Youth / Heart of Darkness / The End of the Tether

Joseph Conrad brings discord to our household. For over thirty years, he has been one of my favorite authors. However, my partner can't stand him. She claims that Conrad disregards women and that his works often read like a bad translation from the French.

It's true that there aren't many notable female characters in Conrad's work, but I view this as a limitation rather than a fatal flaw. And perhaps he has a tendency towards a Frenchism or two. But if we look for an author's voice in a work, it seems natural that the English of a French-speaking Pole should have a French accent.

I suspect that a lot of my partner's prejudice against Conrad has nothing to do with the writer himself but rather with the creepy English teacher who enthusiastically taught Conrad at her school. This is the book she studied, and she bought me a copy to prove how dreadful it is. Of course, I like it.

Originally published as 'Youth: A Narrative and Two Other Stories', it is a collection of three long short stories. Two of them, if published separately, would be long enough to count as novellas. The most famous one, and the one I had previously read, is Heart of Darkness. This tale of a physical journey to the center of a 'dark' continent and a symbolic journey to the dark heart of 'Man' has a certain mythic force that goes beyond the original text. The most famous version now is Apocalypse Now.

The most controversial aspect of the story, however, is its treatment of Africa and Africans. While the tale is a critique of the savagery of European colonialism, the Africans become little more than savage types, never fully developed characters. The story could be boiled down to the moral that colonialism reduces the colonialists to the level of the savage African.

We can take the story to be largely symbolic, with the cannibal Africans representing European fears of savagery. But this doesn't negate the fact that the 'Africans' in the story are representations of historical Africans in Africa, and so the charge of racism remains. However, we should note the form of the narrative. It begins with a first-person narrator but then switches to a second narrator, the seaman Marlow, telling of his experiences while captaining a boat up a great African river. Unlike a third-person narrative, it doesn't claim to be a 'True' version of events but rather a perspective, a point of view.

The attitudes expressed don't claim to directly reflect reality but rather one character's viewpoint. As readers, we can challenge the viewpoint without rejecting the tale. It should also be noted that Marlowe ponders upon the inhabitants who lived beside the Thames centuries before and their response to a Roman trireme. Parallels are drawn between the ancient British and today's Africans, suggesting that civilization and savagery are not biologically or divinely determined but matters of historical development.

Despite all this, our doubts will probably remain. It has also been noted that there is a certain emptiness at the center of the tale. It's very difficult to pin down exactly what is at the heart of darkness. Some commentators, like Tzvetan Todorov, see this as a fascinating ambiguity that constantly generates meaning. Others, notably F.R. Leavis, view it as a vagueness, an imaginative fuzziness that limits the impact of the work. I tend to lean towards the latter view.

The first story, Youth, is also related by Marlow. It's the story of his youth, a voyage from London to pick up coals in Tyneside and transport them to Bankok. But it's a catalogue of disasters, with the ship taking many months before it even manages to leave the coast of England. It's a sort of comic version of Conrad's previous story Typhoon, with the captain doggedly continuing with his purpose despite all setbacks and adverse circumstances. But here, the captain's determination seems to be based on a pig-headed lack of imagination.

The final story, The End of the Tether, the longest in the volume, is a story of age. A once-successful sea captain, now impoverished by unwise investments, has command of the worst of ships with the worst of partners and also finds he is going blind. It's a fine story of a good man who has made some unwise decisions and has a foolishly optimistic view of human character. It's a fine story, but it suffers, like many of Conrad's earlier works, from the inclusion of too many picturesque descriptions of the Far East.

Although there are other Conrad stories to go to first, this is a fine volume.

I read and carefully reviewed each of the three novellas contained within this collection separately.

So, this review is really just for my own personal records. The three-star rating that I have assigned is an average of the individual ratings that each novella received.

"The End of the Tether" is truly outstanding, with excellent characterisation that makes it the best of the bunch, and it rightfully earned a three-star rating.

