the context, is almost a reflex action caused by an instinctive desire of the writer to downgrade the discussion to the level of Africa and India. And this is quite comparable to Conrad's withholding of language from his rudimentary souls. Language is too grand for these chaps; let's give them dialects! Based on the details in the excerpt, what is the primary purpose of this passage?
Read the excerpt from Joseph Conrad’s Heart of Darkness. And the intimate profundity of that look he gave me when he received his hurt remains to this day in my memory—like a claim of distant kinship affirmed in a supreme moment. Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness.” It is important to note that Conrad, careful as ever with his words, is concerned not so much about "distant kinship" as about someone laying a claim on it. The black man lays a claim on the white man which is well-nigh intolerable. It is the laying of this claim which frightens and at the same time fascinates Conrad. What does Achebe’s use of the phrase "laying a claim” suggest about his perception of Conrad?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” At first sight these instances might be mistaken for unexpected acts of generosity from Conrad. In reality they constitute some of his best assaults. In the case of the cannibals the incomprehensible grunts that had thus far served them for speech suddenly proved inadequate for Conrad's purpose of letting the European glimpse the unspeakable craving in their hearts. Weighing the necessity for consistency in the portrayal of the dumb brutes against the sensational advantages of securing their conviction by clear, unambiguous evidence issuing out of their own mouths, Conrad chose the latter. As for the announcement of Mr. Kurtz's death by the "insolent black head in the doorway," what better or more appropriate finis could be written to the horror story of that wayward child of civilization who willfully had given his soul to the powers of darkness and "taken a high seat amongst the devils of the land" than the proclamation of his physical death by the forces he had joined? How does Achebe develop his claim in this excerpt?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” 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: Gauguin 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! What type of evidence does Achebe use to contrast Conrad’s point of view with that of other renowned people of his era?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” Achebe directly quotes Conrad’s descriptions of a Congolese woman and a European woman, respectively. Towards the end of the story Conrad lavishes a whole page quite unexpectedly on an African woman who has obviously been some kind of mistress to Mr. Kurtz and now presides (if I may be permitted a little liberty) like a formidable mystery over the inexorable imminence of his departure: She was savage and superb, wild-eyed and magnificent. . . . She stood looking at us without a stir and like the wilderness itself, with an air of brooding over an inscrutable purpose. . . . She came forward all in black with a pale head, floating toward me in the dusk. She was in mourning . . . She took both my hands in hers and murmured, "I had heard you were coming.". . . She had a mature capacity for fidelity, for belief, for suffering. How does Achebe support his claim that Heart of Darkness contains racist elements?
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