Despite the strong influence of modernist thought, classical elements of fiction still persist as well, which can be seen in Heart of Darkness by Joseph Conrad. Heart of Darkness is written in a direct, straightforward style, similar to Victorian writers such as Charles Dickens; the writing is not avant-garde like Mrs. Dalloway. However, there are some subtle indications of modernism in the text.
One modern aspect of Conrad’s writing is the “real time” style of some passages, such as, “Something big appeared in the air before the shutter, the rifle went overboard, and the man stepped back swiftly, looked at me over his shoulder in an extraordinary, profound, familiar manner, and fell upon my feet.” What’s especially modern here is the line describing “something big” rather than naming the “something.” This vague description raises suspense, making the reader feel directly involved in the action rather than simply being told a story.
The story is also told in first person perspective, a modern innovation that makes the narrator part of the story’s action instead of being a detached observer. The main character Marlow is modern because he is cynical and disillusioned. Unlike a traditional hero such as Odysseus, who undergoes a difficult journey and returns home with greater strength and optimism despite his struggles, Marlow’s journey reveals to him the heart of darkness within humanity — that people are essentially selfish and deranged, and this revelation haunts him.
Rather than faithfully believing in the values of his nation, Marlow reflects, “All Europe contributed to the making of Kurtz.” The villain who represents humanity’s evil also represents the values of the main character’s country. This lack of patriotism that is portrayed as profound wisdom in Heart of Darkness would be considered a betrayal in the works of Shakespeare or Homer.
All of the characters in a story being selfish and evil is another modern invention in fiction, for example in the works of Stephen King and in the popular television show Dexter, in which the main character is a villain who is portrayed as sympathetic. Yet while selfishness in contemporary work is often meant to be interpreted as charming and sophisticated, Conrad regards the heart of darkness as horrifying and difficult to discuss, especially with women, who would not be able to handle such an unpleasant reality. Incidentally, Conrad’s treatment of women as weaker and less intelligent than men is another throwback to an earlier era.
Finally, Marlow’s reaction to witnessing the evil heart of Kurtz reflects a Victorian sensibility. A contemporary audience would hardly be shocked by the idea that people’s hearts are fundamentally selfish and greedy; this is considered a given. However, Conrad’s audience at the time of the book’s publication was deeply disturbed by this central theme.
Sophisticated Innocence 