1. Heart of Darkness An Brief Look at Conrads Life and Works, Themes and Motifs in Heart of Darkness, and Apocalypse Now

2. Joseph Conrads Life Born Josef Teodore Konrad Nalecz Korzeniowski, in Podolia, Ukraine, in 1857. Born Josef Teodore Konrad Nalecz Korzeniowski, in Podolia, Ukraine, in 1857. Conrad's father had studied law and languages at St Petersburg University and wrote radical poems and plays. Conrad's father had studied law and languages at St Petersburg University and wrote radical poems and plays. His father and mother, Apollo and Ewa, were political activists. They were imprisoned 7 months and eventually deported to Vologda His father and mother, Apollo and Ewa, were political activists. They were imprisoned 7 months and eventually deported to Vologda Conrads mother died of pneumonia in 1865. Conrads mother died of pneumonia in 1865.

3. Joseph Conrads Life Apollo tried to educate his son himself, he introduced him to the work of Dickens, Fenimore Cooper and Captain Marryat in either Polish or French translations. Apollo tried to educate his son himself, he introduced him to the work of Dickens, Fenimore Cooper and Captain Marryat in either Polish or French translations. His father died of tuberculosis and his funeral was attended by a thousand admirers His father died of tuberculosis and his funeral was attended by a thousand admirers Conrad was raised by his uncle; attended school (he was disobedient) Conrad was raised by his uncle; attended school (he was disobedient) In 1874, Conrad went to Marseilles France and joined the Merchant Navy In 1874, Conrad went to Marseilles France and joined the Merchant Navy Gun running for the Spanish and a love affair led to a suicide attempt. Gun running for the Spanish and a love affair led to a suicide attempt.

4. Joseph Conrads Life Conrad eventually became a British merchant sailor and eventually a master mariner and citizen in 1886. Conrad eventually became a British merchant sailor and eventually a master mariner and citizen in 1886. He traveled widely in the east. He traveled widely in the east. He took on a stint as a steamer captain (1890) in the Congo, but became ill within three months and had to leave. He took on a stint as a steamer captain (1890) in the Congo, but became ill within three months and had to leave. In 1896, he married Jessie George a typist from Peckham. In 1896, he married Jessie George a typist from Peckham. Conrad retired from sailing and took up writing full time. Conrad retired from sailing and took up writing full time. Writing took a physical and emotional toll on Conrad. The experience was draining Writing took a physical and emotional toll on Conrad. The experience was draining

5. Joseph Conrads Other Works Amayers Folly (1895) Amayers Folly (1895) Lord Jim (1900) Lord Jim (1900) Heart of Darkness (1902) Heart of Darkness (1902) Nostromo (1904) Nostromo (1904) Under Western Eyes (1910) Under Western Eyes (1910) Chance (1914) Chance (1914)

6. Heart of Darkness Background After a long stint in the east had come to an end, he was having trouble finding a new position. After a long stint in the east had come to an end, he was having trouble finding a new position. With the help of a relative in Brussels he got the position as captain of a steamer for a Belgian trading company. With the help of a relative in Brussels he got the position as captain of a steamer for a Belgian trading company. Conrad had always dreamed of sailing the Congo Conrad had always dreamed of sailing the Congo Had to leave early for the job, the previous captain was killed in a trivial quarrel Had to leave early for the job, the previous captain was killed in a trivial quarrel

7. Heart of Darkness Background While traveling from Boma (at the mouth) to the company station at Matadi he met Roger Casement who told Conrad stories of the harsh treatment of Africans While traveling from Boma (at the mouth) to the company station at Matadi he met Roger Casement who told Conrad stories of the harsh treatment of Africans Conrad saw some of the most shocking and depraved examples of human corruption hed ever witnessed. He was disgusted by the ill treatment of the natives, the scrabble for loot, the terrible heat and the lack of water. Conrad saw some of the most shocking and depraved examples of human corruption hed ever witnessed. He was disgusted by the ill treatment of the natives, the scrabble for loot, the terrible heat and the lack of water. He saw human skeletons of bodies left to rot - many were bodies of men from the chain gangs building the railroads. He saw human skeletons of bodies left to rot - many were bodies of men from the chain gangs building the railroads. He found his ship was damaged. He found his ship was damaged. Dysentary was rampant as was malaria; Conrad had to terminate his contract due to illness and never fully recovered Dysentary was rampant as was malaria; Conrad had to terminate his contract due to illness and never fully recovered

