Heart of Darkness

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For other uses, see Heart of Darkness (disambiguation).

Heart of Darkness was first published as a three-

part serial story in Blackwood's Magazine.

Author Joseph Conrad

Country United Kingdom

Language English

Genre Novella

Published 1899 serial; 1902 book

Publisher Blackwood's Magazine

Media type Print

Preceded by The Nigger of the 'Narcissus' (1897)

Followed by Lord Jim (1900)

Heart of Darkness

Heart of Darkness (1899) is a novella by Polish-English novelist Joseph Conrad about a

voyage up the Congo River into the Congo Free State in the heart of Africa.[1] Charles
Marlow, the narrator, tells his story to friends aboard a boat anchored on the River Thames.
This setting provides the frame for Marlow's story of his obsession with the ivory trader
Kurtz, which enables Conrad to create a parallel between what Conrad calls "the greatest
town on earth", London, and Africa as places of darkness.[2]
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Central to Conrad's work is the idea that there is little difference between so-called civilised
people and those described as savages; Heart of Darkness raises questions about
imperialism and racism.[3]

Originally issued as a three-part serial story in Blackwood's Magazine to celebrate the

thousandth edition of the magazine,[4] Heart of Darkness has been widely re-published and
translated into many languages. In 1998, the Modern Library ranked Heart of Darkness
67th on their list of the 100 best novels in English of the twentieth century.[5]

Composition and publication

In 1890, at the age of 32, Conrad was appointed by a Belgian trading company to serve on
one of its steamers. While sailing up the Congo river from one station to another, the
captain became ill and Conrad assumed command, guiding the ship to the trading
company's innermost station, Kindu. The story's main narrator, Charles Marlow, has similar
experiences to the author himself.[6]

When Conrad began to write the novella, eight years after

returning from Africa, he drew inspiration from his travel
journals.[6] He described Heart of Darkness as "a wild story" of
a journalist who becomes manager of a station in the (African)
interior and makes himself worshipped by a tribe of savages.
Thus described, the subject seems comic, but it isn't.[7] The
tale was first published as a three-part serial, February, March
and April 1899, in Blackwood's Magazine (February 1899 was
the magazine's 1000th issue: special edition). Then later, in
1902, Heart of Darkness was included in the book Youth: a
Narrative, and Two Other Stories (published on 13 November
1902, by William Blackwood). Joseph Conrad based Heart
of Darkness on his own
experiences in the Congo.
The volume consisted of Youth: a Narrative, Heart of
Darkness and The End of the Tether in that order. For future
editions of the book, in 1917 Conrad wrote an "Author's Note" where he, after denying any
"unity of artistic purpose" underlying the collection, discusses each of the three stories, and
makes light commentary on the character Marlow—the narrator of the tales within the first
two stories. He also mentions how Youth marks the first appearance of Marlow.

On 31 May 1902, in a letter to William Blackwood, Conrad remarked:

I call your own kind self to witness ... the last pages of Heart of Darkness where the interview
of the man and the girl locks in—as it were—the whole 30000 words of narrative description
into one suggestive view of a whole phase of life and makes of that story something quite on
another plane than an anecdote of a man who went mad in the Centre of Africa.[8]

There have been many proposed sources for the character of the antagonist, Kurtz.
Georges-Antoine Klein, an agent who became ill and later died aboard Conrad's steamer,
has been identified by scholars and literary critics as one basis for Kurtz. The principal
figures involved in the disastrous "rear column" of the Emin Pasha Relief Expedition have

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also been identified as likely sources, including column leader Edmund Musgrave Barttelot,
slave trader Tippu Tip and the expedition's overall leader, Welsh explorer Henry Morton
Stanley.[9][10] Adam Hochschild, in King Leopold's Ghost, believes that the Belgian soldier
Léon Rom is the most important influence on the character.[11]

