“An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe: Summary and Critique

“An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe first appeared in 1975 as a Chancellor’s Lecture at the University of Massachusetts.

"An Image of Africa: Racism in Conrad’s Heart of Darkness" by Chinua Achebe: Summary and Critique
Introduction: “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

“An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe first appeared in 1975 as a Chancellor’s Lecture at the University of Massachusetts. This powerful critique challenged the novel’s reputation as a masterpiece, arguing that Conrad’s portrayal of Africa and its people was deeply racist and perpetuated harmful stereotypes. Achebe’s essay became a cornerstone of postcolonial literary theory, inspiring countless scholars to examine the ways in which Western literature has marginalized and misrepresented non-Western cultures. Its significance lies in its ability to dismantle the colonial gaze and offer a more nuanced understanding of the complexities of race, representation, and power in literature.

Summary of “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

1. Heart of Darkness and the Western image of Africa

  • Achebe argues that Heart of Darkness presents Africa as “the other world,” a stark contrast to Europe, symbolizing the antithesis of civilization.
  • Quote: “Africa is set up as a foil to Europe, as a place of negations at once remote and vaguely familiar…” (Achebe, 15).

2. Dehumanization of Africans in Heart of Darkness

  • Conrad’s portrayal of Africans strips them of their humanity, presenting them as mere caricatures or props for the psychological disintegration of European characters like Kurtz.
  • Quote: “Africa as setting and backdrop which eliminates the African as human factor…Africa as a metaphysical battlefield devoid of all recognizable humanity” (Achebe, 21).

3. Conrad’s portrayal of Africans as “savage”

  • Achebe critiques Conrad’s depiction of Africans through animalistic and savage imagery, highlighting the use of derogatory language and a demeaning attitude.
  • Quote: “He was an improved specimen; he could fire up a vertical boiler… to look at him was as edifying as seeing a dog in a parody of breeches” (Achebe, 18).

4. Implicit racism in Western liberalism

  • Achebe identifies a form of “liberalism” in Conrad that espouses humanitarian concerns but subtly reinforces a racist worldview by asserting the superiority of Europeans.
  • Quote: “The kind of liberalism espoused here by Marlow/Conrad… almost always managed to sidestep the ultimate question of equality between white people and black people” (Achebe, 21).

5. The inadequacy of Conrad’s understanding of Africa

  • Achebe asserts that Conrad’s depiction of Africa is grossly inadequate, shaped by a prejudiced mindset that fails to recognize African culture and contributions.
  • Quote: “Conrad’s picture of the peoples of the Congo seems grossly inadequate…” (Achebe, 25).

6. Racism normalized in Western literature

  • Achebe argues that Conrad’s racism is overlooked because racism against Africa is normalized in Western literature and criticism.
  • Quote: “White racism against Africa is such a normal way of thinking that its manifestations go completely unremarked” (Achebe, 22).

