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Unit 31: Joseph Conrad — Heart of Darkness

The sense of time throughout the chapter is highly controlled. Conrad purposely glides over Notes
certain events while he examines others in minute detail. He does this in order to build
suspicion about the place to which Marlow has committed himself. Notice that he painstakingly
describes precursor events such as the doctor’s visit and all conversations that involve the
unseen character Kurtz. Thus begins Marlow’s consuming obsession with this man.
So far, Marlow’s interest in Kurtz is more or less inactive and does not inspire fear. Perfectly
placed leading questions such as the one about a history of family insanity have the desired
effect, however, of alerting readers to a rather fishy situation. That Marlow ignores all of these
warnings creates some dramatic irony; it will take him longer to arrive at conclusions that the
reader has already reached.
It also is important to recognize that Marlow is telling a story. His recollections have a hazy,
dreamy quality. The narrative is thus an examination of human spirit through his perspective,
which is quite subjective. Thus, we should question how trustworthy the narrative speakers
are. This situation puts even more distance between Conrad’s perspective and the perspective
taken by characters in the story. The outside narrator only refers to what Marlow says and
does; all others are ignored, and we understand their perspective only through Marlow’s
account of what they say and do. Marlow selects the facts (even though Conrad ultimately
selects them). Readers interested in this topic should consider in particular Marlow’s perception
of the African environment, which develops into the novella’s larger themes.
So far as Kurtz is concerned, there has been incomplete communication. Marlow and the
reader know him, but not much, yet. He seems sinister; people discuss him in a hushed
manner, making sure to praise him. The fact that nobody has anything negative to say about
him is suspicious, suggesting that they are all terribly anxious to stay on his good side. The
portrait of the blind woman holding a torch, in the first agent’s room, suggests the failing of
Kurtz: perhaps he has blindly traveled into a situation and has become absorbed in it, much
as the woman is absorbed into the darkness of the painting (despite the torch, she is painted
in insufficient light). This preemptive warning is useful to keep in mind as we consider
subsequent chapters.

Part Two

While lying on the deck of his steamboat one evening, Marlow overhears a conversation
between the Manager and his uncle, leader of the Expedition group that has arrived. Snatches
of talk indicate that the two are conferring about Kurtz. The Manager says he was “forced to
send him there.” They say his influence is frightful, and they add that he is alone, having sent
away all his assistants. The word “ivory” is also overheard. The two men are wondering how
all this ivory has arrived and why Kurtz did not return to the main station as he should have.
Marlow believes that this circumstance allows him to see Kurtz for the first time. The Manager
and his uncle say that either Kurtz or his assistant must be hanged as an example, so that they
can get rid of unfair competition. Realizing that Marlow is nearby, they stop talking.
Over the next few days, the Expedition goes into the wilderness and loses all of their donkeys.
As they arrive at the bank below Kurtz’s station, Marlow is excited at the prospect of meeting
him soon. To Marlow, traveling up the river is like going to the beginning of the world. He
sees no joy in the sunshine, however. The past comes back to haunt him on this river.
There is a stillness that does not resemble peace. It is alive and watching Marlow. He is
concerned about scraping the bottom of his steamship on the river floor, which is disgraceful
for seamen. Twenty “cannibals” are his crew. The Manager and some pilgrims are also on
board. Sailing by stations, they hear the word “ivory” resonating everywhere. The massive

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