Plot summary
Aboard the Nellie, anchored in the River Thames near Gravesend, England, Charles
Marlow tells his fellow sailors about the events that led to his appointment as captain of a
river steamboat for an ivory trading company. As a child, Marlow had been fascinated by
"the blank spaces" on maps, particularly by the biggest, which by the time he had grown up
was no longer blank but turned into "a place of darkness" (Conrad 10). Yet there remained
a big river, "resembling an immense snake uncoiled, with its head in the sea, its body at
rest curving afar over a vast country and its tail lost in the depths of the land" (Conrad 10).
The image of this river on the map fascinated Marlow "as a snake would a bird" (Conrad
10). Feeling as though "instead of going to the centre of a continent I were about to set off
for the centre of the earth", Marlow takes passage on a French steamer bound for the
African coast and then into the interior (Conrad 18). After more than thirty days the ship
anchors off the seat of the government near the mouth of the big river. Marlow, with still
some two hundred miles to go, now takes passage on a little sea-going steamer captained
by a Swede. He departs some thirty miles up the river where his Company's station is.
Work on the railway is going on, involving removal of rocks with explosives. Marlow enters
a narrow ravine to stroll in the shade under the trees, and finds himself in "the gloomy circle
of some Inferno": the place is full of diseased Africans who worked on the railroad and now
await their deaths, their sickened bodies already as thin as air (Conrad 24–25). Marlow
witnesses the scene "horror-struck" (Conrad 26).

Marlow has to wait for ten days in the Company's Outer Station, where he sleeps in a hut.
At this station, which strikes Marlow as a scene of devastation, he meets the Company's
impeccably dressed chief accountant who tells him of a Mr. Kurtz, who is in charge of a
very important trading-post, and a widely respected, first-class agent, a "'very remarkable
person'" who "'Sends in as much ivory as all the others put together'" (Conrad 28). The
agent predicts that Kurtz will go very far: "'He will be a somebody in the Administration
before long. They, above—the Council in Europe, you know—mean him to be'" (Conrad
29).

Marlow departs with a caravan of sixty men to travel

on foot some two hundred miles into the wilderness to
the Central Station, where the steamboat that he is to
captain is based. On the fifteenth day of his march, he
arrives at the station, which has some twenty
employees, and is shocked to learn from a fellow
European that his steamboat had been wrecked in a
mysterious accident two days earlier. He meets the Belgian river station on the Congo River,
general manager, who informs him that he could wait 1889

no longer for Marlow to arrive, because the up-river

stations had to be relieved, and rumours had one
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important station in jeopardy because its chief, the exceptional Mr. Kurtz, was ill. "Hang
Kurtz", Marlow thinks, irritated (Conrad 34). He fishes his boat out of the river and is
occupied with its repair for some months, during which a sudden fire destroys a grass shed
full of materials used to trade with the natives. While one of the natives is tortured for
allegedly causing the fire, Marlow is invited in the room of the station's brick-maker, a man
who spent a year waiting for material to make bricks. Marlow gets the impression the man
wants to pump him, and is curious to know what kind of information he is after. Hanging on
the wall is "a small sketch in oils, on a panel, representing a woman draped and blindfolded
carrying a lighted torch" (Conrad 39). Marlow is fascinated with the sinister effect of the
torchlight upon the woman's face, and is informed that Mr. Kurtz made the painting in the
station a year ago. The brick-maker calls Kurtz "'a prodigy'" and "'an emissary of pity, and
science, and progress'", and feels Kurtz represents the "'higher intelligence, wide
sympathies, a singleness of purpose'" needed for the cause Europe entrusts the Company
with (Conrad 39). The man predicts Kurtz will rise in the hierarchy within two years and then
makes the connection to Marlow: "'The same people who sent him specially also
recommended you'" (Conrad 39–40).

Marlow is frustrated by the months it takes to perform the necessary repairs, made all the
slower by the lack of proper tools and replacement parts at the station. During this time, he
learns that Kurtz is far from admired, but more or less resented (mostly by the manager).

Once underway, the journey up-river to Kurtz's station takes two months to the day. The
steamboat stops briefly near an abandoned hut on the riverbank, where Marlow finds a pile
of wood and a note indicating that the wood is for them and that they should proceed
quickly but with caution as they near the Inner Station.

