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129 Heart of Darkness Essay Topic Ideas & Examples

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If you’re looking for a study guide on how to write Heart of Darkness essay, you should definitely check this post. Below we will share a few ideas that will help you to cope with the assignment.

The key idea of a critical review is that you have to evaluate the main issues, arguments, theme of the book, etc.

The first step to a successful essay is the active reading. Take notes that will help you to understand what the author wanted to show you and the way he does it.

Here are few Heart of Darkness essay questions to analyse in your paper:

Narrator’s point of view.

Joseph Conrad uses two different first-person point of view. The book begins and ends with narration of a traveler who listens to Marlow’s story while the main part of the plot is told by Marlow.

Think, why does the author use this technique instead of traditional third-person or first-person narration? How does this framing changes the reader’s interpretation of the story? How do you think, is Marlow’s story real? Is there any evidence to prove it? Is the traveler reliable? Check our Heart of Darkness essay samples to get more inspiration!

Symbolism in the story

If you’re assigned to write Heart of Darkness symbolism essay, than you have a lot of opportunities! The Conrad’s book is full of symbols. And here are a few examples:

Think, what does fog symbolizes in Marlow travel. Is it a nuisance or a kind of barrier? Can it symbolize the Marlow’s journey uncertainty or his mental state?

Examine Kurtz’s character and personality. In your paper, explore episodes when he acts as God for native Africans. Or, you can analyze the greed and power in Kurtz’s actions.

• The accountant

The accountant symbolizes the company and its goals. The way he appears in the story reflects the actual image that the company wishes to create while undergoing the colonization: elegant outside, but destructive inside.

Of course, we didn’t mention all the symbols presented in a book. Make your own research and define what else symbols are represented in Heart of Darkness.

Heart of Darkness essay themes

If you’re looking for the themes of Heart of Darkness, check some of them below:

• Racial discrimination theme

Theme of racial discrimination in the novel shows how is dominating in Africa. Analyze how the racial crimes that Kurtz committed against Africans correspond to racism today.

• Evil and good theme

Explore how Kurtz’s ambitions that seems good relate to his true goals which are not so admirable. On the other hand, you might want to analyze Marlow’s struggles to make the right decisions.

• Violence and greed

Conrad describes two types of violence in the novel: provoked cruelty and violence among the savages. Explore how Kurtz uses violence to dominate the Africans and to attack steam carrying Marlow.

Investigate the period of ivory trade and how it has impacted the native Africans’ freedom and life. What were the role of violence in the competition between the European companies.

Are you dissatisfied with your Heart of Darkness essay because it does not make enough of an impression? Try looking at our collection of examples and get more ideas on how to improve it!

