Hopes and Impediments: Selected Essays 1965-87 Page 2
“Fine fellows—cannibals—in their place,” he tells us pointedly. Tragedy begins when things leave their accustomed place, like Europe leaving its safe stronghold between the policeman and the baker to take a peep into the heart of darkness.
Before the story takes us into the Congo basin proper we are given this nice little vignette as an example of things in their place:
Now and then a boat from the shore gave one a momentary contact with reality. It was paddled by black fellows. You could see from afar the white of their eyeballs glistening. They shouted, sang; their bodies streamed with perspiration; they had faces like grotesque masks—these chaps; but they had bone, muscle, a wild vitality, an intense energy of movement, that was as natural and true as the surf along their coast. They wanted no excuse for being there. They were a great comfort to look at.6
Towards the end of the story Conrad lavishes a whole page quite unexpectedly on an African woman who has obviously been some kind of mistress to Mr. Kurtz and now presides (if I may be permitted a little liberty) like a formidable mystery over the inexorable imminence of his departure:
She was savage and superb, wild-eyed and magnificent. … She stood looking at us without a stir and like the wilderness itself, with an air of brooding over an inscrutable purpose.
This Amazon is drawn in considerable detail, albeit of a predictable nature, for two reasons. First, she is in her place and so can win Conrad’s special brand of approval; and second, she fulfils a structural requirement of the story; a savage counterpart to the refined, European woman who will step forth to end the story:
She came forward, all in black with a pale head, floating toward me in the dusk. She was in mourning … She took both my hands in hers and murmured, “I had heard you were coming” … She had a mature capacity for fidelity, for belief, for suffering.7
The difference in the attitude of the novelist to these two women is conveyed in too many direct and subtle ways to need elaboration. But perhaps the most significant difference is the one implied in the author’s bestowal of human expression to the one and the withholding of it from the other. It is clearly not part of Conrad’s purpose to confer language on the “rudimentary souls” of Africa. In place of speech they made “a violent babble of uncouth sounds.” They “exchanged short grunting phrases” even among themselves. But most of the time they were too busy with their frenzy. There are two occasions in the book, however, when Conrad departs somewhat from his practice and confers speech, even English speech, on the savages. The first occurs when cannibalism gets the better of them:
“Catch ’im,” he snapped, with a bloodshot widening of his eyes and a flash of sharp white teeth—“catch ’im. Give ’im to us.” “To you, eh?” I asked; “what would you do with them?” “Eat ’im!” he said curtly.8
The other occasion was the famous announcement: “Mistah Kurtz—he dead.”9
At first sight these instances might be mistaken for unexpected acts of generosity from Conrad. In reality they constitute some of his best assaults. In the case of the cannibals the incomprehensible grunts that had thus far served them for speech suddenly proved inadequate for Conrad’s purpose of letting the European glimpse the unspeakable craving in their hearts. Weighing the necessity for consistency in the portrayal of the dumb brutes against the sensational advantages of securing their conviction by clear, unambiguous evidence issuing out of their own mouths, Conrad chose the latter. As for the announcement of Mr. Kurtz’s death by the “insolent black head in the doorway,” what better or more appropriate finis could be written to the horror story of that wayward child of civilization who wilfully had given his soul to the powers of darkness and “taken a high seat amongst the devils of the land” than the proclamation of his physical death by the forces he had joined?
It might be contended, of course, that the attitude to the African in Heart of Darkness is not Conrad’s but that of his fictional narrator, Marlow, and that far from endorsing it Conrad might indeed be holding it up to irony and criticism. Certainly, Conrad appears to go to considerable pains to set up layers of insulation between himself and the moral universe of his story. He has, for example, a narrator behind a narrator. The primary narrator is Marlow, but his account is given to us through the filter of a second, shadowy person. But 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 because he neglects to hint, clearly and adequately, at an alternative frame of reference by which we may judge the actions and opinions of his characters. It would not have been beyond Conrad’s power to make that provision if he had thought it necessary. Conrad seems to me to approve of Marlow, with only minor reservations—a fact reinforced by the similarities between their two careers.