The journey pauses for the night about eight miles below the
Inner Station. In the morning the crew awakens to find that the
boat is enveloped by a thick white fog. From the riverbank they
hear a very loud cry, followed by a discordant clamour. A few
hours later, as safe navigation becomes increasingly difficult,
the steamboat is attacked with a barrage of small arrows from
the forest. The helmsman is impaled by a spear and falls at
Marlow's feet. Marlow sounds the steam whistle repeatedly,
frightening the attackers and causing the shower of arrows to
cease. Marlow and a pilgrim (Marlow's word for the European
hangers-on in the steamer) watch the helmsman die. In a flash
The Roi des Belges ("King of
forward, Marlow notes that the International Society for the
the Belgians"—French), the
Suppression of Savage Customs had commissioned Kurtz to Belgian riverboat Conrad
write a report, which he did eloquently. A handwritten commanded on the upper
Congo, 1889
postscript, apparently added later by Kurtz, reads
"Exterminate all the brutes!" (Conrad 83).

At Kurtz's station Marlow sees a man on the riverbank waving his arm, urging them to land.
The pilgrims, heavily armed, escort the manager on to the shore to retrieve Mr. Kurtz. The
man from the bank boards the steamboat, and turns out to be a Russian wanderer who had
happened to stray into Kurtz's camp. He explains that he had left the wood and the note at
the abandoned hut. Through conversation Marlow discovers just how wanton Kurtz can be;
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how the natives worship him; and how very ill he has been of late. The Russian admires
Kurtz for his intellect and his insights into love, life, and justice, and suggests that he is a
poet. He tells of how Kurtz opened his mind, and seems to admire him even for his power
—and for his willingness to use it. Marlow, on the other hand, suggests that Kurtz has gone
mad.

From the steamboat, Marlow observes the station in detail and is surprised to see near the
station house a row of posts topped with the severed heads of natives. Around the corner
of the house, the manager appears with the pilgrims, bearing a gaunt and ghost-like Kurtz
on an improvised stretcher. The area fills with natives, apparently ready for battle, but Kurtz
shouts something from the stretcher, and the natives retreat into the forest. The pilgrims
carry Kurtz to the steamer and lay him in one of the cabins, where he and the manager
have a private conversation. Marlow watches a beautiful native woman walk in measured
steps along the shore and stop next to the steamer. When the manager exits the cabin he
pulls Marlow aside and tells him that Kurtz has harmed the Company's business in the
region, that his methods are "unsound". Later, the Russian reveals that Kurtz believes the
Company wants to remove him from the station and kill him, and Marlow confirms that
hangings had been discussed.

After midnight, Marlow discovers that Kurtz has left his cabin
on the steamer and returned to shore. He goes ashore and
finds a very weak Kurtz crawling his way back to the station
house, though not too weak to call to the natives for help.
Marlow threatens to harm Kurtz if he raises an alarm, but
Kurtz only laments that he had not accomplished more in the
region. The next day they prepare for their journey back down
the river. The natives, including the ornately dressed woman,
once again assemble on shore and begin to shout
unintelligibly. Noticing the pilgrims readying their rifles, Marlow
sounds the steam whistle repeatedly to scatter the crowd of
natives. Only the woman remains unmoved, with outstretched
arms. The pilgrims open fire as the current carries them swiftly
downstream. Léon Rom, photographed c.
(circa) 1880, who some have
Kurtz's health worsens on the return trip, and Marlow himself argued served as the
inspiration for Kurtz
becomes increasingly ill. The steamboat breaks down and,
while it is stopped for repairs, Kurtz gives Marlow a packet of
papers, including his commissioned report and a photograph, telling him to keep them away
from the manager. When Marlow next speaks with him, Kurtz is near death; as he dies,
Marlow hears him weakly whisper: "The horror! The horror!" (Conrad 116). A short while
later, the "manager's boy" announces to the rest of the crew, in a scathing tone, "Mistah
Kurtz—he dead" (Conrad 117). The next day Marlow pays little attention to the pilgrims as
they bury "something" in a muddy hole (Conrad 117). He falls very ill, himself near death.

Upon his return to Europe, Marlow is embittered and contemptuous of the "civilised" world.
Many callers come to retrieve the papers Kurtz had entrusted to him, but Marlow withholds
them or offers papers he knows they have no interest in. He then gives Kurtz's report to a
journalist, for publication if he sees fit. Finally Marlow is left with some personal letters and
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a photograph of Kurtz's fiancée, whom Kurtz referred to as "My Intended" (Conrad 79).
When Marlow visits her, she is dressed in black and still deep in mourning, although it has
been more than a year since Kurtz's death. She presses Marlow for information, asking him
to repeat Kurtz's final words. Uncomfortable, Marlow lies and tells her that Kurtz's final word
was her name.