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• Colonialism in the ”Heart of Darkness” by Joseph Conrad The main theme of the story is colonialism and its effects not only to the Africans but also to the whites/colonizers.
• Oscar Wilde’s The Importance of Being Earnest and Heart of Darkness Oscar Wilde’s comedy, The Importance of Being Earnest, is a satire of everything stuffy and constrictive in the 19th and early 20th century. The play explores the theme of the relations between the sexes.
• Ethical Dilemma in “Heart of Darkness” by Conrad In spite of the fact the situations are rather different, it is necessary to discuss the possibilities of the other outcomes and results.Mr.
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• Joseph Conrad’s “The Heart of Darkness” Novella Similarly, the theme of darkness, as evident from the title of the work, in its spiritual sphere, underpins the merit of the novella.
• “Heart of Darkness” Novel by Joseph Conrad Congo locates in the center of the continent and can be compared within the heart of Africa.”The vision seemed to enter the house with me – the stretcher, the phantom-bearers, the wild crowd of obedient […]
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• A Post-Colonial Criticism of “Heart of Darkness” by Joseph Conrad
• A Psychological Journey Into an Individual’s Core of Evil in “Heart of Darkness” by Joseph Conrad
• Characterism and Symbolism in “Heart of Darkness”
• An Analysis of Similarity in Motif of the Journey and Different Ideas in “Flay Away Peter” and “Heart of Darkness”
• Achebe’s Misinterpretation of Conrad’s “Heart of Darkness”
• An Analysis of Colonialism and Imperialism in “Heart of Darkness” by Joseph Conrad
• An Analysis of the Theme and Symbol Used in “Heart of Darkness” by Joseph Conrad
• The Villian Archetype in “Heart of Darkness”
• An Analysis of Mysterious Characters in “Heart of Darkness” by Joseph Conrad
• An Interpretation of “Heart of Darkness” by Joseph Conrad
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• Characters, Setting, Themes, and Symbols of “Heart of Darkness”
• The Importance of Setting in “Apocalypse Now” and “Heart of Darkness”
• An Analysis of the Main Character Charles Marlow in Joseph Conrad’s “Heart of Darkness”
• Achebe’s Failure to Understand Conrad’s “Heart of Darkness”
• An Analysis of the System of Colonization in “Heart of Darkness” by Joseph Conrad
• A Suspenseful Tale of a Man’s Journey in Joseph Conrad’s “Heart of Darkness”
• An Analysis of Africans Dying in “Heart of Darkness” by Joseph Conrad
• Literary Devices in “Heart of Darkness” by Joseph Conrad
• An Analysis of the Civilization in “Heart of Darkness” by Joseph Conrad
• The Use of Contrasting Places in “Heart of Darkness” by Joseph Conrad
• A Comparison of “Heart of Darkness” and “Apocalypse Now” in Literature
• An Analysis of the Concept of Light and Dark in “Heart of Darkness” by Joseph Conrad
• A Personification of Darkness: A Comparison of Joseph Conrad’s “Heart of Darkness” and Oscar Wilde’s “The Picture of Dorian Gray”
• A Comparative Analysis of “Heart of Darkness” and “A Passage to India”
• Expression of Moral Ambiguity in “Heart of Darkness” by Joseph Conrad
• An Analysis of a Man’s Ways of Survival in a Deserted Place in “Heart of Darkness” by Joseph Conrad
• Human Greed and Deception in “Heart of Darkness” by Joseph Conrad
• An Analysis of the Mystery in Joseph Conrad’s “Heart of Darkness”
• Character Analysis of Eliots in “Heart of Darkness” by Joseph Conrads
• A Literary Analysis of the Major Themes in “Heart of Darkness” by Joseph Conrad
• A Story of Life and Death in “Heart of Darkness” by Joseph Conrad
• Stylistic Devices That Make “Heart of Darkness” Proto-Modernist
• An Analysis of Character Relations in “Heart of Darkness”
• Character Analysis of Marlow and Kurtz in Joseph Conrad’s “Heart of Darkness”
• Black and White as the Symbols of Civilization and Savagery in “Heart of Darkness”
• A Representation of the Western Civilization Through the Character of Mr. Kurtz in “Heart of Darkness”
• The White Collars in Joseph Conrad’s “Heart of Darkness”
• A Perfect Depiction of Alienation and Isolation in “Heart of Darkness”
• The Connection Between Physical Illness and Madness in “Heart of Darkness”
• Attitude Towards Women in “Heart of Darkness” by Joseph Conrad
• The Use of Allegories in “Inferno” by Dante Aligheiri and “Heart of Darkness” by Joseph Conrad
• Use of Irony in “Heart of Darkness” by Joseph Conrad
• An Analysis of Heart and Soul Discovery in “Heart of Darkness” by Joseph Conrad
• The Symbolism of the River in “Heart of Darkness” by Joseph Conrad
• The Case of Marlow and Kurtz as Two Competing Heroes in “Heart of Darkness”
• An Exploration of the Narrator’s Perspective in “Heart of Darkness”
• An Analysis of Chinua Achebe’s Argument on Racism in Joseph Conrad’s “Heart of Darkness”
• An Overview of the “Things Fall Apart” and “Heart of Darkness”’ Characters
• A Postcolonial Perspective of “Heart of Darkness” by Joseph Conrad
• An Analysis of the Africa Through the Novels “Heart of Darkness” and “Things Fall Apart”
• An Analysis of the Abuse of Power in “Heart of Darkness” by Joseph Conrad
• A Look at the Three Stations in “Heart of Darkness” by Joseph Conrad
• The Use of Light to Symbolize Civilization in James Conrad’s “Heart of Darkness”
• Understanding the Meanings of Heart and Darkness in “Heart of Darkness” by Joseph Conrad
• The Advantages of Building a Society in “Heart of Darkness” by Joseph Conrad
• What Is the Main Point of “Heart of Darkness”?
• How Does the Novel “Heart of Darkness” Represent the Atrocities Occurring in the Congo Under King Leopold II?
• Why Is It Called “Heart of Darkness”?
• What Does Darkness Symbolize in “Heart of Darkness”?
• What Is the Thesis of “Heart of Darkness”?
• What Does Marlow Symbolize in “Heart of Darkness”?
• What Is the Symbolism and Theme Analysis in “Heart of Darkness” by Joseph Conrad?
• How Women Are Treated in Joseph Conrad’s “Heart of Darkness” and Francis Ford Coppola’s “Apocalypse Now”?
• What Are the Major Themes in “Heart of Darkness”?
• How Certain Death Scenes in “Heart of Darkness” Illuminate Key Themes?
• How Do Characters Develop Throughout the Book “Heart of Darkness”?
• What Groups Are Represented in “Heart of Darkness”?
• Which Are the Strong Versus Weak Characters in Joseph Conrad’s “Heart of Darkness”?
• How Is Proto-Modernism Displayed in “Heart of Darkness”?
• What Does the Writing Style Add to the Book “Heart of Darkness”?
• What Does the Ending of “Heart of Darkness” Mean?
• What Do Kurtz’s Final Words Mean in “Heart of Darkness”?
• What Is the Horror in “Heart of Darkness”?
• What Is the Contrast Between Capitalism and Moral Enlightenment in Joseph Conrad’s “Heart of Darkness”?
• Ethnocentrism: With Whom Resides the “Heart of Darkness”?
• What Two Themes Affect Marlow and Kurtz in “Heart of Darkness”?
• Who Are Unconventional Narrators Within “Heart of Darkness”?
• Why Did Coppola Transform Conrad’s “Heart of Darkness” Into “Apocalypse Now”?
• How Are the Female Characters Represented in the “Heart of Darkness”?
• Was “Heart of Darkness” a True Story?
• How Reliable Are the Narrators in the Novella “Heart of Darkness” by Joseph Conrad?
• What Is the Dark and Light Imagery in “Heart of Darkness”?
• Who Plays the Fool on the Hill in “Heart of Darkness”?
• What Is the Conflict Between Truth and Ideals in “Heart of Darkness”?
• What Are the Religion and Racism Themes in “Heart of Darkness” by Joseph Conrad?
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Heart of Darkness: Analysis and Themes

By Dr Oliver Tearle (Loughborough University)

First published in 1899, Heart of Darkness – which formed the basis of the 1979 Vietnam war film Apocalypse Now – is one of the first recognisably modernist works of literature in English fiction. Its author was the Polish-born Joseph Conrad, and English wasn’t his first language (or even, for that matter, his second).

As well as being a landmark work of modernism, Conrad’s novella also explores the subject of imperialism, and Conrad’s treatment of this subject has been met with both criticism and praise.

In this post, we’ll offer an analysis of Heart of Darkness in relation to these two key ideas: modernism and imperialism.

The Problem of Storytelling

In a letter of 5 August 1897 to his friend Cunninghame Graham, Joseph Conrad wrote: ‘One writes only half the book – the other half is with the reader.’

In other words, a book should leave the reader with room to manoeuvre: it should be, to borrow Hilary Mantel’s phrase, a book of questions rather than a book of answers. The reader makes up the meaning of the book as much as the writer. This is a key feature of modernist fiction, which is often impressionistic : giving us glimpses and hints but refusing to spell everything out to the reader.

With this in mind, it’s worth considering the moments when Marlow stops and interrupts the tried and tested literary framework of the novella. One of the questions which it’s very easy to trick people out with is the question, ‘Who is the narrator of Heart of Darkness?’ ‘Why, Marlow, of course!’

Except the narrator is not Marlow – not the main narrator, anyway. Marlow doesn’t address us , the reader; he addresses his friends on the boat, the Nellie , and then there is an unnamed narrator, one of the other people on the boat listening to Marlow, and it’s this unnamed individual who addresses us in his role as the conventional narrator.

And Marlow, who tells the story to the real narrator and his companions, cannot just sit and tell it. He has to check with his audience that they are ‘getting it’; and they’re not getting it, at least not fully. They’re having to work hard to ‘see’ what he’s recounting to them. That is, there’s a constant anxiety on Marlow’s part as to whether his audience – his ‘readers’, as it were – are understanding the story he’s telling them.