7. The psychological and cultural impact of racism

  • Achebe explores how the West’s stereotypical depiction of Africa, as seen in Heart of Darkness, is tied to deeper psychological needs of the West to reaffirm its superiority.
  • Quote: “The West seems to suffer deep anxieties about the precariousness of its civilization and to have a need for constant reassurance by comparison with Africa” (Achebe, 25).
Literary Terms/Concepts in “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe
Literary Term/ConceptExplanationExample from Achebe’s Essay
FoilA character or concept that contrasts with another to highlight particular qualities.Achebe argues that Africa is set up as a foil to Europe, representing the antithesis of civilization. “Africa is set up as a foil to Europe… the antithesis of Europe and civilization.”
DehumanizationStripping away human qualities from individuals or groups, often used in discussions of racism and colonialism.Achebe discusses how Africans are portrayed as less than human in Heart of Darkness. “Africa as setting and backdrop which eliminates the African as human factor…”
RacismPrejudice, discrimination, or antagonism directed against individuals of a different race based on the belief that one’s own race is superior.The entire essay revolves around Achebe’s argument that Conrad’s depiction of Africans in Heart of Darkness is deeply racist.
IronyA situation or statement where the meaning is contradicted by the appearance or presentation of the idea.Achebe suggests that while Conrad criticizes the brutality of colonialism, he himself reinforces racial stereotypes. “Conrad’s liberalism sidesteps the question of equality…”
SymbolismThe use of symbols to signify ideas and qualities by giving them symbolic meanings different from their literal sense.Achebe discusses how Conrad uses Africa as a symbol of darkness and savagery. “Africa…a place of negations…triumphant bestiality.”
Narrative InsulationA narrative technique where layers of narrators or perspectives are used to distance the author from the story or its characters.Achebe notes how Conrad uses Marlow as a narrator, distancing himself from the story’s events. “Conrad uses a narrator behind a narrator…insulation between himself and the story.”
ColonialismThe policy or practice of acquiring full or partial political control over another country, occupying it with settlers, and exploiting it economically.Achebe critiques the colonialist views implicit in Heart of Darkness. “Conrad’s image of Africa reflects the colonial desire to dehumanize and dominate.”
StereotypingOversimplified and fixed ideas about a particular group of people.Achebe argues that Conrad perpetuates harmful stereotypes of Africans as primitive and savage. “Conrad reduces Africans to rudimentary souls, incapable of speech or thought.”
MetaphorA figure of speech that involves comparing two unlike things without using “like” or “as”.Achebe points out Conrad’s metaphor of Africa as the “Heart of Darkness” representing savagery and chaos.
LiberalismA political or moral philosophy based on liberty, consent of the governed, and equality before the law, though often critiqued for its failure to address deeper inequalities.Achebe criticizes Conrad’s limited liberalism, which does not address the true equality of black and white people. “Conrad’s liberalism sidesteps the question of equality.”
EurocentrismA worldview centered on or biased towards Western civilization, often to the exclusion of non-Western cultures.Achebe argues that Heart of Darkness embodies a Eurocentric view by using Africa as a backdrop for European concerns, ignoring African perspectives.
Psychological ProjectionA defense mechanism where individuals attribute their own undesirable thoughts or feelings to others.Achebe discusses how Conrad projects European fears and anxieties onto Africa. “The West seems to suffer deep anxieties…and has a need for reassurance by comparison with Africa.”
DichotomyA division or contrast between two things that are presented as opposites or entirely different.Achebe critiques Conrad’s portrayal of Europe and Africa as opposites, where Europe represents civilization and Africa represents chaos and darkness.
Contribution of “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe to Literary Theory/Theories
  • Focuses on the lasting impact of colonialism on formerly colonized countries and their cultures.  
  • Examines how Western literature often perpetuates negative stereotypes about non-Western cultures.  
  • Achebe’s Arguments:
  • Racism: Achebe argues that Conrad portrays Africans in a racist manner, denying them their humanity and reducing them to “savages” or props in the story.  
  • Dehumanization: Conrad’s descriptions of Africans focus on physical attributes and animalistic behavior, stripping them of their individuality and agency.
  • The “Other”: Achebe argues that Conrad’s novella positions Africa as the “Other” – a dark and mysterious antithesis to Europe and civilization.  
  • Power Dynamics: The portrayal of Europeans as “civilized” and Africans as “uncivilized” reinforces the power structures established during colonialism.
  • Blindness of Western Critics: Achebe criticizes Western scholars for overlooking Conrad’s racism and celebrating the book as a literary masterpiece.  Evidence from the Text:
  • Achebe quotes passages where Conrad uses derogatory language (“frenzy,” “unciouth sounds”) and dehumanizing descriptions (“black shadows”) to portray Africans.  
  • He contrasts Conrad’s positive portrayal of the “fine fellows” who are cannibals with his negative portrayal of the African woman who is not a threat.
  • He highlights the hypocrisy of Marlow, the narrator, who expresses concern for the suffering Africans while holding racist views.  
  • Impact:
  • Achebe’s critique challenged the traditional reading of Heart of Darkness and forced a reevaluation of Conrad’s work in the context of colonialism.  
  • It highlights the importance of considering the perspective of the formerly colonized when analyzing literature.  
  • Additional Notes:
  • Achebe acknowledges Conrad’s literary talent but argues that the racism undermines the work’s value.  
  • He references the historical context of colonialism and the brutality of King Leopold’s rule in the Congo.
  • He challenges the notion that Conrad’s racism can be excused as a product of his time.  
Examples of Critiques Through “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe
Literary WorkCritique Inspired by AchebeExample from “An Image of Africa”
Joseph Conrad’s Heart of DarknessRacial stereotyping and dehumanization of Africans“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.”
Rudyard Kipling’s The Jungle BookOrientalism and the exotic portrayal of Eastern culturesAchebe might argue that Kipling’s representation of India and its people is overly romanticized and reinforces Western stereotypes of Eastern cultures.
Charlotte Brontë’s Jane EyreColonialism and the objectification of non-white charactersThe character of Rochester’s wife, Bertha Mason, could be seen as a stereotypical portrayal of a “mad” and “savage” woman from the Caribbean.
Mark Twain’s Adventures of Huckleberry FinnRacial slurs and the perpetuation of harmful stereotypesTwain’s use of the n-word and his portrayal of Jim, a runaway slave, could be critiqued for reinforcing racist stereotypes and promoting harmful attitudes.
Criticism Against “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

1. Reduction of Conrad’s Artistic Vision

  • Criticism: Some critics argue that Achebe oversimplifies Joseph Conrad’s literary work, reducing Heart of Darkness to a purely racist text, ignoring its deeper thematic elements, such as the critique of colonialism and human nature.
  • Example: Critics like Edward Said have pointed out that Heart of Darkness contains an implicit critique of European imperialism and should be appreciated for its complex portrayal of colonialism.
  • Counterpoint: Achebe acknowledges Conrad’s literary talents but maintains that these do not excuse the dehumanization of Africans. Quote: “I do not doubt Conrad’s great talents. Even Heart of Darkness has its memorably good passages and moments” (Achebe, 22).