Reception
Literary critic Harold Bloom wrote that Heart of Darkness had been analysed more than any
other work of literature that is studied in universities and colleges, which he attributed to
Conrad's "unique propensity for ambiguity". However, it was not a big success during
Conrad's life.[12][13] When it was published as a single volume in 1902 with two more
novellas, "Youth" and "The End of the Tether", it received the least commentary from
critics.[13] F. R. Leavis referred to Heart of Darkness as a "minor work" and criticised its
"adjectival insistence upon inexpressible and incomprehensible mystery".[14] Conrad
himself did not consider it to be particularly notable.[13] By the 1960s, though, it was a
standard assignment in many college and high school English courses.

In King Leopold's Ghost (1998), Adam Hochschild wrote that literary scholars have made
too much of the psychological aspects of Heart of Darkness, while paying scant attention to
Conrad's accurate recounting of the horror arising from the methods and effects of
colonialism in the Congo Free State. "Heart of Darkness is experience ... pushed a little
(and only very little) beyond the actual facts of the case."[15] Other critiques include Hugh
Curtler's Achebe on Conrad: Racism and Greatness in Heart of Darkness (1997).[16] Moving
beyond ideology critique, French philosopher Philippe Lacoue-Labarthe called Heart of
Darkness "one of the greatest texts of Western literature" and used Conrad's tale for a
reflection on "The Horror of the West".[17]

Heart of Darkness is criticised in postcolonial

studies,[18] particularly by Nigerian novelist Chinua
Achebe.[19] In his 1975 public lecture "An Image of
Africa: Racism in Conrad's Heart of Darkness",
Achebe described Conrad's novella as "an offensive
and deplorable book" that de-humanised Africans.[20]
Achebe argued that Conrad, "blinkered ... with
xenophobia", incorrectly depicted Africa as the
Chinua Achebe's 1975 lecture on the
antithesis of Europe and civilisation, ignoring the book sparked decades of debate.
artistic accomplishments of the Fang people who lived
in the Congo River basin at the time of the book's
publication. He argued that the book promoted and continues to promote a prejudiced
image of Africa that "depersonalises a portion of the human race", and concluded that it
should not be considered a great work of art.[21][18]

Zimbabwean scholar Rino Zhuwarara broadly agreed with Achebe, though considered it
important to be "sensitised to how peoples of other nations perceive Africa".[22] In 2003,
Botswanan scholar Peter Mwikisa concluded the book was "the great lost opportunity to
depict dialogue between Africa and Europe."[23] In 1983, British academic Cedric Watts
6/11
criticized Achebe's apparent assertion that only black people may accurately analyse and
assess the novella. Stan Galloway writes, in a comparison of Heart of Darkness with
Jungle Tales of Tarzan, "The inhabitants [of both works], whether antagonists or
compatriots, were clearly imaginary and meant to represent a particular fictive cipher and
not a particular African people."[24]

Novelist Caryl Phillips stated in 2003 that: "Achebe is right; to the African reader the price of
Conrad's eloquent denunciation of colonisation is the recycling of racist notions of the 'dark'
continent and her people. Those of us who are not from Africa may be prepared to pay this
price, but this price is far too high for Achebe."[25] More recent critics have stressed that the
"continuities" between Conrad and Achebe are profound and that a form of "postcolonial
mimesis" ties the two authors.[26]

Adaptations and influences

Radio and stage plays

Orson Welles adapted and starred in Heart of Darkness in a CBS Radio broadcast on 6
November 1938 as part of his series, The Mercury Theatre on the Air. In 1939 Welles
adapted the story for his first film for RKO Pictures, writing a screenplay with John
Houseman. It was intended to be entirely filmed as a POV from Marlow's eyes. Welles even
filmed a short presentation film illustrating his intent. It has been reported as lost to history.
The project was never realised; one reason given was the loss of European markets after
the outbreak of war. Welles still hoped to produce the film when he presented another radio
adaptation of the story as his first program as producer-star of the CBS radio series This Is
My Best. Welles scholar Bret Wood called the broadcast of 13 March 1945, "the closest
representation of the film Welles might have made, crippled, of course, by the absence of
the story's visual elements (which were so meticulously designed) and the half-hour length
of the broadcast."[27]:95, 153–156,136–137