Marlow interrupts his narrative several times, at least once simply because he is despairing of the efficacy of his own storytelling technique. It’s the literary equivalent of ‘breaking the fourth wall’ – we may just about be beginning to imagine the scene in the heart of Africa when suddenly our imagination is jolted back to Marlow, sitting in a boat on the Thames.

We’re not invited to get too cosy with Marlow’s narrative, and not just because of the dark events he’s describing: the way he describes them is constantly making us question what we are being told:

Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream—making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams …

Note the subtle play on the word ‘relation’ here, where as well as meaning ‘the telling of a dream’ (relating a story to someone), it also glimmers with the other meaning of ‘relation’, i.e., one who is related to us, such as a brother or sister. It is as if fiction, stories, are the cousins of dreams, in that they’re both narratives that are at once both vividly and yet only dimly remembered. That is, you remember some aspects of dreams vividly, and others only hazily.

And ‘hazily’ is just the word. Note how the narrator describes Marlow’s way of telling a story, in a passage from Heart of Darkness that has become famous:

But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.

This passage pinpoints what Conrad is doing with Heart of Darkness : using the framework or basic structure of many an imperial adventure story of the late nineteenth century ( Heart of Darkness was originally serialised in Blackwood’s Magazine , which was known for its gung-ho tales set in exotic parts of the world which were under European imperial rule), but undermining it by questioning the very basis on which such stories are founded.

Language, as the multilingual Conrad knew, is an imperfect and flawed tool for conveying our experiences.

Delayed Decoding

‘Delayed decoding’ is Ian Watt’s term for the moments in Conrad’s fiction where the narrator withholds information from us so that we have to work out what’s going on bit by bit, just as the narrator himself (and it is always a him self with Conrad) had to at the time. As Watt himself writes, delayed decoding serves ‘mainly to put the reader in the position of being an immediate witness of each step in the process’.

It’s as if you were there, and as confused and bewildered by it all as the narrator himself was. A good example is the moment when Marlow comes upon the abandoned hut in the jungle, and finds a strange book on the ground which contains notes pencilled in the margins which, he tells us, appear to be written in cipher, or code.

He – and we – later find out that it’s not written in code, but Russian. He makes us wait until the point in the narrative when he found out his mistake before he corrects it. This has two effects: it brings us closer to Marlow’s own experience (we learn things as we go along, just as he did at the time), but it also makes us work harder as readers, since we are encouraged to appraise carefully everything we are told. We can’t trust anything we read.

Much modernist fiction may be written in the past tense, as Heart of Darkness is, but a good deal of modernist fiction is narrated as though it were written in the present tense . That is, it wants to recreate the immediacy of the experience, the way it felt for the character/narrator as it happened .

It’s as if it doesn’t trust the overly neat brand of hindsight which is offered by the traditional Victorian novel written in the perfect (past) tense. Delayed decoding is one of the chief ways that Conrad goes about recreating the ‘presentness’ of Marlow’s experience, the sense of what it was like for him – surrounded by things he’s only half-figured out – as these things were happening to him.

The literary critic F. R. Leavis, who was otherwise a great admirer of Conrad, remarked that Conrad often seemed ‘intent on making a virtue out of not knowing what he means.’ Certainly Conrad seems to enjoy uncertainty, obscurity – darkness, if you will, like the Heart of Darkness .

In The English Novel: An Introduction , Terry Eagleton remarks that Conrad’s prose is both vivid or concrete and ambiguous or equivocal. It’s like describing mist in very precise terms, or depicting something as solid and tangible as a spear in terms which seem to make it melt into the air. This takes us back to Marlow’s own comparison between the story he is telling his companions and the experience of a dream.

Heart of Darkness and imperialism

Imperialism is an important theme of Heart of Darkness , but this, too, is treated in both vivid yet ambiguous or hazy terms. As Eagleton observes, the problems with Conrad’s treatment of imperialism are several: first, his depiction of African natives comes across as stereotyped and insufficient (a criticism that Chinua Achebe memorably made), but second, Conrad depicts the whole imperialist mission as irrational and borderline mad.

This overlooks the Enlightenment rationalism that underpinned the European imperial mission: colonialists used their belief in their ‘superior’ reason as an excuse for enslaving other peoples are taking their resources.

This belief may have been misguided and immoral, but it was hardly ‘irrational’: to depict it as such rather lets imperialists off the hook for their crimes, as if they were not in their right minds when they committed their atrocities or plundered other nations for their wealth.

However, when compared with other writers of his period, Conrad can be viewed as a more thoughtful writer on empire than many other late nineteenth-century authors. Consider Marlow’s account of the dying African natives:

They were not enemies, they were not criminals, they were nothing earthly now – nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom. … Then, glancing down, I saw a face near my hand. The black bones reclined at full length with one shoulder against the tree, and slowly the eyelids rose and the sunken eyes looked up at me, enormous and vacant, a kind of blind, white flicker in the depths of the orbs, which died out slowly.

This passage continues:

He had tied a bit of white worsted round his neck – Why? Where did he get it? Was it a badge – an ornament – a charm – a propitiatory act? Was there any idea at all connected with it? It looked startling round his black neck, this bit of white thread from beyond the seas.

Marlow is ‘horror-struck’ by the sight of these starving people, although he does go on to describe them as ‘creatures’, which strikes a discordant note to our modern ears. But it’s clear that Marlow is appalled by the plight of the natives where many colonialists of the time would have simply stepped over the bodies as an inconvenience.

From this, Marlow turns to describing the next European he meets:

When near the buildings I met a white man, in such an unexpected elegance of get-up that in the first moment I took him for a sort of vision. I saw a high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished boots. No hat. Hair parted, brushed, oiled, under a green-lined parasol held in a big white hand. He was amazing, and had a penholder behind his ear.

The contrast could not be clearer. The ‘greenish gloom’ in which the dying African youth fades away has become that thing of comfort: the European’s ‘green-lined parasol’. The ‘bit of white worsted’ tied around the African’s neck is replaced by the ‘clean necktie’ of the colonialist.

Of course, the novella’s ultimate depiction of the corruption at the heart of the imperial mission is Mr Kurtz himself, who has set himself up as a god among the African natives. An fundamentally, here we are presented with more questions than answers. Kurtz is driven mad by it all – there’s imperialism as an irrational undertaking again – but what is equally telling is Marlow’s decision to lie to Kurtz’s fiancée when he visits her at the end of Heart of Darkness .

