Modernism and Traditional Values in Heart of Darkness

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.

“The horror! The horror!”

Toxic Individualism in The Awakening

French people are weird.

That is the thought that kept recurring in my mind when I read The Awakening.

Yet everyone appreciates dark, artsy, existential French people.

That is the other thought that kept entering my mind.

For lack of a more sophisticated word, The Awakening is weird…and I mean that as a compliment, because I love weirdness. The story is memorable for its dark tone, excellent imagery, and reputation for early feminist thought. Indeed, reading The Awakening felt strangely like watching a modern foreign film.

Though Chopin’s style isn’t flowery and doesn’t contain lengthy descriptions, I had a clear picture of the setting and characters. Maybe because of the brief, yet powerful descriptions, I forgot that I was reading and enjoyed the movie in my mind. Long, convoluted descriptions tend to be dull — apologies to Tolkien — yet Chopin used just the right amount of words to describe each scene. In particular, her precise descriptions of color made a profound impression upon me. The last paragraph is chilling:

“She looked into the distance, and the old terror flamed up for an instant, then sank again. Edna heard her father’s voice and her sister Margaret’s. She heard the barking of an old dog that was chained to the sycamore tree. The spurs of the cavalry officer clanged as he walked across the porch. There was the hum of bees, and the musky odor of pinks filled the air.”

When I typed those lines, I literally experienced chills. The description of Edna’s death is vague and indirect, yet vividly realistic. The snapshots of random events in her life and then her consciousness fading to musky pink creates a spooky image of dying. Musky pink instantly conjures an image of stagnant Pepto Bismol in my mind — so different from the stereotypical black that writers usually associate with death.

The surreal conglomeration of random life events indirectly hints at the meaninglessness of life. When Edna dies, she doesn’t remember important events such as her wedding or the birth of her children. She remembers vague, disjointed sensations — implying that there is no underlying logic to life and death.

The Awakening is very realistic, much more so than other works from the same time that tend to romanticize life. The story is by no means bathed in an idealistic glow; Chopin uses straightforward sentences with no overstatements. The atmosphere seems to be misty, dull, and grey. Yet the dullness, far from being boring, adds a sense of mystery to the characters and setting. Edna isn’t concerned with having good morals; she seeks an individualistic and artistic life. She and Madame Reisz are free spirits, artistic bohemians before their time.

Long before the avant-garde became fashionable or even conceivable, Edna longed to break free from her traditional role in life. Yet as much as I enjoyed the story, I could not bring myself to like Edna, though I appreciated her authenticity. She is a selfish and unlikable character with a rather flat personality.

Though The Awakening is about women’s rights, asserting that women are in fact human beings with thoughts, feelings, and desires rather than mere house slaves, I found this to be one of the less prominent themes. Unlike A Doll’s House and Trifles, I do not believe the main purpose of this story is to argue that women are capable of having intelligent thoughts. Though Edna is a woman who wants to break free from society’s restrictions, I think the story would be just as powerful if the main character had been a man instead.

Rather than women’s rights, the main themes I noticed were about art and the meaninglessness of life. While the rich families try to impress each other with their possessions, social etiquette, and fashionable clothing, Mrs. Reisz unapologetically defies all of society’s expectations. She dresses strangely, acts rude, and isolates herself — but she is amazingly talented at playing the piano. Mrs. Reisz is the epitome of the offbeat, misunderstood artist archetype.

While everyone else devotes their lives to gaining more possessions and taking care of children as society would expect, Mrs. Reisz lives a radical life devoted to art and passion. The others perceive her as immoral and strange, yet Mrs. Reisz is simply being herself. She is the only authentic character in the story, other than Edna after she “awakens.”

Mrs. Reisz refuses to participate in social games and false etiquette, and her apparent rudeness actually reflects authentic human nature. Reisz symbolizes how people really are when they drop their pretenses. She and Edna defy society’s standards — yet at least they are not hypocrites.

The Awakening contributes to the pervasive belief in modern Western culture that the individualist — the artist — must necessarily be isolated and at odds with society…another reflection of the extreme individualism that has tainted our culture. Though creating art requires a certain amount of solitude, an artist ought to be deeply involved with others rather than severed from society. Without the rich nutrients of human interaction to draw from, how could an artist create any work of substance that is able to touch people’s hearts?