2. Context of Conrad’s Time

  • Criticism: Some argue that Conrad was a product of his time, and his views on race should be understood in the context of 19th-century European imperialism and its inherent racial prejudices.
  • Example: Critics argue that judging Conrad by contemporary standards of racial equality may be anachronistic and overlooks the historical context in which Heart of Darkness was written.
  • Counterpoint: Achebe contends that regardless of historical context, Conrad’s depiction of Africans perpetuates harmful racial stereotypes. Quote: “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” (Achebe, 23).

3. Separation of Narrator and Author

  • Criticism: It is often argued that the views expressed by the character Marlow in Heart of Darkness do not necessarily reflect Conrad’s personal views. Marlow serves as a fictional narrator, and his perspective is not synonymous with the author’s.
  • Example: Many critics suggest that Marlow’s ambivalence towards Africa reflects a narrative technique and that Conrad uses layers of narration to distance himself from the racist attitudes presented in the story.
  • Counterpoint: Achebe dismisses this argument, claiming that Conrad fails to provide an alternative perspective to counter Marlow’s racist views. Quote: “If Conrad’s intention is to draw a cordon sanitaire between himself and the moral and psychological malaise of his narrator, his care seems to me totally wasted” (Achebe, 20).

4. Ignoring Conrad’s Critique of Colonialism

  • Criticism: Achebe has been criticized for focusing too heavily on the racial elements of Heart of Darkness, while overlooking the novel’s critique of European colonialism and exploitation of the Congo.
  • Example: Critics like Caryl Phillips suggest that Heart of Darkness is, at its core, a scathing critique of European imperialism and that the novel condemns the brutalities of colonialism more than it promotes racism.
  • Counterpoint: Achebe acknowledges that the novel critiques colonialism but argues that it simultaneously dehumanizes Africans and uses Africa as a mere backdrop for the psychological struggles of European characters. Quote: “Africa as setting and backdrop which eliminates the African as human factor… a metaphysical battlefield devoid of all recognizable humanity” (Achebe, 21).

5. Artistic Freedom and Fiction

  • Criticism: Some believe that Achebe’s critique threatens artistic freedom by imposing moral standards on literature. They argue that fiction should not be constrained by ethical or political correctness and that Conrad’s narrative choices were artistic rather than ideological.
  • Example: Writers like Salman Rushdie have suggested that literature should be allowed to explore difficult themes, even if they are controversial or uncomfortable, and Achebe’s critique risks limiting artistic expression.
  • Counterpoint: Achebe argues that art cannot be separated from morality, especially when it involves the dehumanization of an entire race. Quote: “Can a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, be called a great work of art? My answer is: No, it cannot” (Achebe, 21).
Representative Quotations from “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe with Explanation
QuotationExplanation
1. “Africa is set up as a foil to Europe, as a place of negations at once remote and vaguely familiar…”Achebe argues that Conrad portrays Africa as the opposite of Europe, a land of darkness and chaos that serves to highlight Europe’s supposed civilization and moral superiority.
2. “Africa as setting and backdrop which eliminates the African as human factor…”Achebe critiques Heart of Darkness for using Africa as a mere backdrop for European stories, reducing Africans to mere props without agency or humanity.
3. “The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered…”Achebe points to the long-standing tradition of dehumanizing Africa in Western literature and argues that Conrad’s novel is part of this harmful legacy.
4. “The West seems to suffer deep anxieties about the precariousness of its civilization and to have a need for constant reassurance by comparison with Africa.”Achebe suggests that the West’s need to compare itself with Africa reflects deeper psychological insecurities, using Africa as a symbol of what Europe fears becoming.
5. “Can a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, be called a great work of art?”Achebe questions whether a novel that perpetuates racism and dehumanization, like Heart of Darkness, can truly be considered a masterpiece of literature.
6. “His inordinate love of that word itself [nigger] should be of interest to psychoanalysts.”Achebe criticizes Conrad’s frequent and casual use of racial slurs, arguing that it reflects a deeper psychological fixation on racial difference and hostility toward Black people.
7. “It is clearly not part of Conrad’s purpose to confer language on the ‘rudimentary souls’ of Africa.”Achebe points out that Conrad denies Africans a voice or the ability to communicate in the novel, reinforcing their status as “other” and less-than-human.
8. “Conrad chose the role of purveyor of comforting myths.”Achebe accuses Conrad of reinforcing popular racist stereotypes about Africa and Africans, thus providing his audience with myths that justify imperialism and exploitation.
9. “The question is whether a novel which celebrates this dehumanization can be called a great work of art.”Achebe emphasizes his main argument: that the dehumanization of Africans in Heart of Darkness cannot be excused by the novel’s artistic qualities.
10. “Travellers with closed minds can tell us little except about themselves.”Achebe argues that Conrad’s portrayal of Africa reveals more about his own prejudices and those of the Western world than about the actual people and cultures of Africa.
Suggested Readings: “An Image of Africa: Racism in Conrad’s Heart of Darkness” by Chinua Achebe

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