Marlow’s Narrative Voice as a Rejection of the African People Essay

In An Image of Africa Racism in Conrads softheartedness of Darkness, Chinua Achebe says that it is the bankone might indeed say the needin Hesperian psychology to set Africa up as a foil to europium (337). Indeed it is wise for Achebe to make this claim while discussing Joseph Conrads Heart of Darkness, a short novel that presents the relationship between Europe and Africa as an entirely one-sided narrative which denies the African peck their right to personage. For a majority of the novel, Marlows narration of a story goes so higher up and beyond telling one narrative, that it industrial plant toward preventing the African people from growing a voice of their own. Edward Said, in Culture and Imperialism, provides perhaps the most in effect(p) explanation as to how the narrative that Marlow tells in the novel works against the African peopleAs one critic has suggested, nations themselves are narrations. The power to narrate, or to block other narratives from forming and emer ging, is very important to culture and imperialism, and constitutes one of the primary(prenominal) connections between them. (xiii)Marlow possesses the power to narrate, and therefore the power to block the African people from possessing their own voice. Achebe is right in saying that Marlows depiction of Africa projects the render of Africa as the other world, the antithesis of Europe and therefore of civilization (338). However, beyond preventing a narrative from happen by means of the telling his own, Marlow performs a narrative that works toward creating a separation between us, the Europeans, and them, the Africans (xiii). His narrative, for the benefit of European identity, denies the African people any voice at all in the personal matters between the two continents. Therefore, Marl... ...tz has been aligned with by his confrontation of the darkness, the same atrociousness that ultimately consumes him, finds its only voice in his last haggle The horror The horror, only regardless, Marlow cannot allow them to become a stop of the final narrative. He knows better than to allow the voice of a savage, which Kurtz became through becoming so engulfed in the darkness, have a voice in his narrative. Once again, the narrative denies the Africans, even in the voice of a European man, ever from having a voice in a narrative that originally takes place on their territory. Marlow, as a man of Europe, appears to make the ending as to whether or not tell the intended Kurtz last words, but he knows that he could not since they would be a voice of the Congo. In conclusion, Marlows narrative is the narrative of the European city which exploits the African colony.