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The contrast of white and black has a long tradition of metaphorical usage, traceable to the The Bible associates light with God, truth, and virtue; darkness is associated with sin and the Devil. Painters such as Rembrandt portrayed divine.
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It assimilates and reflects the experience with patients fallen ill with Alzheimer's or Parkinson's diseases, showing the fragility and fluidity of memory from a subjective point of view. Coverley From the pulsing dots of the background-interface different events can be started, played, and combined. In this process the experience of remembering and loss of memory can be re-created in the appearance and disappearance of words, pictures, animations, and sounds. Memories readable with a general metaphorical meaning are unveiled and veiled in transition at the same time, arranged by or using your own memory.

Instructions: Click white dots to recall memories.

prefers-color-scheme: Hello darkness, my old friend

Marlow is a British seaman whose obsession with Africa brings him into the interior on the Company's steamboat. The way Marlow obsesses about Kurtz, we almost expect Kurtz to file a restraining order on the guy. Or, we would if Kurtz weren't already half-dead by the time Marlow meets him.

But it wasn't always like that. When Marlow first hears about Kurtz, he's not "very interested in him" 1. But when he hears the story about Kurtz turning back to the jungle, his ears prick up: he "[sees] Kurtz for the first time" 2. And then, just a few paragraphs later, Marlow is actually excited to see the guy, saying that, for him, the journey has become entirely about meeting Kurtz. The boat, he says, "crawled towards Kurtz—exclusively" 2. What was it about that story of Kurtz returning to the jungle that tickled Marlow's fancy?

True, we've already seen that he's kind of obsessed with the jungle and its people.

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But at the same time he's drawn in by this primitive wilderness, he's terrified by it. What, they haven't made that one yet? Kurtz has done what Marlow can only dream of: refuse to return to the luxury and comfort of Europe and choose instead to pursue fortune and glory. But Marlow's roller coaster of love doesn't doesn't end there. Once he actually meets the guy, he starts to resent him. Apparently, all that cultish adoration that the harlequin and the native Africans have for Kurtz turns Marlow's stomach: "He's no idol of mine" 3.

And then he seems to decide that Kurtz is actually just childish—a helpless and selfish man who has ignorant dreams of becoming rich and powerful. Note that when Marlow drags him back to the tent after Kurtz tries to escape, he's "not much heavier than a child" 3. Why the backpedaling? Well, we think that Marlow wants to differentiate himself from the brainwashed men around him—just like we claimed to hate Arcade Fire back in even though we secretly thought that Funeral was a great record.

He also seems angry that he's effectively at Marlow's mercy, deep in the African interior. Or—to give Marlow some credit—maybe he really does believe that Kurtz is dangerous. And then, at the end, Marlow seems to come back around to admiration. After Kurtz dies while gasping out the words "The horror!

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The horror! Marlow only spends a few days with Kurtz, but he still says that he "knew [Kurtz] as well as it's possible for one man to know another" 3. Talk about a whirlwind romance.

So, by the end of the story, does Marlow respect Kurtz? Admire him? Fear him? You tell us. He sure doesn't. This whole love me-love me not melodrama should be simple: Marlow admired Kurtz right up until he found out that the man put heads on sticks, at which point he stopped admiring him.


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Let's all pack up and go home. Er, not so fast. If you go home now, you'll you'll miss out on what makes Heart of Darkness just so darn awesome and powerful: Marlow is just like Kurtz. Yep: our protagonist, our loveable, sympathetic Marlow, is just like the crazed, cult-inspiring, heads-on-sticks-owning devil-man. Oh, the horror!

ii — in the white darkness

So, here's another million-dollar question for you: is Marlow ultimately able to differentiate himself from Kurtz? For the most part, Marlow comes across as a nice guy, if not a particularly ethical one. He's no saint, or he's a helpless one, as he does nothing about the horrible scenarios of black slavery he encounters.

But he does do little things that show compassion. He attempts to give a biscuit to a starving slave. He treats his own cannibals decently. When the helmsman dies, he makes sure he won't be ignobly eaten by the native Africans on board. So, on the surface level, Marlow is a decent guy who, as a product of his times, isn't about to start a civil rights movement in the late nineteenth century.

But, like most things in Heart of Darkness , it's really not that simple. What causes Marlow to feel such compassion for the native Africans? How does he see them in relation to himself? How does his foray down the Congo change the way he thinks? Well, let's start by looking at his first word.


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    6. We found these words so compelling that we underlined, highlighted, and circled them, as well as dog-earing the page and putting three sticky notes on the top. In case you weren't quite so over-zealous, we'll tell you straight-up that his first words are: "And this also has been one of the dark places of the earth" 1. This is the part where we all say, "Oooh. Marlow is about to tell the story of a dark and primitive Africa which the Europeans are so kindly "civilizing.