Heart of Darkness

Heart of Darkness (1899) is a novel by Joseph Conrad about a narrated voyage up the Congo River into the Congo Free State in the Heart of Africa. The story and its themes were loosely adapted for the film Apocalypse Now (1979) and video game Spec Ops: The Line (2012).

To tear treasure out of the bowels of the land was their desire, with no more moral purpose at the back of it than there is in burglars breaking into a safe.

Part I

One ship is very much like another, and the sea is always the same.

The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much.

It is impossible to convey the life-sensation of any given epoch of one's existence — that which makes its truth, its meaning — its subtle and penetrating essence. It is impossible. We live, as we dream — alone…

I don't like work — no man does — but I like what is in work — the chance to find yourself. Your own reality — for yourself, not for others — what no other man can ever know.

• Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, messengers of the might within the land, bearers of a spark from the sacred fire. What greatness had not floated on the ebb of that river into the mystery of an unknown earth! . . . The dreams of men, the seed of commonwealths, the germs of empires.

• Lights of ships moved in the fairway — a great stir of lights going up and going down. And farther west on the upper reaches the place of the monstrous town was still marked ominously on the sky, a brooding gloom in sunshine, a lurid glare under the stars.
  "And this also," said Marlow suddenly, "has been one of the dark places of the earth."

• When a truckle bed with a sick man (some invalid agent from up-country) was put in there, he exhibited a gentle annoyance. "The groans of this sick person," he said, " Distract my attention, and without that it is extremely difficult to guard against clerical errors in this climate."

• To tear treasure out of the bowels of the land was their desire, with no more moral purpose at the back of it than there is in burglars breaking into a safe. Who paid the expenses of the noble enterprise I don’t know; but the uncle of our manager was leader of that lot.

• The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.

• One ship is very much like another, and the sea is always the same. In the immutability of their surroundings the foreign shores, the foreign faces, the changing immensity of life, glide past, veiled not by a sense of mystery but by a slightly disdainful ignorance; for there is nothing mysterious to a seaman unless it be the sea itself, which is the mistress of his existence and as inscrutable as Destiny.

• These chaps were not much account, really. They were no colonists; their administration was merely a squeeze, and nothing more, I suspect. They were conquerors, and for that you want only brute force — nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at it blind — as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea only. An idea at the back of it; not a sentimental pretence but an idea; and an unselfish belief in the idea — something you can set up, and bow down before, and offer a sacrifice to. . .

• It's queer how out of touch with truth women are. They live in a world of their own, and there had never been anything like it, and never can be. It is too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset.

• He was obeyed, yet he inspired neither love nor fear, nor even respect. He inspired uneasiness. That was it! Uneasiness. Not a definite mistrust — just uneasiness — nothing more. You have no idea how effective such a... a... faculty can be. He had no genius for organizing, for initiative, or for order even. That was evident in such things as the deplorable state of the station. He had no learning, and no intelligence. His position had come to him — why? Perhaps because he was never ill . . . He had served three terms of three years out there . . . Because triumphant health in the general rout of constitutions is a kind of power in itself.

• He originated nothing, he could keep the routine going — that's all. But he was great. He was great by this little thing that it was impossible to tell what could control such a man. He never gave that secret away.

• When annoyed at meal-times by the constant quarrels of the white men about precedence, he ordered an immense round table to be made, for which a special house had to be built. This was the station's mess-room. Where he sat was the first place — the rest were nowhere. One felt this to be his unalterable conviction. He was neither civil nor uncivil. He was quiet.

• You know I hate, detest, and can't bear a lie, not because I am straighter than the rest of us, but simply because it appalls me. There is a taint of death, a flavour of mortality in lies — which is exactly what I hate and detest in the world — what I want to forget. It makes me miserable and sick, like biting something rotten would do. Temperament, I suppose

• He was just a word for me. I did not see the man in the name any more than you do. Do you see him? Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream — making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams.

• It is impossible to convey the life-sensation of any given epoch of one's existence — that which makes its truth, its meaning — its subtle and penetrating essence. It is impossible. We live, as we dream — alone. . . .

• Beyond the fence the forest stood up spectrally in the moonlight, and through that dim stir, through the faint sounds of that lamentable courtyard, the silence of the land went home to one’s very heart — its mystery, its greatness, the amazing reality of its concealed life.

• I don't like work — no man does — but I like what is in work — the chance to find yourself. Your own reality — for yourself, not for others — what no other man can ever know.

Part II

Going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings.

We could not understand because we were too far and could not remember, because we were travelling in the night of first ages, of those ages that are gone, leaving hardly a sign — and no memories.

The mind of man is capable of anything — because everything is in it, all the past as well as all the future.

• In a few days the Eldorado Expedition went into the patient wilderness, that closed upon it as the sea closes over a diver. Long afterwards the news came that all the donkeys were dead. I know nothing as to the fate of the less valuable animals. They, no doubt, like the rest of us, found what they deserved. I did not inquire.

• Going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine. The long stretches of the waterway ran on, deserted, into the gloom of overshadowed distances.

• Anything, anything can be done in this country. that's what I say; no body here, you understand, here, can endanger your position, and why? You stand the climate — you out last them all. the real danger is in Europe.

• We could not understand because we were too far and could not remember, because we were travelling in the night of first ages, of those ages that are gone, leaving hardly a sign — and no memories.