8. Heart of Darkness Narrative Structure Framed Narrative Framed Narrative Narrator begins Narrator begins Marlow takes over Marlow takes over Narrator breaks in occasionally Narrator breaks in occasionally Marlow is Conrads alter-ego, he shows up in some of Conrads other works including Youth: A Narrative and Lord Jim Marlow is Conrads alter-ego, he shows up in some of Conrads other works including Youth: A Narrative and Lord Jim Marlow recounts his tale while he is on a small vessel on the Thames with some drinking buddies who are ex- merchant seamen. As he recounts his story the group sits in an all-encompassing darkness and pass around the bottle. Marlow recounts his tale while he is on a small vessel on the Thames with some drinking buddies who are ex- merchant seamen. As he recounts his story the group sits in an all-encompassing darkness and pass around the bottle.

9. Varied Interpretations Many different interpretations have been put on this book: Many different interpretations have been put on this book: Some see it as an attack on colonialism and a criticism of racial exploitation Some see it as an attack on colonialism and a criticism of racial exploitation Some see Kurtz as the embodiment of all the evil and horror of the capitalist society. Some see Kurtz as the embodiment of all the evil and horror of the capitalist society. Others view it as a portrayal of one mans journey into the primitive unconscious where the only means of escaping the blandness of everyday life is by self degradation. Others view it as a portrayal of one mans journey into the primitive unconscious where the only means of escaping the blandness of everyday life is by self degradation.

10. Heart of Darkness Themes & Motifs Darkness Darkness Primitive Impulses (Kurtz, previous captain, etc.) Primitive Impulses (Kurtz, previous captain, etc.) Cruelty of Man (Kurtz and Company) Cruelty of Man (Kurtz and Company) Immorality/Amorality (Kurtz) Immorality/Amorality (Kurtz) Lies/Hypocrisy (Marlow chooses Kurtz evil versus Companys hypocritical evil) Lies/Hypocrisy (Marlow chooses Kurtz evil versus Companys hypocritical evil) Imperialization/Colonization (Belgian Company) Imperialization/Colonization (Belgian Company) Cruelty of Man Cruelty of Man Greed Greed Exploitation of People Exploitation of People

11. Heart of Darkness Themes & Motifs Role of Women Role of Women Civilization exploitive of women Civilization exploitive of women Civilization as a binding and self- perpetuating force Civilization as a binding and self- perpetuating force Physical connected to Psychological Physical connected to Psychological Barriers (fog, thick forest, etc.) Barriers (fog, thick forest, etc.) Rivers (connection to past, parallels time and journey) Rivers (connection to past, parallels time and journey)

12. Review of Criticism Paul OPrey: "It is an irony that the 'failures' of Marlow and Kurtz are paralleled by a corresponding failure of Conrad's technique--brilliant though it is--as the vast abstract darkness he imagines exceeds his capacity to analyze and dramatize it, and the very inability to portray the story's central subject, the 'unimaginable', the 'impenetratable' (evil, emptiness, mystery or whatever) becomes a central theme." Paul OPrey: "It is an irony that the 'failures' of Marlow and Kurtz are paralleled by a corresponding failure of Conrad's technique--brilliant though it is--as the vast abstract darkness he imagines exceeds his capacity to analyze and dramatize it, and the very inability to portray the story's central subject, the 'unimaginable', the 'impenetratable' (evil, emptiness, mystery or whatever) becomes a central theme." James Guetti complains that Marlow "never gets below the surface," and is "denied the final self-knowledge that Kurtz had." James Guetti complains that Marlow "never gets below the surface," and is "denied the final self-knowledge that Kurtz had."

