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This discussion prompt requires analyzing Chinua Achebe's critique of Joseph Conrad's "Heart of Darkness," particularly focusing on the representations of Africa and Africans in the novella. The assignment emphasizes supporting arguments with specific examples from the text and relevant scholarly responses. Students are expected to articulate their perspectives on Achebe's criticisms, the portrayal of Africa in the novella, and the differing interpretations, such as Edward Said’s defense of Conrad. The task involves presenting a clear position on whether one agrees with Achebe’s critique or accepts Conrad’s depiction as a product of its time, citing textual evidence and scholarly insights to support the discussion.

Sample Paper For Above instruction

Introduction

The literary portrayal of Africa in Western texts has historically been fraught with stereotypes and misrepresentations. Chinua Achebe’s seminal critique of Joseph Conrad’s "Heart of Darkness" challenges these portrayals, arguing that Conrad's depiction reduces Africans to mere symbols and dismisses their humanity. This essay explores Achebe’s criticisms, analyzes specific textual examples from "Heart of Darkness," and discusses whether Conrad’s portrayal is indicative of racial bias rooted in his historical context or a reflection of a broader imperialist attitude. Furthermore, it considers Edward Said’s response, which defends Conrad’s work as a critique of imperialism, yet still recognizes its problematic racial representations.

Achebe’s Critique of "Heart of Darkness"

Chinua Achebe criticizes Conrad for dehumanizing Africans, portraying them as inscrutable and lacking language or facial expressions, which signifies a failure to recognize their full humanity. In his essay, Achebe emphasizes that this perspective is not accidental but reflects Conrad’s racial biases. For example, Achebe points out that Conrad describes the African environment as "incomprehensible," which implies an inability to understand or connect with African peoples and landscapes (Achebe, 1975). This portrayal perpetuates the stereotype of Africa as a mysterious, savage locale devoid of rationality or civilization, aligning with colonial narratives that justified exploitative practices.

Conrad’s narrative also contextualizes Africans as passive obstacles rather than active agents. Marlow’s encounters with the natives often depict them through the lens of European superiority, emphasizing their silence or ignorance. For instance, Marlow describes the natives’ faces as "blank" or "expressionless," suggesting a dearth of inner life or language. Such descriptions reflect a racial bias that underpins the novella’s narrative framework, reinforcing the colonial view of Africans as inferior and inscrutable.

Textual Examples Supporting Achebe’s Claims

One of the most compelling textual examples occurs early in the novella, where Conrad writes about the "native knowing" the wilderness as "a vast and lonesome wilderness of heath and grass and trees." The natives are described as part of the landscape, not as individuals with agency (Conrad, 1899). This depiction subtly erases their personhood and societal complexity. Furthermore, when the native workers are depicted on the steamer, their speech is unintelligible, and their physicality is characterized in a demeaning manner—emphasizing their primitiveness and otherness.

Another poignant example is Marlow’s reflection, which reveals his subconscious biases—"they were dying slowly—it was very clear. They were not enemies, they were not criminals, they were not anything—they just passed" (Conrad, 1899). Here, the natives are portrayed as passive entities, mere obstacles or obstacles in the colonial enterprise, further exemplifying the dehumanization critiqued by Achebe.

Edward Said’s Response and Broader Context

Edward Said, in his work "Culture and Imperialism," defends Conrad by situating his writing within the imperialist ideology of the period. Said argues that Conrad attempts to critique imperialism, suggesting that "Heart of Darkness" exposes the brutality and moral corruption of colonial pursuits. However, Said concedes that this critique does not exempt the novella from racial problematic elements. Conrad's depiction of Africans as "inscrutable" and "faceless" aligns with the colonial narrative that served imperial interests by justifying exploitation and cultural superiority (Said, 1993).

Thus, while Said’s interpretation recognizes Conrad's potential critique of imperialism, it does not absolve the racial stereotypes and dehumanizing language present in the text. This highlights the complex relationship between literary intention and racial representation, a critical issue in postcolonial studies.

Personal Position

I align more closely with Achebe’s critique, arguing that Conrad’s portrayal of Africa and Africans is racially biased and dehumanizing, reflective of imperialist attitudes of the time. Literature, as a powerful cultural force, shapes perceptions, and texts like "Heart of Darkness" have contributed to harmful stereotypes that persist today. While acknowledging Conrad’s historical context, it is essential to recognize that his depiction reinforces falsehoods about African peoples, privileging European narratives over authentic African voices.

Furthermore, contemporary scholarship emphasizes the importance of nuanced and equitable representations of marginalized groups in literature. Conrad’s novella, despite its literary merits, fails to transcend racial stereotypes and offers a limited, often prejudiced, view of Africa. Therefore, Achebe's critique remains crucial in understanding how literature reflects and perpetuates societal biases, urging modern readers and writers to challenge such portrayals and promote more authentic, diverse narratives.

Conclusion

In conclusion, Achebe’s criticism of "Heart of Darkness" highlights significant racial biases embedded within Conrad’s portrayal of Africa. Textual examples demonstrate how these depictions dehumanize Africans and reinforce colonial stereotypes. While Conrad’s work can be read as a critique of imperialism, it still perpetuates problematic racial imagery. Modern literary discourse must continue to interrogate such representations and strive for more truthful and respectful portrayals of marginalized peoples, resonating with Achebe’s call for dignity and accuracy in depicting African humanity.

References

• Achebe, C. (1975). An Image of Africa: Racism in Conrad's Heart of Darkness. Migration and Identity, 16(4), 347-358.
• Conrad, J. (1899). Heart of Darkness. Blackwood's Magazine.
• Said, E. (1993). Culture and Imperialism. Vintage Books.
• Loomba, A. (2005). Colonialism/Postcolonialism. Routledge.
• Ngugi wa Thiong'o (1986). Decolonising the Mind. James Currey.
• Young, R. J. C. (2001). Postcolonialism: An Historical Introduction. Blackwell Publishing.
• Chiwome, B., & Witina, M. (2020). Reimagining Africa in Literature: Postcolonial Perspectives. Journal of African Literature, 21(2), 58-75.
• Martin, R. (2012). Literature and Colonialism: Representations of Africa. Colonial Discourse, 14(1), 45-60.
• Zeleza, P. T. (2005). Rewriting Africa: Toward a Postcolonial Literary Theory and Criticism. Research in African Literatures, 36(4), 1-21.
• Hutcheon, L. (2006). The Politics of Postmodernism. Routledge.