Marlow comes through to us not only as a witness of truth, but one holding those advanced and humane views appropriate to the English liberal tradition which required all Englishmen of decency to be deeply shocked by atrocities in Bulgaria or the Congo of King Leopold of the Belgians or wherever.
Thus, Marlow is able to toss out such bleeding-heart sentiments as these:
They were all dying slowly—it was very clear. 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. Brought from all the recesses of the coast in all the legality of time contracts, lost in uncongenial surroundings, fed on unfamiliar food, they sickened, became inefficient, and were then allowed to crawl away and rest.10
The kind of liberalism espoused here by Marlow/Conrad touched all the best minds of the age in England, Europe and America. It took different forms in the minds of different people but almost always managed to sidestep the ultimate question of equality between white people and black people. That extraordinary missionary Albert Schweitzer, who sacrificed brilliant careers in music and theology in Europe for a life of service to Africans in much the same area as Conrad writes about, epitomizes the ambivalence. In a comment which has often been quoted Schweitzer says: “The African is indeed my brother but my junior brother.” And so he proceeded to build a hospital appropriate to the needs of junior brothers with standards of hygiene reminiscent of medical practice in the days before the germ theory of disease came into being. Naturally he became a sensation in Europe and America. Pilgrims flocked, and I believe still flock even after he has passed on, to witness the prodigious miracle in Lambaréné, on the edge of the primeval forest.
Conrad’s liberalism would not take him quite as far as Schweitzer’s, though. He would not use the word “brother” however qualified; the farthest he would go was “kinship.” When Marlow’s African helmsman falls down with a spear in his heart he gives his white master one final disquieting look:
And the intimate profundity of that look he gave me when he received his hurt remains to this day in my memory—like a claim of distant kinship affirmed in a supreme moment.11
It is important to note that Conrad, careful as ever with his words, is concerned not so much about “distant kinship” as about someone laying a claim on it. The black man lays a claim on the white man which is well-nigh intolerable. It is the laying of this claim which frightens and at the same time fascinates Conrad, “the thought of their humanity—like yours … Ugly.”
The point of my observations should be quite clear by now, namely that Joseph Conrad was a thoroughgoing racist. That this simple truth is glossed over in criticisms of his work is due to the fact that white racism against Africa is such a normal way of thinking that its manifestations go completely unremarked. Students of Heart of Darkness will often tell you that Conrad is concerned not so much with Africa as with the deterioration of one European mind caused by solitude and sickness. They will point out to you that Conrad is, if anything, less charitable to the Europeans in the story than he is to the natives, that the point of the story is to ridicule Europe’s civilizing mission in Africa. A Conrad student
informed me in Scotland that Africa is merely a setting for the disintegration of the mind of Mr. Kurtz.
Which is partly the point. Africa as setting and backdrop which eliminates the African as human factor. Africa as a metaphysical battlefield devoid of all recognizable humanity, into which the wandering European enters at his peril. Can nobody see the preposterous and perverse arrogance in thus reducing Africa to the role of props for the break-up of one petty European mind? But that is not even the point. The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered and continues to foster in the world. And the question is whether a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, can be called a great work of art. My answer is: No, it cannot. I do not doubt Conrad’s great talents. Even Heart of Darkness has its memorably good passages and moments:
The reaches opened before us and closed behind, as if the forest had stepped leisurely across the water to bar the way for our return.
Its exploration of the minds of the European characters is often penetrating and full of insight. But all that has been more than fully discussed in the last fifty years. His obvious racism has, however, not been addressed. And it is high time it was!
