Monday, August 5, 2013

Thoughts on Conrad's Heart of Darkness

To be honest I had no idea which "colonial" text I would re-write, but when Esther mentioned Joseph Conrad's Heart of Darkness (1899) in the lab I couldn't resist. I read the book when I was much younger and enjoyed it's inherent creepiness and air of futility. 

There is one scene in particular that I would like to base some of my re-write around. In it, main character Marlow sails down the Congo River, where he has recently been appointed captain of a river steamboat for an ivory trading company. On the way to his vessel, he stops at a riverside area at the suggestion of his chaperone. While at this stop, he retreats into the cover of some trees, for shade (I think). When he enters the shade he finds a group of completely devastated local men, shackled, demoralized, on the verge of death. Marlow notes that they have been worked to death and have literally crawled away into the shadows to die. This was quite a disturbing and powerful scene. None of the men can even speak, and they are most definitely depicted as a silent "other". In re-writing this scene into my narrative I hope to give these men a voice, and to tell their story.

There is another curiosity I would like to work in as well; a beautiful native woman that is somehow connected to the enigmatic Kurtz. After Kurtz has been picked up by Marlow and his crew, the mysterious woman walks up to the steamboat, before raising her arms above her head and stepping backwards into the jungle. Later she appears again, once all of the natives at Kurtz' camp have mobilized on the shore near the steamboat, fearfully scattered due to the well armed crewman of the steamboat, the woman stays behind, holding her arms out (presumably for Kurtz). What is the relationship between these two, who is this woman and what is she thinking?

While I don't have exact plan of how the re-written narrative will go, I'm hoping to give this woman a back-story as well as the workers who are dying.

In 1975, Chinua Achebe, writer and scholar, gave a lecture at the University of Massachusetts Amherst, entitled An Image of Africa: Racism in Conrad's "Heart of Darkness". Which, not surprisingly, discussed just that. Achebe claimed Conrad was a "a thoroughgoing racist" for his depiction of Africa as the Other World, as opposed to Europe and thus, civilization, where the African characters in the novel are deprived of language or even human expression.

It is this lack of language and human expression, and in fact, humanity in general, that I hope to restore to these characters in a parallel storyline, I will retain the setting, time period, and plot of Conrad's original text. As far as Africa as the Other World is concerned, while I haven't been to any countries in Africa, and I doubt I could write them accurately even if I had (because it is no longer the late 19th century), I will do my best to depict this place as authentically as possible, but more importantly, identifying it as "home" and "normal" for my characters.

6 comments:

  1. Hi James

    Heart of Darkness sounds so perfect for a rewrite. I am looking forward to seeing what you do with it. The mysterious native woman sounds interesting. I think native women are often depicted to be sensual and seductive play-things by colonial men and I think this stereotype objectifies them so it will be interesting to see where you take it.

    Good work already relating it to academic theory too. I really have to look into that for mine!

    Yeah depicting other cultures is really hard. I once tried to write about an Indonesian girl who is trafficked for sex (heavy I know) but I got so hung up on the fact that I may be stereotyping aspects of their culture that I never finished it. Good luck.. I'm sure if you stick with trying to keep it as authentic as possible you will pull it off :)



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  2. Hi James,
    I agree with Rachel - think Gauguin + other dusky maidens!
    I too wonder about the relationship here.
    I invite you to explore it further, but am aware that it is complex in it's Coloniser/Colonised AND Male/Female power dynamics. Double disturbing!
    In saying that, you could rewrite the meaning behind that gesture any way you like (her agenda etc.)
    WE can discuss this further in class next week.
    I'm fining this quite interesting.

    The first 'scene' you mention may be 'easier', though I don't see why you can't incorporate both.
    Well thought out, developed and articulated - well done!
    I think the depiction of Africa as "home" etc. will not be a problem, as you can evoke that sense of home you yourself have (hopefully!) and use that in your characterisation(s).

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  3. I wonder if, for all that Kurtz has 'become one' with the natives, including a possible relationship with the woman you mention above, how much of a power imbalance still remains between himself and the people he chose to live with in the jungle.
    I mean, Marlow is obviously more of the traditional colonial, but everything about Kurtz's 'integration' with the colonised peoples reeks of superiority. Even the fact that he leaves her behind! (does he see her? I've just got the book again from the library to have another read of it)
    Do Kurtz's actions create unity between the different peoples in the novel, or simply emphasis the idea of the 'natives' as 'other'?

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  4. Hi James,

    Looking forward to your re-write of the Marlow and Kurtz characters.

    Excuse my ignorance but Marlow/Kurtz remind me so much of actors like Tom Cruise and Kevin Costner who like to play the great white saviours who swoop into indigenous communities and save the 'natives' from their white oppressors. They become a part of the indigenous culture, assume their customs and beliefs, obtain their trust, become accepted by the community and end up playing a pivotal role in their salvation.

    Think The Last Samurai/Dances with Wolves/Pocahontas/Avatar scenario...

    And the mysterious 'beautiful native woman' can't wait to see how you develop her. It seems like her sexuality and the chance of a relationship will unfold and that's her identity. Lets hope that you distort this view and turn the assumption upside down.

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  5. Hey everyone, thanks for your positive feedback.

    Rachel, from your comment "I think native women are often depicted to be sensual and seductive play-things by colonial men and I think this stereotype objectifies them..." I think we're on the same page here and to be honest I'm struggling a little bit with the woman, simply because I want her to be MORE THAN KURTZ' PLAYTHING. I want her to be strong and intelligent, and I'm playing with this idea that she is using Kurtz for her own gains - but then, what gains are they specifically? (I had this idea for a revenge plot, where a lover/family member is one of the dying men that Marlow see's earlier in the story, but revenge is so ugly and has such negative connotations I don't want to impose these on the woman exactly, I want to retain her beauty) Alternatively, what if her and Kurtz were legitimately lovers? What if she was Kurtz' motivation to try and assimilate himself etc.

    Esther. this: "Even the fact that he leaves her behind! (does he see her?" I don't think he does see her, I think at that point he's too ill and has been carried onto the boat on a stretcher. She was still on the shore at this point so I'm guessing not. This would help solidify the "legit lovers" story line.

    In fact, this "legit lovers" thing I've been talking about is already starting to feel like a stretch - Esther as you said "Kurtz's 'integration' with the colonised peoples reeks of superiority." it's absolutely true, and I don't really want to let Kurtz get away with it by having his assimilation fully accepted by the people he has "become one" with. Additionally, I feel like this would sell our beautiful native woman short, regardless of whether her heart is truly in it or not, I don;'t want her to be Kurtz' "lady".

    The more I think about it the harder it gets, haha.

    Nina, I'm on board with what you've said too. I really hate the whole "Yeah I'm English/American/White/Colonial but honestly I'm different, I respect you, and if you can learn to respect me, I will save all of you, all the while wearing this charming smile." It just seems like such a Hollywood style cop-out. Heart of Darkness doesn't quite have that ring to it, I think its a little more complex, thankfully, but yeah, I cant watch any of the films you mentioned, simply because that trope just seems irrelevant and so obviously fictional.

    I hope you three will keep an eye on my work, in terms of how our beautiful native woman unfolds. I want her to be powerful and believable and I would really appreciate it if you'd call me on anything that rings untrue, or if the woman's character is compromised by my own maleness.

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  6. Re-reading the text - though I appreciate Conrad's discussion on Imperialism, he's soooo sitting on the fence! Have some conviction Joseph!

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