13. Review of Criticism Conrad, writing in 1922, responds to similar criticism: "Explicitness, my dear fellow, is fatal to the glamour of all artistic work, robbing it of all suggestiveness, destroying all illusion. You seem to believe in literalness and explicitness, in facts and in expression. Yet nothing is more clear than the utter insignificance of explicit statement and also its power to call attention away from things that matter in the region of art." Conrad, writing in 1922, responds to similar criticism: "Explicitness, my dear fellow, is fatal to the glamour of all artistic work, robbing it of all suggestiveness, destroying all illusion. You seem to believe in literalness and explicitness, in facts and in expression. Yet nothing is more clear than the utter insignificance of explicit statement and also its power to call attention away from things that matter in the region of art." Marlowe, the narrator, describes how difficult conveying a story is: "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 the very essence of dream...No, it is impossible; 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..." Marlowe, the narrator, describes how difficult conveying a story is: "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 the very essence of dream...No, it is impossible; 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..."

14. Review of Criticism Marxist: You can see Heart of Darkness as a depiction of, and an attack upon, colonialism in general, and, more specifically, the particularly brutal form colonialism took in the Belgian Congo. Marxist: You can see Heart of Darkness as a depiction of, and an attack upon, colonialism in general, and, more specifically, the particularly brutal form colonialism took in the Belgian Congo. the mistreatment of the Africans the mistreatment of the Africans the greed of the so-called "pilgrims" the greed of the so-called "pilgrims" the broken idealism of Kurtz the broken idealism of Kurtz the French man-of-war lobbing shells into the jungle the French man-of-war lobbing shells into the jungle the grove of death which Marlow stumbles upon the grove of death which Marlow stumbles upon the little note that Kurtz appends to his noble-minded essay on The Suppression of Savage Customs the little note that Kurtz appends to his noble-minded essay on The Suppression of Savage Customs the importance of ivory to the economics of the system. the importance of ivory to the economics of the system.

15. Review of Criticism Sociological/Cultural: Conrad was also apparently interested in a more general sociological investigation of those who conquer and those who are conquered, and the complicated interplay between them. Sociological/Cultural: Conrad was also apparently interested in a more general sociological investigation of those who conquer and those who are conquered, and the complicated interplay between them. Marlow's invocation of the Roman conquest of Britain Marlow's invocation of the Roman conquest of Britain cultural ambiguity of those Africans who have taken on some of the ways of their Europeans cultural ambiguity of those Africans who have taken on some of the ways of their Europeans the ways in which the wilderness tends to strip away the civility of the Europeans and brutalize them the ways in which the wilderness tends to strip away the civility of the Europeans and brutalize them Conrad is not impartial and scientifically detached from these things, and he even has a bit of fun with such impartiality in his depiction the doctor who tells Marlow that people who go out to Africa become "scientifically interesting." Conrad is not impartial and scientifically detached from these things, and he even has a bit of fun with such impartiality in his depiction the doctor who tells Marlow that people who go out to Africa become "scientifically interesting."

16. Review of Criticism Psychological/Psychoanalytical: Conrad goes out of his way to suggest that in some sense Marlow's journey is like a dream or a return to our primitive past--an exploration of the dark recesses of the human mind. Psychological/Psychoanalytical: Conrad goes out of his way to suggest that in some sense Marlow's journey is like a dream or a return to our primitive past--an exploration of the dark recesses of the human mind. Apparent similarities to the psychological theories of Sigmund Freud in its suggestion that dreams are a clue to hidden areas of the mind Apparent similarities to the psychological theories of Sigmund Freud in its suggestion that dreams are a clue to hidden areas of the mind we are all primitive brutes and savages, capable of the most appalling wishes and the most horrifying impulses (the Id) we are all primitive brutes and savages, capable of the most appalling wishes and the most horrifying impulses (the Id) we can make sense of the urge Marlow feels to leave his boat and join the natives for a savage whoop and holler we can make sense of the urge Marlow feels to leave his boat and join the natives for a savage whoop and holler notice that Marlow keeps insisting that Kurtz is a voice--a voice who seems to speak to him out of the heart of the immense darkness notice that Marlow keeps insisting that Kurtz is a voice--a voice who seems to speak to him out of the heart of the immense darkness