In 1991, Australian author and playwright Larry Buttrose wrote and staged a theatrical
production of Kurtz (based on Heart of Darkness) with the Crossroads Theatre Company,
Sydney.[28] The play was announced to be broadcast as a radio play to Australian radio
audiences in August 2011 by the Vision Australia Radio Network,[29] and also by the RPH –
Radio Print Handicapped Network across Australia.

In 2011, an operatic adaptation by composer Tarik O'Regan and librettist Tom Phillips was
premiered at the Linbury Theatre of the Royal Opera House in London.[30] A suite for
orchestra and narrator was subsequently extrapolated from it.[31]

In 2015, an adaption of Orson Welles' screenplay by Jamie Lloyd and Laurence Bowen
was aired on BBC Radio 4.[32] The production starred James McAvoy as Marlow.

Film and television

The CBS television anthology Playhouse 90 aired a 90-minute loose adaptation in 1958.
This version, written by Stewart Stern, uses the encounter between Marlow (Roddy
McDowall) and Kurtz (Boris Karloff) as its final act, and adds a backstory in which Marlow
[33] 7/11
had been Kurtz's adopted son. The cast includes Inga Swenson and Eartha Kitt.[33]

The most famous adaptation is Francis Ford Coppola's 1979 motion picture Apocalypse
Now based on the screenplay by John Milius, which moves the story from the Congo to
Vietnam and Cambodia during the Vietnam War.[34] In Apocalypse Now, Martin Sheen
plays Captain Benjamin L. Willard, a US Army Captain assigned to "terminate the
command" of Colonel Walter E. Kurtz. Marlon Brando played Kurtz, in one of his most
famous roles. A production documentary of the film, titled Hearts of Darkness: A
Filmmaker's Apocalypse, exposed some of the major difficulties which director Coppola
faced in seeing the movie through to completion. The difficulties that Coppola and his crew
faced mirrored some of the themes of the book.

On 13 March 1993 TNT aired a new version of the story directed by Nicolas Roeg, starring
Tim Roth as Marlow and John Malkovich as Kurtz.[35]

Video games
The video game Far Cry 2, released on 21 October 2008, is a loose modernised adaptation
of Heart of Darkness. The player assumes the role of a mercenary operating in Africa
whose task it is to kill an arms dealer, the elusive "Jackal". The last area of the game is
called 'The Heart of Darkness'.[36][37][38]

The video game Spec Ops: The Line, released on 26 June 2012, is a direct modernised
adaptation of Heart of Darkness. The player assumes the role of special-ops agent Martin
Walker as he and his team search Dubai for survivors in the aftermath of catastrophic
sandstorms that left the city without contact to the outside world. The character John
Konrad, who replaces the character Kurtz, is a reference to the author of the novella.[39]

Victoria II, a grand strategy game produced by Paradox Interactive, launched an expansion
pack titled "Heart of Darkness" on 16 April 2013, which revamped the game's colonial
system, and naval warfare.[40]

Literature
The novel Hearts of Darkness, by Paul Lawrence, moves the events of the novel to
England in 1666. Marlow's journey into the jungle is reimagined as the journey of the
narrator, Harry Lytle, and his friend Davy Dowling out of London and towards Shyam, a
plague-stricken town that has descended into cruelty and barbarism loosely modelled on
real-life Eyam. While Marlow must return to civilisation with Kurtz, Lytle and Dowling are
searching for the spy James Josselin. Like Kurtz, Josselin's reputation is immense, and the
protagonists are well-acquainted with his accomplishments by the time they finally meet
him.[41]

Poet Yedda Morrison's 2012 book Darkness erases Conrad's novella, "whiting out" his text
so that only images of the natural world remain.[42]