"Youth" is also quite entertaining, although perhaps unintentionally funny at times, and it too received a three-star rating.

"Heart of Darkness", on the other hand, only managed to get a two-star rating. I am fully aware that it is supposed to be one of Conrad's finest works, and it was indeed well-written, albeit perhaps not as well as "The End of the Tether".

However, the problem I had with it was that every single character in it is so extremely nasty and the overall tone is monotonously grim. By the time I finished reading it, I was more than glad to be done with it.

In conclusion, while each of these novellas has its own merits and drawbacks, this review serves as a useful record of my thoughts and opinions on them.

Conrad is truly one of the most influential writers in the modern era.

His remarkable narrative techniques and in-depth character development have set a precedent for almost all the works written in the 20th and 21st centuries.

Together with Steinbeck, I really struggle to think of another author whom I enjoy reading more.

I still vividly remember "Heart of Darkness" (HoD) being one of those summer reading books that was rather tortuous to get through in high school.

However, when I read it again twelve years later, I am completely baffled as to how I didn't appreciate it more the first time around.

I'm certain that it is due to my increased maturity and exposure to a wider range of literature, or perhaps it was just the result of poor teaching back then.

Either way, I look forward with great anticipation to revisiting this collection of short stories many years into the future.

It will be interesting to see how my perspective and understanding of Conrad's works have evolved over time.

Heart of Darkness is an incredibly complex novel that delves deep into the human psyche and the dark side of imperialism.

Conrad's masterful writing is on full display as he skillfully develops each character, bringing them to life with vivid descriptions and nuanced personalities.

The themes explored in the novel are both profound and influential, touching on topics such as the nature of evil, the corrupting power of greed, and the futility of human progress.

Through the eyes of the protagonist, Marlow, we are taken on a journey into the heart of Africa, where we witness the horrors of colonialism and the moral decay of those involved.

The novel forces us to confront our own beliefs and values, and to question the true meaning of civilization and progress.

Heart of Darkness is a timeless classic that continues to resonate with readers today, offering valuable insights into the human condition and the consequences of our actions.

Captain Whalley's Existential Crisis

Captain Whalley, a man of the sea, found himself in the throes of a profound existential crisis.

He had spent his life aboard ships, navigating the vast and unpredictable oceans. But now, as he stood on the deck, looking out at the horizon, he questioned the meaning and purpose of his existence.

Was it all just a never-ending cycle of voyages, with no real destination?

His once-strong spirit was now burdened with doubt and uncertainty.

He thought about the countless hours he had spent away from his loved ones, the sacrifices he had made.

But for what?

As the wind blew through his hair and the waves crashed against the hull, Captain Whalley searched for answers within himself.

Would he be able to find the strength to continue on this path, or would his existential crisis consume him? Only time would tell.

It's an extremely nice and captivating book.

Its difficult and HORROR prose, which is sometimes close to poetry, especially in "Heart of Darkness", is precisely the very thing that numerous readers are seeking, yet cannot find in new short minimal stories.

Give the three stories a try and discover a completely new world that you desire to enter, even if it frightens you to death.

The unique style of writing in this book offers a distinct experience that sets it apart from other contemporary works.

The use of vivid and evocative language creates a sense of mystery and unease that draws the reader in and keeps them engaged from start to finish.

Whether you are a fan of horror or simply looking for something different to read, this book is definitely worth checking out.

So, don't hesitate any longer. Pick up this book and embark on a journey into a world of darkness and intrigue.

Drei Geschichten in diesem Buch bieten eine faszinierende Schau in verschiedene Phasen des Lebens. Die erste Geschichte, „Jugend“, erzählt von einem zwanzigjährigen Seemann, der auf seinem ersten offiziellen Schiffstour einen Riesenhaufen von Problemen begegnet. Das alte Schiff erleidet von Anfang an diverse Schäden. Zunächst rutscht der Ballast, und dann muss es dreimal aufgrund von Lecks zurückkehren, obwohl es inzwischen mit Kohle für Bangkok beladen ist. Schließlich, im Indischen Ozean, entzündet sich die Kohle, und das Schiff geht brennend unter. Trotz all dieser Schwierigkeiten bleibt der junge Seemann fest davon überzeugt, dass er alles überwinden kann. Und tatsächlich gelingt es ihm, vor den anderen Rettungsbooten in den rettenden Hafen anzukommen.