• The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there — there you could look at a thing monstrous and free. It was unearthly, and the men were, — No, they were not inhuman. Well, you know, that was the worst of it — this suspicion of their not being inhuman. It would come slowly to one. They howled, and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity — like yours — the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you — you so remote from the night of first ages — could comprehend. And why not? The mind of man is capable of anything — because everything is in it, all the past as well as all the future. What was there after all? Joy, fear, sorrow, devotion, valour, rage — who can tell? — but truth — truth stripped of its cloak of time. Let the fool gape and shudder — the man knows, and can look on without a wink. But he must at least be as much of a man as these on the shore. He must meet that truth with his own true stuff — with his own inborn strength. Principles? Principles won't do. Acquisitions, clothes, pretty rags — rags that would fly off at the first good shake. No; you want a deliberate belief.

• It occurred to me that my speech or my silence, indeed any action of mine, would be a mere futility.

• No fear can stand up to hunger, no patience can wear it out, disgust simply does not exist where hunger is; and as to superstition, beliefs, and what you may call principles, they are less than chaff in a breeze.

Part III

I have wrestled with death. It is the most unexciting contest you can imagine.

• I think the knowledge came to him at last — only at the very last. But the wilderness had found him out early, and had taken on him a terrible vengeance for the fantastic invasion. I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with this great solitude — and the whisper had proved irresistibly fascinating.

• Anything approaching the change that came over his features I have never seen before, and hope never to see again. Oh, I wasn't touched. I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of somber pride, of ruthless power, of craven terror — of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision, — he cried out twice, a cry that was no more than a breath — 'The horror! The horror!'

• Mistah Kurtz — he dead.
  • Quoted as the subtitle of The Hollow Men by T. S. Eliot

• I went no more near the remarkable man who had pronounced a judgment upon the adventures of his soul on this earth. The voice was gone. What else had been there? But I am of course aware that next day the pilgrims buried something in a muddy hole.

• I did not go to join Kurtz there and then. I did not. I remained to dream the nightmare out to the end, and to show my loyalty to Kurtz once more. Destiny. My destiny! Droll thing life is — that mysterious arrangement of merciless logic for a futile purpose. The most you can hope from it is some knowledge of yourself — that comes too late — a crop of unextinguishable regrets. I have wrestled with death. It is the most unexciting contest you can imagine. It takes place in an impalpable grayness, with nothing underfoot, with nothing around, without spectators, without clamor, without glory, without the great desire of victory, without the great fear of defeat, in a sickly atmosphere of tepid skepticism, without much belief in your own right, and still less in that of your adversary. If such is the form of ultimate wisdom, then life is a greater riddle than some of us think it to be. I was within a hair's-breadth of the last opportunity for pronouncement, and I found with humiliation that probably I would have nothing to say. This is the reason why I affirm that Kurtz was a remarkable man. He had something to say. He said it. Since I had peeped over the edge myself, I understand better the meaning of his stare, that could not see the flame of the candle, but was wide enough to embrace the whole universe, piercing enough to penetrate all the hearts that beat in the darkness. He had summed up — he had judged. 'The horror!' He was a remarkable man. After all, this was the expression of some sort of belief; it had candor, it had conviction, it had a vibrating note of revolt in its whisper, it had the appalling face of a glimpsed truth — the strange commingling of desire and hate.

• It is his extremity that I seem to have lived through. True, he had made that last stride, he had stepped over the edge, while I had been permitted to draw back my hesitating foot. And perhaps in this is the whole difference; perhaps all the wisdom, and all truth, and all sincerity, are just compressed into that inappreciable moment of time in which we step over the threshold of the invisible. Perhaps! I like to think my summing-up would not have been a word of careless contempt. Better his cry — much better. It was an affirmation, a moral victory paid for by innumerable defeats, by abominable terrors, by abominable satisfactions. But it was a victory!

• 'His last word — to live with,' she insisted. 'Don't you understand I loved him — I loved him — I loved him!'
  I pulled myself together and spoke slowly.
  'The last word he pronounced was — your name.'
  I heard a light sigh and then my heart stood still, stopped dead short by an exulting and terrible cry, by the cry of inconceivable triumph and of unspeakable pain. 'I knew it — I was sure!' . . . She knew. She was sure. I heard her weeping; she had hidden her face in her hands. It seemed to me that the house would collapse before I could escape, that the heavens would fall upon my head. But nothing happened. The heavens do not fall for such a trifle. Would they have fallen, I wonder, if I had rendered Kurtz that justice which was his due? Hadn't he said he wanted only justice? But I couldn't. I could not tell her. It would have been too dark — too dark altogether.

• "We have lost the first of the ebb," said the Director suddenly. I raised my head. The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky — seemed to lead into the heart of an immense darkness.

Quotes about Heart of Darkness

• As the dynamics of trade relations began to change during the African Middle Ages, the continent became the source of endless speculation. The visions of monstrous men and anthropophagi that had filled St. Augustine's descriptions of sub-Saharan Africa were not expelled until other Europeans such as Scotsman Mungo Park "penetrated the interior of Africa." In the European tradition "blackness," an extension of Africa, is often thought of as a resistant force, racially charged matter that must be penetrated-thus the descent into darkness. In 1899 Joseph Conrad published The Heart of Darkness, a work that has inspired perhaps more sf stories (and criticism) than any other work of fiction. Premier genre critic John Clute writes that this twentieth-century classic's "grueling odyssey into the unknown, and its vision of the Otherness of alien life, has captured the imagination of sf writers ever since." In this description the "unknown" element alluded to is the African continent or, more specifically, the Belgian Congo of 1890; and "the Otherness of alien life" is the Africans themselves.
  • Sheree Thomas Dark Matter: A Century of Speculative Fiction from the African Diaspora (2000)

External links

• Joseph Conrad
• Apocalypse Now
• Heart of Darkness quotes analyzed; also themes, characters, plot, literary devices