James Reich's Mistah Kurtz! A Prelude to Heart of Darkness presents the early life of
Kurtz, his appointment to his station in the Congo, and his messianic disintegration in a
novel that dovetails with the conclusion of Conrad's novella. Reich's novel is premised

[43] 8/11
upon the papers Kurtz leaves to Marlow at the end of Heart of Darkness.[43]

In Josef Škvorecký's novel The Engineer of Human Souls Kurtz is seen as the epitome of
exterminatory colonialism, and here and elsewhere Škvorecký emphasises the importance
of Conrad's concern with Russian imperialism in Eastern Europe.[44]

T. S. Eliot wrote "Mistah Kurtz—he dead" at the beginning of the poem The Hollow Men,
quoting the "manager's boy" when he announced the death of Kurtz to the crew.

Notes
1. ^ Heart of Darkness Novella by Conrad – Encyclopædia Britannica. Retrieved 2
August 2015
2. ^ Chinua Achebe "An Image of Africa: Racism in Conrad's Heart of Darkness" in The
Norton Anthology of English Literature, vol. 2 (7th edition) (2000), p. 2036.
3. ^ The Norton Anthology, 7th edition, (2000), p. 1957.
4. ^ National Library of Scotland: Blackwoods magazine exhibition. In Blackwood's, the
story is titled "The Heart of Darkness" but when published as a separate book the
"The" was dropped from the title.
5. ^ 100 Best Archived 7 February 2010 at the Wayback Machine., Modern Library's
website. Retrieved 12 January 2010.
6. ^ a b Bloom 2009, p. 15
7. ^ Karl & Davies 1986, p. 407
8. ^ Karl & Davies 1986, p. 417
9. ^ Bloom 2009, p. 16
10. ^ Hochschild, Adam (1998). King Leopold's Ghost: A Story of Greed, Terror, and
Heroism in Colonial Africa. New York: Houghton Mifflin. pp. 98, 145. ISBN 0-395-
75924-2 – via Google Books.
11. ^ Ankomah, Baffour (October 1999). "The Butcher of Congo". New African.
12. ^ Bloom 2009, p. 17
13. ^ a b c Moore 2004, p. 4
14. ^ Moore 2004, p. 5
15. ^ Hochschild 1999, p. 143
16. ^ Curtler, Hugh (March 1997). "Achebe on Conrad: Racism and Greatness in Heart
of Darkness". Conradiana. 29 (1): 30–40.
17. ^ Lacoue-Labarthe, Philippe. "The Horror of the West". Bloomsbury.
18. ^ a b Podgorski, Daniel (6 October 2015). "A Controversy Worth Teaching: Joseph
Conrad's Heart of Darkness and the Ethics of Stature". The Gemsbok. Your Tuesday
Tome. Retrieved 19 February 2016.
19. ^ "Chinua Achebe Biography". Biography.com. Retrieved 30 November 2014.
20. ^ Watts, Cedric (1983). "'A Bloody Racist': About Achebe's View of Conrad". The
Yearbook of English Studies. 13: 196. doi:10.2307/3508121. Retrieved 18 November
2013.
21. ^ Achebe, Chinua (1978). "An Image of Africa". Research in African Literatures.
doi:10.2307/3818468. Retrieved 13 December 2013.
22. ^ Moore 2004, p. 6
23. ^ Mwikisa, Peter. "Conrad's Image of Africa: Recovering African Voices in Heart of
9/11
 Darkness. Mots Pluriels 13 (April 2000): 20–28.
24. ^ Galloway, Stan. The Teenage Tarzan: A Literary Analysis of Edgar Rice Burroughs,
Jungle Tales of Tarzan. Jefferson, NC: McFarland, 2010. p. 112.
25. ^ Phillips, Caryl. "Out of Africa". The Guardian. Retrieved 30 November 2014.
26. ^ Lawtoo, Nidesh (2013). "A Picture of Africa: Frenzy, Counternarrative, Mimesis".
Modern Fiction Studies. 59 (1): 26–52. doi:10.1353/mfs.2013.0000.
27. ^ Wood, Bret, Orson Welles: A Bio-Bibliography. Westport, Connecticut: Greenwood
Press, 1990 ISBN 0-313-26538-0
28. ^ "Larry Buttrose". doollee.com.
29. ^ "Vision Australia". Visionaustralia.org. Archived from the original on 1 August 2012.
Retrieved 17 June 2015.
30. ^ Royal Opera House Page for Heart of Darkness Archived 20 October 2011 at the
Wayback Machine. by Tarik O'Regan and Tom Phillips
31. ^ Suite from Heart of Darkness first London performance, Cadogan Hall, retrieved 17
June 2015
32. ^ "Orson Welles' Heart of Darkness, Unmade Movies, Drama – BBC Radio 4". BBC.
Retrieved 3 November 2015.
33. ^ Cast and credits are available at "The Internet Movie Database". Retrieved 2
December 2010. A full recording of the show can be viewed onsite by members of
the public upon request at The Paley Center for Media (formerly the Museum of
Television & Radio) in New York City and Los Angeles.
34. ^ Scott, A. O. (3 August 2001). "Aching Heart of Darkness". The New York Times.
Retrieved 29 September 2008.
35. ^ Tucker, Ken. Heart of Darkness. Entertainment Weekly, 11 March 1994. Retrieved
4 April 2010.
36. ^ Mikel Reparaz (30 July 2007). "The Darkness". GamesRadar+.
37. ^ "Africa Wins Again: Far Cry 2's literary approach to narrative". Infovore.org.
Retrieved 17 June 2015.
38. ^ "Far Cry 2 – Jorge Albor – ETC Press". Cmu.edu. Retrieved 17 June 2015.
39. ^ "Spec Ops: The Line preview – heart of darkness". Metro.
40. ^ "Victoria 2: Heart of Darkness – Paradox Interactive". Paradoxplaza.com. Retrieved
17 June 2015.
41. ^ "Hearts of Darkness". Allisonandbusby.com. Retrieved 17 June 2015.
42. ^ Morrison, Yedda. "Yedda Morrison". Yeddamorrison.com. Retrieved 17 June 2015.
43. ^ Hurley, Brian. "Q&A with James Reich, Author of Mistah Kurtz". Retrieved 15 March
2016.
44. ^ Škvorecký, Josef (1984). "Why the Harlequin? On Conrad's Heart of Darkness."
Cross Currents: A Yearbook of Central European Culture, vol. 3, pp. 259-264.