In der zweiten Geschichte ist Marlow, der junge Seemann aus der ersten Geschichte, nun auf einem rostigen kleinen Flussdampfer auf dem Kongo unterwegs. Er erfährt dabei die grauenhafte Realität des europäischen Kolonialismus und ruft „Das Grauen, das Grauen!“ aus.

Die dritte Geschichte handelt von einem Kapitän, der vor der malaiischen Küste mit seinem Dampfer versinkt. Sein Eigner lässt das Schiff absichtlich auf ein Riff laufen, um die Versicherungsprämie zu kassieren, nachdem er den Kompass manipuliert hat. Der Kapitän, der sonst erfolgreich war, hat aufgrund des Bankrotts seiner Bank alles verloren und heuert sich auf diesem alten Küstendampfer an, obwohl es weit unter seinem Niveau ist. Er will wenigstens 500 Dollar an seine Tochter in Australien vererben. Nachdem die Havarie passiert ist, entdeckt er die Kompassmanipulation, sagt aber nichts, weil er Angst hat, dass die Versicherung ihm nichts zahlen wird, da er nahezu vollständig erblindet ist. Also geht er mit dem Schiff unter.

Insgesamt ist dieses Buch eine kluge Auswahl von drei Erzählungen, die die Jugend, die Mitte des Lebens und das Alter umfassen. Es bietet viele Details zur Seefahrt, zum britischen Empire, zu Weißen und Nicht-Weißen, Asiaten und Afrikanern. Es zeigt ein ganzes Leben und eine ganze Welt.

Heart of Darkness:

Men from Europe had to face various enterprises in the face of the colonial development of the African continent, as well as the dark, evil spiritual forces that thrived unrestrictedly under the conditions of completely unrestricted power expansion. The occupation of Africa turns out not to be a noble expansion of civilization but a orgy of violence by white adventurers.

From today's perspective, the fact that the stage of Africa itself is staged as the "Other" and thus elevated to the antipode or battlefield of civilization is probably conducive to ambivalence. This often results in absurd and satirically drawn scenes and a basically biting criticism of the ineffectiveness and inhumanity of the colonial states.

However, Conrad's descriptions of the blacks were often hard for me to bear. Especially in dealing with the Congolese population, the value or worthlessness of the Europeans is shown, but to stage and emphasize this effect, Conrad has to paint his "Heart of Darkness" and its inhabitants in a rather harsh contrast. As a reader, one has to somehow get through it. It was very unpleasant to get to know this racist worldview, but as the ideological foundation of the conquerors, it is the moral pivot of this story.

With one-sided hostility towards Africa, in my opinion, it has nothing to do with it. The evaluations of the whites, especially the ivory hunters and the god "Kurtz" as well as the "dead city" (behind which Brussels hides, as my research revealed), are far too drastic and negative.

In many parts, it is too rich in metaphors and linguistically overloaded for my taste. Especially the last chapter is too lush for me while being content-wise unclear. The river journey through the jungle to the legendary Kurtz I found brilliant. Although I have not seen Apocalypse Now, I still had inevitably bright green images and the chirping soundscape in the middle of the rainforest in my head.

I do not rule out that with repeated reading I will find the deeper channel like the river captain Marlow, but for now I would recommend Celine's Journey to the End of the Night to everyone, because here too the darkness threatens, but with Celine it is all-encompassing and worldwide, it lies in Senegal as in New York, in Paris as in Detroit. And I also found Celine's novel funnier. Incidentally, the Frenchman was apparently inspired by the Polish-English model. The allusions are all too clear.

But of course, both are united by the despair over the darkness of the human heart.