17. Review of Criticism Religious: Heart of Darkness as an examination of various aspects of religion and religious practices. Religious: Heart of Darkness as an examination of various aspects of religion and religious practices. examine the way Conrad plays with the concept of pilgrims and pilgrimages examine the way Conrad plays with the concept of pilgrims and pilgrimages the role of Christian missionary concepts in the justifications of the colonialists the role of Christian missionary concepts in the justifications of the colonialists the dark way in which Kurtz fulfills his own messianic ambitions by setting himself up as one of the local gods the dark way in which Kurtz fulfills his own messianic ambitions by setting himself up as one of the local gods

18. Review of Criticism Moral-Philosophical: Heart of Darkness is preoccupied with general questions about the nature of good and evil, or civilization and savagery Moral-Philosophical: Heart of Darkness is preoccupied with general questions about the nature of good and evil, or civilization and savagery What saves Marlow from becoming evil? What saves Marlow from becoming evil? Is Kurtz more or less evil than the pilgrims? Is Kurtz more or less evil than the pilgrims? Why does Marlow associate lies with mortality? Why does Marlow associate lies with mortality?

19. Review of Criticism Formulist: Formulist: Threes: There are three parts to the story, three breaks in the story (1 in pt. 1 and 2 in pt. 2), and three central characters: the outside narrator, Marlow and Kurtz Threes: There are three parts to the story, three breaks in the story (1 in pt. 1 and 2 in pt. 2), and three central characters: the outside narrator, Marlow and Kurtz Contrasting images (dark and light, open and closed) Contrasting images (dark and light, open and closed) Center to periphery: Kurtz->Marlow->Outside Narrator->the reader Center to periphery: Kurtz->Marlow->Outside Narrator->the reader Are the answers to be found in the center or on the periphery? Are the answers to be found in the center or on the periphery?

20. Modernism Heart of Darkness was published in the Late Victorian-Early Modern Era but exhibits mostly modern traits: Heart of Darkness was published in the Late Victorian-Early Modern Era but exhibits mostly modern traits: a distrust of abstractions as a way of delineating truth a distrust of abstractions as a way of delineating truth an interest in an exploration of the psychological an interest in an exploration of the psychological a belief in art as a separate and somewhat privileged kind of human experience a belief in art as a separate and somewhat privileged kind of human experience a desire for transcendence mingled with a feeling that transcendence cannot be achieved a desire for transcendence mingled with a feeling that transcendence cannot be achieved an awareness of primitiveness and savagery as the condition upon which civilization is built, and therefore an interest in the experience and expressions of non-European peoples an awareness of primitiveness and savagery as the condition upon which civilization is built, and therefore an interest in the experience and expressions of non-European peoples a skepticism that emerges from the notion that human ideas about the world seldom fit the complexity of the world itself, and thus a sense that multiplicity, ambiguity, and irony--in life and in art--are the necessary responses of the intelligent mind to the human condition. a skepticism that emerges from the notion that human ideas about the world seldom fit the complexity of the world itself, and thus a sense that multiplicity, ambiguity, and irony--in life and in art--are the necessary responses of the intelligent mind to the human condition.

21. Apocalypse Now Apocalypse Now is a film that was directed by Francis Ford Coppola starring Martin Sheen, Robert Duvall and Marlon Brando Apocalypse Now is a film that was directed by Francis Ford Coppola starring Martin Sheen, Robert Duvall and Marlon Brando This film was based on Conrads Heart of Darkness. This film was based on Conrads Heart of Darkness. Coppola takes the story to Vietnam. Captain Willard (Marlow) is sent on a mission to kill Colonel Kurtz who has gone renegade Coppola takes the story to Vietnam. Captain Willard (Marlow) is sent on a mission to kill Colonel Kurtz who has gone renegade