Is it because, to borrow Kurtz’s final words, ‘the horror’ would be too great? Is it an act of sympathy or cowardice: is Marlow complicit in the horrors of imperialism in continuing to insulate those ‘back home’ from the atrocities which are carried out abroad so that, for instance, Kurtz’s fiancée can have that ‘grand piano’ (with its ivory keys, of course) standing in the corner of a room ‘like a sombre and polished sarcophagus’?

2 thoughts on “Heart of Darkness: Analysis and Themes”

Your analysis of Heart of Darkness was well written and held my interest throughout. Thank you!

A Conrad fan

It was perfectly possible to be both anti-imperialist and racist when Conrad wrote “Heart of Darkness”. “Race” was used in a much wider and vaguer sense than the word would be used now – where we would attribute something to “culture”, Conrad and his contemporaries attributed it to “race”. People spoke of the “races” of England. Josef Škvorecký examines the presence of the Russian Harlequin in Kurtz’s outpost in his novel “The Engineer of Human Souls” and in an essay “Why the Harlequin?” https://quod.lib.umich.edu/c/crossc/ANW0935.1984.001/269:21?rgn=author;view=image;q1=Skvorecky%2C+Josef

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Significance of the Title Heart of Darkness

The etymological meaning of the phrase Heart of Darkness is the innermost region of the territory which is yet to be explored, where people led the nomadic and primitive way of living. The setting time of the novel Heart of Darkness dates back to those periods when the continent of Africa was not fully explored. So the continent was called the heart of darkness. The major and significant events of the novel take place in the Dark Continent, though the first and the end of the story takes place outside the continent. The central character, Kurtz, comes under the influence of the savages and becomes one of them in the same dark place called Congo. The savages and Kurtz, in fact, belong to the heart of darkness.

The description of the scenery by Marlow adds something vital meaning to the title of the novel. The wild scene, thick and impenetrable jungle, the pictures of the natives hiding in the dense jungle, the silence and the dangerous stillness of the river Congo, the thick fog, all these features are suggestive to the title  Heart of Darkness . The outer physical setting intensifies the horror and the fear among the readers. The reading about the description of the natives and their way of appearing in the novel bring the terrific effect in the mind of the reader.

On one occasion, Marlow is attacked by the natives in his steamer. In that attack the helmsman is killed. The natives attack the steamer of Marlow not knowing why he is there, but in the ignorance. The ignorance and backwardness of the savages, the purposeless attack creates the feeling like being in the midst of the heart of darkness. The attack to the steamer is planned by Kurtz, who has become one savage living with the natives. He becomes more barbaric than the inhabitants. The essence of savagery, brutality and cruelty sums up in the existence of Kurtz. Kurtz's mission was to civilize the natives, to educate them, to improve their way of living and the important one is to bring the light into their lives and into that dark territory. But he ends in converting himself into the savages, and the most striking thing is that he has set himself like a god in that Dark Continent. He starts following their unspeakable rites. He does any brutal raids for the sake of collection of ivory. According to Marlow, Kurtz has become a devil being failure to control his moral restraint. He lets his inner self, the primitive self, dance freely in the lap of darkness and becomes the representatives of the darkness. His superstition and evil has become the embodiment of darkness. Psychologically, Kurtz is the symbol of everyman's darkness which is veiled under the curtain of civilization. Kurtz is the heart of darkness.

The term heart of darkness stands for another meaning too. The journey of Kurtz and Marlow to explore the interior of the Dark Continent called Congo is not only the physical search of some the territory, but it is an exploration of the innermost part of the human mind and the human heart. The geographical search is comparatively easier than the search of one's self, one's Dark Continent. Both Kurtz and Marlow are in an implied sense in the journey to find their dark region of mind and heart. In case of Kurtz, he cannot hold the mystical and attractive power of his savagery self, his suppressed primitive self and gives in. He fails to control his moral restraint. He submits to the dark side of his personality and becomes one savage. He reaches to the heart of darkness, but cannot resist its power upon him and he cannot come back from his subconscious state of mind. But in the case of Marlow, he too travels to the heart of darkness, the subconscious. He reaches there and witnesses the heavy influence of primitive self on Kurtz. He notices that he has become totally a devil, deviating from his main aim to civilize the savages. Marlow, despite the truth that Kurtz has been transformed into the barbaric self, praises him and is attracted towards him. He has fallen a near prey to the primitiveness. But, amazingly, he does not submit himself to the savagery self of his subconscious. He reaches to the heart of darkness, witnesses the transformation of Kurtz, and gets to know the irresistible power of barbaric hidden self, praises it and again comes back to the light of civilization.  He is so able to control his morality and spirituality. His journey to Africa is, symbolically, exploration of the dark side of human life, either psychologically, or morally and or spiritually.

A critic commenting upon the title of the novel, Heart of Darkness , states that the darkness here is many things: it is the unknown, it is the subconscious, it is the moral darkness, it is the evil which swallows up Kurtz, and it is the spiritual emptiness, which he sees at the center of the existence, but above all it is a mystery itself, the mysteriousness of man's spiritual life.

Literary Spotlight

Introduction of Heart of Darkness

Exploration of Evil in Heart of Darkness

Kurtz's fall in Heart of Darkness

Relation between Colonizer and Colonized

Summary of Heart of Darkness

Symbolism of Light and Darkness in Heart of Darkness

Heart of Darkness is Essentially a Journey Within

Use of Narrative Technique in Heart of Darkness

Themes in Heart of Darkness

Use of Irony in Heart of Darkness

Symbols in Heart of Darkness

Biography of Joseph Conrad

Heart of Darkness

Joseph conrad, everything you need for every book you read..

The Narrator describes a night spent on a ship in the mouth of the Thames River in England. Marlow , one of the men on board, tells of his time spent as a riverboat pilot in the Belgian Congo.

With the help of his well-connected aunt , Marlow gets a job as pilot on a steamship on the Congo River in Africa for a European business outfit called the Company. First he travels to the European city he describes as a " whited sepulcher " to visit the Company headquarters, and then to Africa and up the Congo to assume command of his ship. The Company headquarters is strangely ominous, and on his voyage to Africa he witnesses waste, incompetence, negligence, and brutality so extreme that it would be absurd if it weren't so awful. In particular, he sees a French warship firing into a forest for no discernible reason and comes upon a grove where exploited black laborers wander off to die. While at the Company's Outer Station, Marlow meets the Company's Chief Accountant . He mentions a remarkable man named Kurtz , who runs the Company's Inner Station deep in the jungle.