References
Bloom, Harold, ed. (2009). Joseph Conrad's Heart of Darkness. Infobase Publishing.
ISBN 1438117108.
Hochschild, Adam (October 1999). "Chapter 9: Meeting Mr. Kurtz". King Leopold's
Ghost. Mariner Books. pp. 140–149. ISBN 0-618-00190-5.
Karl, Frederick R.; Davies, Laurence, eds. (1986). The Collected Letters of Joseph
10/11
 Conrad – Volume 2: 1898 – 1902. Cambridge University Press. ISBN 0-521-25748-4.
Moore, Gene M., ed. (2004). Joseph Conrad's Heart of Darkness: A Casebook.
Oxford University Press. ISBN 0195159969.
Murfin, Ross C., ed. (1989). Joseph Conrad: Heart of Darkness. A Case Study in
Contemporary Criticism. St. Martin's Press. ISBN 0-312-00761-2.
Sherry, Norman (30 June 1980). Conrad's Western World. Cambridge University
Press. ISBN 0-521-29808-3.

Further reading
Farn, Regelind Colonial and Postcolonial Rewritings of "Heart of Darkness" – A
Century of Dialogue with Joseph Conrad (2004). A dissertation.
Firchow, P. Envisioning Africa: Racism and Imperialism in Conrad's 'Heart of
Darkness (Lexington: University Press of Kentucky, 2000).
Lawtoo, Nidesh, ed. Conrad's Heart of Darkness and Contemporary Thought:
Revisiting the Horror with Lacoue-Labarthe (London: Bloomsbury, 2012).
Parry, Benita Conrad and Imperialism (London: Macmillan, 1983).
Said, Edward W. Joseph Conrad and the Fiction of Autobiography (Cambridge,
Massachusetts: Harvard University Press, 1966) [no ISBN].
Watts, Cedric Conrad's 'Heart of Darkness': A Critical and Contextual Discussion
(Milan: Mursia International, 1977).

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