Minaz Jooma: Session 3
AAIMS
November 2013
Multiple, Transferable Approaches to
Teaching the Novel:
Heart of Darkness
The Five Approaches
1. Structure: the Frame Narrative, Chronology,
the Novel as a Construct
2. Characterization
3. Allegory & Archetype
4. Social & historical context: female characters
5. Literary Criticism & Theory
Structure: the Frame
Narrative, Chronology, the
Novel as a Construct
Reading & Analysis
Why focus on structure and the frame narrative?
• Marlow’s has told story to enlighten others; Buddha; what has he learned?
• We learn who the narrator is—why he’s telling story—he’s been influenced—telling
it to enlighten others in turn
• Examine setting in London (Thames estuary) why significant? Details of London
warehouse area; why significant?
• Thames & Congo (rivers); Thames=deathly—Gravesend—why this detail?
• Dominoes, casual reference, but everything has meaning; why significant?
• Lawyer, Director, Accountant; men with same titles in Congo: why are these titles
important? What jobs do they do?
• Analyze other correspondences with the main story refer to ”kernel” comment—
much of the purpose of the novel is given to the reader here
• Historical & cultural parallels (Romans in England & English in Africa)
• Play on light and dark: connotations inverted enlightened/savage/civilized
• Bird and snake—sinister image—which one is predator?
The end of frame narrative & chronology
Emphasize the chronology of the novel: the opening of
the novel (frame in the Thames estuary) is the end
chronologically—occurs after Marlow has been back
from Congo for a while—and has told the story to the
narrator who now tells it to others in the volume we
are reading
Look closely at the episode in which Marlow talks to
the Intended: why does he lie to her? Would he lie to
her if he were talking to her from the chronological
end of the novel?
(For a summary of the functions of the frame
narrative see handout in packet)
THE NOVEL AS A CONSTRUCT:
The frame narrative can be
conceived in more complex ways
to help students see the different
levels at which we may think of
this novel
STORY
MARLOW
NARRATOR
CONRAD
READER
SOCIETY
These layers might be used for a
philosophical discussion about the
nature of truth in HD and to
introduce work on characterization
TRUTH, RELIABILITY & CHARACTERIZATION
Since the narrative is filtered through so many layers (as
in the game “Telephone”) this introduces the idea that
the truth is unstable; we get only versions of the truth.
The truth people tell depends on their motives. Good
segue into talking about Kurtz and introducing an exercise
in character. E.g.,
• What do different characters say about Kurtz?
• Who does Marlow believe? Why?
• Who do you believe? Why?
• Find other examples of how Kurtz is characterized and
universalized (physical description, setting, dialogue,
his possessions, how others react to him...)
Allegory: Marlow’s journey
Heart of Darkness as Allegory: Marlow’s
Growth as a Character
If students are having difficulty following Marlow’s
journey, a useful exercise can be to have them map the
stages of his journey through a series of concentric circles
or ‘zones’ leading to Kurtz and the ‘heart of darkness.’ In
each zone, they can identify:
 Who Marlow encounters & what he thinks of them
 Notable features of each setting. Imagery, metaphors
etc., that make that zone like (or unlike) others
 How Marlow’s feelings about Kurtz change
 How Marlow’s feelings about the Congo change
 Important episodes & what Marlow learns from them
End assessment:
Marlow as an archetypal journeyer
Joseph Campbell’s Monomyth
(Departure; Initiation; Return)
and
Lillian Feder’s
“Marlow’s Descent into Hell”
Which is the more convincing model
for analyzing HD and why?
Social and Historical Context
Female characters: role of Victorian
women in the colonial enterprise
Analyze descriptions (see worksheets)
Discussion & synthesis questions
• In what ways are European women
culpable in the colonialist endeavor?
• In what ways are they the “fair sex”?
• In what ways is the title of “fair sex”
both demeaning and empowering?
• How is the African woman different
from the European women?
Literary Theory & Criticism:
Fostering Students’ Independence:
Three Ideas for Teaching
ASK STUDENTS TO FIND
THEIR OWN LITERARY
CRITICAL ARTICLES. READ
THEM, IDENTIFY THE MAIN
ARGUMENT, SUMMARIZE
MAIN IDEAS AND SAY
WHETHER OR NOT THEY
AGREE WITH THE ARGUMENT
OF THE ARTICLE CHOSEN.
STUDENTS THEN WRITE
THEIR OWN ARGUMENTS
USING THE CRITICAL
ARTICLES AS MODELS.
USE 2-3 CRITICAL ARTICLES TO SET
UP A DEBATE
STUDENTS
IDENTIFY
THE
ARGUMENT
OF EACH
ARTICLE
SET UP
OPPOSING
VIEWS AND
CULL EVIDENCE
FROM THE
NOVEL
STUDENTS
CONSIDER THE
RELATIVE
MERITS OF THE
ARGUMENTS
IN A DEBATE
USING ACHEBE ARTICLE (SEE PACKET)
• IS CONRAD A RACIST? WHAT DO WE UNDERSTAND
BY THE TERM RACIST? (CONSIDER HISTORICAL
PERSPECTIVE)
• IF CONRAD DISAPPROVES OF KURTZ’S CONDUCT
AND SEES COLONIALISM AS EVIL, WHY DOES HE
HAVE MARLOW ADMIRE KURTZ AND PERPETUATE
THE LIE ABOUT HIS CHARACTER TO THE INTENDED?
• THIS USUALLY REKINDLES DISCUSSION ABOUT THE
CHRONOLOGICAL END OF THE NOVEL: IS THE LIE
THE MOMENT OF MARLOW’S FULLEST
REALIZATIONS?