Marlow hikes from the Outer Station to the Central Station, where he discovers that the steamship he's supposed to pilot recently sank in an accident. In the three months it takes Marlow to repair the ship, he learns that Kurtz is a man of impressive abilities and enlightened morals, and is marked for rapid advancement in the Company. He learns also that the General Manager who runs Central Station and his crony the Brickmaker fear Kurtz as a threat to their positions. Marlow finds himself almost obsessed with meeting Kurtz, who is also rumored to be sick.

Marlow finally gets the ship fixed and sets off upriver with the General Manager and a number of company agents Marlow calls Pilgrims because the staffs they carry resemble the staffs of religious pilgrims. The trip is long and difficult: native drums beat through the night and snags in the river and blinding fogs delay them. Just before they reach Inner Station the steamship is attacked by natives. Marlow's helmsman , a native trained to steer the ship, is killed by a spear.

At Inner Station, a Russian trader meets them on the shore. He tells them that Kurtz is alive but ill. As the General Manager goes to get Kurtz, Marlow talks to the Russian trader and realizes that Kurtz has made himself into a brutal and vicious god to the natives. When the General Manager and his men bring Kurtz out from the station house on a stretcher, the natives, including a woman who seems to be Kurtz's mistress , appear ready to riot. But Kurtz calms them and they melt back into the forest.

The Russian sees that the General Manager has it in for him, and slips off into the jungle, but not before telling Marlow that Kurtz ordered the attack on the steamship. That night, Marlow discovers Kurtz crawling toward the native camp. Marlow persuades Kurtz to return to the ship by telling him he will be “utterly lost" if he causes the natives to attack. The steamer sets off the next day. But Kurtz is too ill to survive the journey, and gives his papers to Marlow for safekeeping. His dying words are: "The horror! The horror!" Marlow believes Kurtz is judging himself and the world.

Marlow also falls ill, but survives. He returns to the sepulchral city in Europe and gives Kurtz's papers to the relevant people. The last person he visits is Kurtz's Intended (his fiancé). She believes Kurtz is a great man, both talented and moral, and asks Marlow to tell her Kurtz's last words. Marlow can't find it in himself to destroy her beautiful delusions: he says Kurtz's last words were her name.

On the ship in the Thames, Marlow falls silent, and as the Narrator stares out from the ship it seems to him that the Thames leads “into the heart of an immense darkness ."

Heart of Darkness Themes

Themes are overarching ideas and beliefs that the writers express in their texts including poetry, fiction , and plays. Heart of Darkness has various themes which run parallel to one another. Joseph Conrad has used prominent recurring ideas wrapped in ambiguous language. Some of the major themes in Heart of Darkness have been discussed below.

Themes in Heart of Darkness

Imperialism

One of the major themes of Heart of Darkness is imperialism. Imperialism is actually European colonization of countries from Asian and African continents for resources. However, it was hidden in the slogan of spreading civilization. Marlow accepts taking African’s land from the people is not right. Kurtz is in Congo pretending to civilize the people and was engaged in the ivory trade and involved in horrific ancient rituals of sacrificing humans to appease the native Africans. Marlow describes the ravages of imperialism during his journey to the heart of Africa .

White Man’s Burden

Another prominent theme of the novel is irony of Marlow’s voyage and the purpose. He journeys toward Congo to meet popular station manager, Kurtz. Though Kipling’s words “white man’s burden” wring in his ears, he sees the opposite. The white man, including Mr. Kurtz, has been engaged in killing the natives to plunder the resources. There are heads erected on the poles around the station where Mr. Kurtz is staying. Marlow believes that his voyage is “heavenly mission” of a white man to spread the enlightenment of Christianity in the darkness.

Lack of Truth

The superficial themes of the novel are imperialism and cruelty of the European powers . However, the theme of the lack of truth lies at the heart of the text. All the European powers engaged in Africa are occupying their land and plundering resources while propagating it as a civilizing mission. Marlow says that several things are left out and, in his words, “away from the truth of things.” The ironic language used from the very start occasionally shows that Marlow cannot speak the truth. He finally tells another lie to avoid disappointing Kurtz’s Intended that Kurtz had said her name before dying.

Colonization

Colonization means establishing control over the indigenous people of a country or a place. This theme also runs parallel to diverse other themes in Heart of Darkness. In one of the situations, Marlow, the spokesman of Conrad, clearly states that conquest of the earth means “taking it away from those who have a different complexion.” In other words, he is indicating that the Europeans think they are of a higher race. They destroy their land by the colonization and eventually steal Africa’s resources.

Exploitation

The ivory trade is the main trade throughout the Congo River. However, Marlow does not clarify or accept the amount of brutal exploitation that happened in the name of trade. It is only mentioned in oblique words such as “the horror ” and the postscript of Kurtz “Exterminate all brutes,” which points out the truth about the trade and the people involved. In fact, Marlow is also the part of this exploitation where locals are misled and mesmerized by Kurtz. They are also enticed to attack the people not standing in line with the main agent, Kurtz, including the attack on the steamer carrying Marlow. These attacks also cause death to locals more than the targets. The exploitation continued even after Kurtz’ death.

Racial Discrimination

The novel Heart of Darkness shows that racial discrimination is dominating in Africa and other parts of the world. Marlow also understands that “different complexions and flattened nose” means, Europeans were permitted to take the possession of the land from that race. Marlow too called the locals savages including the Intended of Kurtz. She tells him how racial discrimination has led to the white men’s action of making ideas of civilizing those savages. The words of Kipling that it is “white man’s burden” echoes in the end when Kurtz dies, speaking of the horror that he committed against the African people.

Alienation and Isolation

Although alienation and isolation are often understood as a psychological issue of an individual, the novel Heart of Darkness has presented alienation and isolation of both; psychological as well as social. Marlow’s departure hints to social alienation and isolation which tries to rob him of his humanity. Kurtz is the prime example of this alienation in that he mixes up with the locals and tries to become one of them. His alienation completes with his final outburst of “horrors” when he comes to know the results of his actions. Marlow’s initial Buddha-like posture, too, confirms this alienation and isolation.