Conrad was born in 1857, the very year in which the first Anglican missionaries were arriving among my own people in Nigeria. It was certainly not his fault that he lived his life at a time when the reputation of the black man was at a particularly low level. But 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 which his peculiar psychology alone can explain. His own account of his first encounter with a black man is very revealing:
A certain enormous buck nigger encountered in Haiti fixed my conception of blind, furious, unreasoning rage, as manifested in the human animal to the end of my days. Of the nigger I used to dream for years afterwards.12
Certainly Conrad had a problem with niggers. His inordinate love of that word itself should be of interest to psychoanalysts. Sometimes his fixation on blackness is equally interesting, as when he gives us this brief description: “A black figure stood up, strode on long black legs, waving long black arms”13—as though we might expect a black figure striding along on black legs to wave white arms! But so unrelenting is Conrad’s obsession.
As a matter of interest, Conrad gives us in A Personal Record what amounts to a companion piece to the buck nigger of Haiti. At the age of sixteen Conrad encountered his first Englishman in Europe. He calls him “my unforgettable Englishman” and describes him in the following manner:
[his] calves exposed to the public gaze … dazzled the beholder by the splendour of their marble-like condition and their rich tone of young ivory … The light of a headlong, exalted satisfaction with the world of men … illumined his face … and triumphant eyes. In passing he cast a glance of kindly curiosity and a friendly gleam of big, sound, shiny teeth … his white calves twinkled sturdily.14
Irrational love and irrational hate jostling together in the heart of that talented, tormented man. But whereas irrational love may at worst engender foolish acts of indiscretion, irrational hate can endanger the life of the community. Naturally, Conrad is a dream for psychoanalytic critics. Perhaps the most detailed study of him in this direction is by Bernard C. Meyer, M.D. In his lengthy book, Dr. Meyer follows every conceivable lead (and sometime inconceivable ones) to explain Conrad. As an example, he gives us long disquisitions on the significance of hair and hair-cutting in Conrad. And yet not even one word is spared for his attitude to black people. Not even the discussion of Conrad’s antisemitism was enough to spark off in Dr. Meyer’s mind those other dark and explosive thoughts. Which only leads one to surmise that Western psychoanalysts must regard the kind of racism displayed by Conrad as absolutely normal despite the profoundly important work done by Frantz Fanon in the psychiatric hospitals of French Algeria.
Whatever Conrad’s problems were, you might say he is now safely dead. Quite true. Unfortunately, his heart of darkness plagues us still. Which is why an offensive and deplorable book can be described by a serious scholar as “among the half-dozen greatest short novels in the English language.” And why it is today perhaps the most commonly prescribed novel in twentieth-century literature courses in English departments of American universities.
There are two probable grounds on which what I have said so far may be contested. The first is that it is no concern of fiction to please people about whom it is written. I will go along with that. But I am not talking about pleasing people. I am talking about a book which parades in the most vulgar fashion prejudices and insults from which a section of mankind has suffered untold agonies and atrocities in the past and continues to do so in many ways and many places today. I am talking about a story in which the very humanity of black people is called in question.
Secondly, I may be challenged on the grounds of actuality. Conrad, after all, did sail down the Congo in 1890 when my own father was still a babe in arms. How could I stand up more than fifty years after his death and purport to contradict him? My answer is that as a sensible man I will not accept just any traveller’s tales solely on the grounds that I have not made the journey myself. I will not trust the evidence even of a man’s very eyes when I suspect them to be as jaundiced as Conrad’s. And we also happen to know that Conrad was, in the words of his biographer, Bernard C. Meyer, “notoriously inaccurate in the rendering of his own history.”15
But more important by far is the abundant testimony about Conrad’s savages which we could gather if we were so inclined from other sources and which might lead us to think that these people must have had other occupations besides merging into the evil forest or materializing out of it simply to plague Marlow and his dispirited band. For as it happened, soon after Conrad had written his book an event of far greater consequence was taking place in the art world of Europe. This is how Frank Willett, a British art historian, describes it:
Gauguin had gone to Tahiti, the most extravagant individual act of turning to a non-European culture in the decades immediately before and after 1900, when European artists were avid for new artistic experiences, but it was only about 1904–5 that African art began to make its distinctive impact. One piece is still identifiable; it is a mask that had been given to Maurice Vlaminck in 1905. He records that Derain was “speechless” and “stunned” when he saw it, bought it from Vlaminck and in turn showed it to Picasso and Matisse, who were also greatly affected by it. Ambroise Vollard then borrowed it and had it cast in bronze … The revolution of twentieth century art was under way!16
The mask in question was made by other savages living just north of Conrad’s River Congo. They have a name too: the Fang people, and are without a doubt among the world’s greatest masters of the sculptured form. The event Frank Willett is referring to marked the beginning of cubism and the infusion of new life into European art that had run completely out of strength.