Moral Corruption

Moral corruption is another underlying theme of the novel, Heart of Darkness. Kurtz goes to Congo to civilize the locals. However, he becomes a top agent of the company in robbing the locals of their treasure and exporting ivory. He is engaged in corrupt practices of punishing those who oppose him and becoming their demigod. The same goes on at the other stations where Marlow sees many small agents engaged in the same practices.

There are two types of violence; the first one is provoked cruelty. For instance, Kurtz incites the natives to attack the steam carrying Marlow. The second one is the violence among the natives and the heads on the sticks around Kurtz house. Here Kurtz who claims to change the savages has become a savage. He uses violence to dominate the natives to rob and punish them if they interfere in white men’s business.

Human Greed and Deception

Marlow says that he has seen “the devil of greed, and the devil of hot desire” which refers to the ivory trade at the expense of the native Africans’ freedom and life. The European companies have been competing against each other to extract treasures as soon as possible . Using violence, they go on killing spree and massacring the innocents. The pieces of evidence of this human greed and deception can be seen clearly when Kurtz displays heads on the poles around his station.

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The Image of Africa in The "Heart of Darkness" by Joseph Conrad

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Analyzing The Main Aspects in The Heart of Darkness by Joseph Conrad

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Joseph Conrad's Critisism of The Racist Society in The "Heart of Darkness"

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April 1899, Joseph Conrad

Marlow, Kurtz, General Manager, Brickmaker, Chief Accountant, Pilgrims, Cannibals, Russian Trader, Helmsman, Kurtz’s African Mistress, Kurtz’s Intended, Aunt, The men aboard the Nellie, Fresleven

The story draws inspiration from Conrad's observations and reflections on the brutal and exploitative practices of European colonialism in Africa. Conrad's firsthand encounters with the Congo River and the atrocities committed by European colonizers influenced the narrative of "Heart of Darkness." The novel explores themes of imperialism, racism, and the corrupting effects of power. It delves into the moral and psychological darkness that exists within human nature, particularly when confronted with the oppressive systems of colonization. Conrad's protagonist, Marlow, embarks on a journey up the Congo River, seeking the enigmatic figure of Kurtz, who represents the epitome of colonial darkness and corruption. Through vivid descriptions and symbolic imagery, Conrad presents a critique of imperialism and exposes the destructive impact it has on both the colonizers and the colonized.

In the novella "Heart of Darkness" by Joseph Conrad, the story follows Charles Marlow, a sailor and narrator, as he recounts his journey into the heart of Africa. Marlow is hired by a Belgian trading company to travel up the Congo River in search of a mysterious ivory trader named Kurtz, who has become a figure of fascination and myth. As Marlow ventures deeper into the African wilderness, he witnesses the brutal and dehumanizing effects of European colonialism on the native African population. He encounters a series of unsettling events and encounters, including encounters with ruthless colonial officials, harsh working conditions, and acts of violence. As Marlow finally reaches Kurtz's station, he discovers that Kurtz has succumbed to the darkness and the power of the African jungle. Kurtz has become a megalomaniac, exploiting the natives and indulging in his own desires for wealth and dominance.

The setting of "Heart of Darkness" by Joseph Conrad plays a significant role in shaping the narrative and exploring its central themes. The story is primarily set in the late 19th century during the era of European colonialism in Africa, specifically the Congo Free State, which was under the rule of Belgian King Leopold II. The novella takes place along the Congo River, a vast and treacherous waterway that cuts through the heart of Africa. Conrad vividly depicts the dense and impenetrable African jungle, with its towering trees, tangled vegetation, and oppressive heat. The river serves as a metaphorical journey into the unknown and symbolizes the descent into the darkness of the human soul. The setting of the Congo reflects the harsh realities of European colonization, as Marlow witnesses the exploitation and brutality inflicted upon the native African population. The dense jungle becomes a metaphorical representation of the moral ambiguity and moral decay that Marlow encounters throughout his journey.

One of the central themes in "Heart of Darkness" is the exploration of the human psyche and the inherent darkness that exists within each individual. Conrad examines the capacity for both good and evil within the human soul, depicting characters who grapple with their own inner demons and moral conflicts. Imperialism and its destructive consequences are also prominent themes in the novella. Conrad critiques the exploitative nature of European colonization in Africa, highlighting the dehumanizing effects it has on both the colonizers and the colonized. The story exposes the moral corruption, greed, and violence that often accompany the pursuit of power. Additionally, "Heart of Darkness" explores the ambiguity of moral values. It questions the boundaries between right and wrong, as characters confront moral dilemmas in the face of the harsh realities of the colonial enterprise. Conrad challenges conventional notions of morality, forcing readers to reflect on the complex nature of human actions and the shades of gray that exist in ethical decision-making.

Symbolism plays a significant role in "Heart of Darkness." The journey up the Congo River symbolizes the descent into the depths of human darkness and the exploration of the unknown. The river itself symbolizes the thin line between civilization and savagery. For example, as Marlow travels deeper into the heart of Africa, the river becomes increasingly foreboding, representing the moral decay and savagery that lurks within. Foreshadowing is employed to create a sense of impending doom and to hint at the darkness that lies ahead. One example is the mention of the ominous character of Kurtz early in the story, foreshadowing the impact he will have on the narrative and the themes of the novella. Imagery is used extensively to paint vivid pictures and evoke powerful emotions. Conrad's rich descriptions of the African landscape, the oppressive heat, and the sense of entrapment contribute to the atmosphere of darkness and foreboding. For instance, when Marlow describes the wilderness of Africa as a "vast silence" and a "brooding gloom," he creates a haunting and atmospheric setting.

One notable representation of "Heart of Darkness" in media is the film "Apocalypse Now" directed by Francis Ford Coppola. The film transposes the story from the Congo to the Vietnam War, exploring similar themes of imperialism, the human capacity for darkness, and the corruption of power. It incorporates the psychological journey and moral dilemma of the protagonist, similar to Conrad's work. Another example is the stage adaptation of "Heart of Darkness" by the theater company Complicite. This adaptation explores the complex narrative through innovative physical theater techniques and multimedia elements, effectively conveying the psychological and emotional depths of the story. Additionally, "Heart of Darkness" has inspired numerous literary and artistic works, including poems, paintings, and music. Artists often draw upon its themes of colonialism, human nature, and the exploration of the unknown to create thought-provoking pieces that resonate with contemporary audiences.

One notable influence of "Heart of Darkness" is its impact on modernist literature. Conrad's experimental narrative techniques, such as the use of multiple narrators and the blurred boundaries between reality and illusion, have inspired many writers to push the boundaries of traditional storytelling. Authors like T.S. Eliot, Virginia Woolf, and James Joyce drew inspiration from Conrad's innovative approach, shaping the development of modernist literature. The novella's portrayal of colonialism and its critique of the exploitative nature of imperialism have also influenced postcolonial literature and discourse. Writers like Chinua Achebe, Ngũgĩ wa Thiong'o, and Salman Rushdie have engaged with and responded to Conrad's representation of Africa and its people, challenging the Eurocentric perspective prevalent in literature.

1. Despite its enduring status as a classic, "Heart of Darkness" initially received mixed reviews upon its publication in 1899. Some critics found its portrayal of Africa and its people problematic, while others praised its psychological depth and exploration of human nature. This controversy continues to fuel discussions and interpretations of the novella. 2. "Heart of Darkness" has been adapted into various films, the most notable being Francis Ford Coppola's "Apocalypse Now" (1979). Although not a direct adaptation, the film draws heavily on the themes and motifs of Conrad's novella, transporting the story to the Vietnam War era. This adaptation brought renewed attention to "Heart of Darkness" and introduced it to a wider audience. 3. Joseph Conrad's vivid descriptions of the natural landscape in "Heart of Darkness" have had a lasting impact on environmental discourse. Scholars and ecocritics have analyzed the novella's portrayal of the destructive effects of human exploitation on the natural world. The depiction of the Congo River as a metaphorical heart of darkness highlights the destructive consequences of unchecked human activities, inspiring discussions on environmental ethics and conservation.

Heart of Darkness holds a significant place in literature and is a compelling subject for essays due to its enduring relevance and thought-provoking themes. One reason it is important to explore is its exploration of the human condition. Joseph Conrad's portrayal of the darkness that resides within individuals raises profound questions about the nature of humanity, morality, and the corrupting influence of power. Through vivid and haunting imagery, Conrad delves into the depths of the human psyche, challenging readers to confront their own inner darkness. Furthermore, Heart of Darkness offers a critical examination of imperialism and its consequences. The novella shines a light on the brutal exploitation and dehumanization of colonized peoples, inviting discussions about race, power dynamics, and the ethics of colonization. Conrad's nuanced portrayal of Africa and its inhabitants prompts reflections on the representation of Otherness in literature. Additionally, the literary techniques employed in Heart of Darkness make it a rich subject for analysis. Conrad's use of symbolism, foreshadowing, and narrative structure creates a complex and layered narrative. Exploring these literary devices enhances our understanding of the novella's themes and enhances our appreciation of Conrad's craft.

"The horror! The horror!" "We live, as we dream — alone..." "The mind of man is capable of anything — because everything is in it, all the past as well as all the future." "It was the stillness of an implacable force brooding over an inscrutable intention." "The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much."

1. Conrad, J., & Conrad, J. (1996). Heart of darkness (pp. 17-95). Palgrave Macmillan US. (https://link.springer.com/chapter/10.1007/978-1-137-05227-8_2) 2. Alaei, M., & Ahangari, S. (2016). A Study of Ideational Metafunction in Joseph Conrad's" Heart of Darkness": A Critical Discourse Analysis. English Language Teaching, 9(4), 203-213. (https://eric.ed.gov/?id=EJ1095561) 3. Goonetilleke, D. C. (2009). Joseph Conrad's Heart of Darkness: A Routledge Study Guide. Routledge. (https://www.taylorfrancis.com/books/mono/10.4324/9780203003787/joseph-conrad-heart-darkness-goonetilleke) 4. Hawkins, H. (1979). Conrad's Critique of Imperialism in Heart of Darkness. https://www.cambridge.org/core/journals/pmla/article/abs/conrads-critique-of-imperialism-in-heart-of-darkness/3B3CE08E1334D67BB9522A343E5C6912 Pmla, 94(2), 286-299. 5. Kaplan, C. M. (1997). Colonizers, cannibals, and the horror of good intentions in Joseph Conrad's heart of darkness. Studies in Short Fiction, 34(3), 323-334. (https://www.academia.edu/1463424/Colonizers_Cannibals_and_the_Horror_of_Good_Intentions_in_Joseph_Conrads_Heart_of_Darkness) 6. Brown, T. C. (2000). Cultural Psychosis on the Frontier: The Work of the Darkness in Joseph Conrad's" Heart of Darkness". Studies in the Novel, 32(1), 14-28. (https://www.jstor.org/stable/29533369) 7. Cahir, L. C. (1992). Narratological Parallels in Joseph Conrad's Heart of Darkness and Francis Ford Coppola's Apocalypse Now. Literature/Film Quarterly, 20(3), 181. (https://www.proquest.com/docview/226991295?pq-origsite=gscholar&fromopenview=true) 8. Shavkatovna, S. M. (2020). Setting in Joseph Conrad's “Heart of Darkness”. International Journal on Integrated Education, 2(6), 28-30. (https://www.neliti.com/publications/333850/setting-in-joseph-conrads-heart-of-darkness)

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Heart of Darkness

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Student Prompt: Write a short (1-3 paragraph) response using one of the below bulleted outlines. Cite details from the novella over the course of your response that serve as examples and support.

1. How is Kurtz characterized by others’ reactions to him?

• Make a claim about how other characters’ reactions to Kurtz show the reader something important about what kind of person Kurtz is. ( topic sentence )
• Give specific examples of how three different characters react to Kurtz and explain what their reactions show about Kurtz. (development/support)
• Sum up how the characterization of Kurtz relates to the novella’s overall meaning. (concluding sentence or sentences)

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2. What is the symbolic significance of the river in Heart of Darkness ?

• Make a claim about the symbolic meaning of the river. ( topic sentence )
• Show how diction, imagery, and details support your topic sentence’s claim. (development/support)
• Sum up how the symbolism of the river supports the novella’s overall meaning.  (concluding sentence or sentences)

3. How does Conrad use light and dark symbolically in Heart of Darkness ?

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Heart of Darkness

what is the significance of the title heart of darkness?

The title Heart of Darkness is significant because it alludes to both the physical darkness and moral darkness present on the river. 

Title Meaning

Title meaning The entire theme of the Novel lies in its title. The darkness refers to the dark civilization of Africa and Heart symbolizes the very core of the African nation where people are savage, inhuman, uncivilized and fully ignorant. Symbolically the title deals with the unexplored story and history of civil and uncivil spirit in nature and human heart.