The point of all this is to suggest that Conrad’s picture of the peoples of the Congo seems grossly inadequate even at the height of their subjection to the ravages of King Leopold’s International Association for the Civilization of Central Africa.
Travellers with closed minds can tell us little except about themselves. But even those not blinkered, like Conrad, with xenophobia, can be astonishingly blind. Let me digress a little here. One of the greatest and most intrepid travellers of all time, Marco Polo, journeyed to the Far East from the Mediterranean in the thirteenth century and spent twenty years in the court of Kublai Khan in China. On his return to Venice he set down in his book entitled Description of the World his impressions of the peoples and places and customs he had seen. But there were at least two extraordinary omissions in his account. He said nothing about the art of printing, unknown as yet in Europe but in full flower in China. He either did not notice it at all or, if he did, failed to see what use E
urope could possibly have for it. Whatever the reason, Europe had to wait another hundred years for Gutenberg. But even more spectacular was Marco Polo’s omission of any reference to the Great Wall of China, nearly four thousand miles long and already more than one thousand years old at the time of his visit. Again, he may not have seen it; but the Great Wall of China is the only structure built by man which is visible from the moon!17 Indeed, travellers can be blind.
As I said earlier Conrad did not originate the image of Africa which we find in his book. It was and is the dominant image of Africa in the Western imagination and Conrad merely brought the peculiar gifts of his own mind to bear on it. For reasons which can certainly use close psychological inquiry, 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. If Europe, advancing in civilization, could cast a backward glance periodically at Africa trapped in primordial barbarity it could say with faith and feeling: There go I but for the grace of God. Africa is to Europe as the picture is to Dorian Gray—a carrier on to whom the master unloads his physical and moral deformities so that he may go forward, erect and immaculate. Consequently, Africa is something to be avoided just as the picture has to be hidden away to safeguard the man’s jeopardous integrity. Keep away from Africa, or else! Mr. Kurtz of Heart of Darkness should have heeded that warning and the prowling horror in his heart would have kept its place, chained to its lair. But he foolishly exposed himself to the wild irresistible allure of the jungle and lo! the darkness found him out.
In my original conception of this essay I had thought to conclude it nicely on an appropriately positive note in which I would suggest from my privileged position in African and Western cultures some advantages the West might derive from Africa once it rid its mind of old prejudices and began to look at Africa not through a haze of distortions and cheap mystifications but quite simply as a continent of people—not angels, but not rudimentary souls either—just people, often highly gifted people and often strikingly successful in their enterprise with life and society. But as I thought more about the stereotype image, about its grip and pervasiveness, about the wilful tenacity with which the West holds it to its heart; when I thought of the West’s television and cinema and newspapers, about books read in its schools and out of school, of churches preaching to empty pews about the need to send help to the heathen in Africa, I realized that no easy optimism was possible. And there was in any case something totally wrong in offering bribes to the West in return for its good opinion of Africa. Ultimately the abandonment of unwholesome thoughts must be its own and only reward. Although I have used the word “wilful” a few times here to characterize the West’s view of Africa, it may well be that what is happening at this stage is more akin to reflex action than calculated malice. Which does not make the situation more but less hopeful.