This is very obvious that human minds are consist of a certain complexity. We cannot all together can get rid of the negativity of our mind. We are a mixed creature of good and bad. The author wants ua to believe that there are we possess much or less darkness in our mind. Sometimes we never hesitare to expose them, or sometimes we do it privately.

Colonialism has a deep impression of bitter life throughout the history. The system has changed the view of the mankind. The direct or indirect hatred toward them is the provement of the agony that sufferers feel. Colonialism only brings mental and spritual disaster under the cover of meterial development.

The character of Kurtz and the uncivil native Africans are the main subjects of the novel. The character of Kurtz is mysterious and symbolic. He is the true representative of the mankind where he is made of both something very good and somothing very bad. The native represent the unbound darkness of human.

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The Amplifier

A solar eclipse soundtrack.

Songs from TV on the Radio, Brian Eno, Julianna Barwick and others than could well accompany the celestial event on Monday.

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By Lindsay Zoladz

Dear listeners,

As you have probably heard, on Monday most people in the United States will be able to witness a solar eclipse that will plunge an ordinary afternoon into otherworldly darkness. Such events require planning. Where are you going to watch the eclipse? Who are you going to watch it with? And, most crucially for Amplifier purposes, what will you listen to during it?

Today’s playlist aims to get you in the mood for this rare cosmic event. It features atmospheric ambient music from Brian Eno and Julianna Barwick as well as ethereal jazz from Alice Coltrane and Amaro Freitas . I also included a few songs that refer to moons and darkness, from Cat Stevens and Will Oldham, a.k.a. Bonnie “Prince” Billy , though I stopped just short of adding Bonnie Tyler ’s “Total Eclipse of the Heart,” because I have at least some restraint.

As far as solar eclipses go, this one is relatively long: Along the totality line , the moon will block out the sun for about four minutes and 28 seconds. A few songs on this playlist run for approximately that duration, so if you press play on, say, Eno’s “An Ending (Ascent)” as soon as the eclipse begins, it can soundtrack the entire experience. If you want to take in the moment in reverent silence, though, I fully support that; this playlist will be here when the eclipse is over, if you want to extend the astronomical vibe. And if you want to spend your eclipse listening to “Total Eclipse of the Heart” ? Well, that’s your decision, not mine.

I do love the feeling of human interconnectedness that occurs during an eclipse, though. There’s something powerful about knowing that millions of people in all sorts of locations will be stopping what they’re doing and perhaps reflecting on the fact that, for all our differences, we’re all living under the same sky. Who knows? Maybe some of us will even be listening to the same music.

I’m being followed by a moonshadow,

Listen along while you read.

1. brian eno: “an ending (ascent)”.

Originally written for the documentary “For All Mankind,” a majestically photographed film about the Apollo space program, the ambient music pioneer Brian Eno ’s “An Ending (Ascent)” has since been used on the soundtracks for plenty of other films, including “Traffic” and “28 Days Later.” It would also be a fitting accompaniment for a solar eclipse, not only because it conjures a feeling of celestial awe, but also because, at four minutes and 26 seconds, it will last roughly the same amount of time as the totality. ▶ Listen on Spotify , Apple Music or YouTube

2. Amaro Freitas featuring Brandee Younger: “Gloriosa”

I’ve been listening quite a bit lately to “Y’Y,” the new album by the sonically adventurous Brazilian jazz pianist Amaro Freitas, whose music is at once traditionally minded and forward-thinking. Here, he is joined by the harpist Brandee Younger, who adds some lunar opalescence to his sound.

▶ Listen on Spotify , Apple Music or YouTube

3. Alice Coltrane featuring Pharoah Sanders: “Journey in Satchidananda”

Alice Coltrane’s luminous harp scatters stardust across this free-form composition — the title track off her great 1971 album — while Pharoah Sanders’s saxophone playing unfurls like one long ribbon of gold. Like much of Coltrane’s work, it’s appropriate music for an encounter with the sublime.

4. Will Oldham: “I See a Darkness”

If you’re looking for a moody and vaguely gothic eclipse soundtrack, I recommend this subtle, stirring ballad by the folk singer-songwriter Will Oldham, who often records as Bonnie “Prince” Billy. Though Johnny Cash popularized the song when he covered it on his 2000 album, “American III: Solitary Man,” I’m partial to the cracked beauty of the original.

5. Cat Stevens: “Moonshadow”

Cat Stevens (now known as Yusuf Islam) said that this song came to him one night on vacation in Spain, when the moon was particularly bright. But, technically, this song’s title could describe a solar eclipse, which occurs, according to NASA , when “the Moon casts a shadow on the Earth, and blocks or partially blocks our view of the Sun.”

6. John Cale: “Big White Cloud”

Though it’s about a different kind of sky phenomenon, everything feels like a slow-motion reverie when this track from John Cale’s 1970 solo debut, “Vintage Violence,” is playing. “The sound of sun, piercing my eyes,” Cale sings. “Everything’s clear, everything’s bright.”

7. TV on the Radio: “Staring at the Sun”

On this single from the 2004 album “Desperate Youth, Blood Thirsty Babes,” the Brooklyn band TV on the Radio describes exactly what you should not do during a solar eclipse — unless you have special glasses or a homemade pinhole projector.

8. Julianna Barwick: “Sunlight, Heaven”

Finally, from her dreamlike 2009 EP, “Florine,” Julianna Barwick’s ethereal composition helps you welcome the light back into your life. Here comes the sun indeed!

The Amplifier Playlist

“A Solar Eclipse Soundtrack” track list Track 1: Brian Eno, “An Ending (Ascent)” Track 2: Amaro Freitas featuring Brandee Younger, “Gloriosa” Track 3: Alice Coltrane featuring Pharoah Sanders, “Journey in Satchidananda” Track 4: Will Oldham, “I See a Darkness” Track 5: Cat Stevens, “Moonshadow” Track 6: John Cale, “Big White Cloud” Track 7: TV on the Radio, “Staring at the Sun” Track 8: Julianna Barwick, “Sunlight, Heaven”

Bonus Tracks

For more on Amaro Freitas , I recommend this recent Times profile of him by Carolina Abbott Galvão.

Plus, on this week’s Friday Playlist, we’ve got new music from Chappell Roan , the Black Keys , Lizzy McAlpine and more. Listen here.