Matthew Weller

ENGL 112b

Unit Theme: History-Fiction and Self-awareness

Center text: Heart of Darkness, by Joseph Conrad

Teaching time allotted: At least one week

Objective: Teach Heart of Darkness to young adults

Introduction:

The common mantra spoken by history teachers is that “history repeats itself.” Therefore, we look to history for insight into how events have shaped the world we live and know today. To do this, history is taught and developed through the study of a variety of discourses that references people, research and ideas that can be categorized as non-fiction. However, one of those many voices that can compliment the study of History, yet is found more often in Literature classes, comes from a genre known as Historical fiction. Historical fiction references an accurate account of history as a primary backdrop/setting but its narrative is fictional. Another characteristic of Historical fiction is that it is often characterized by individuals thrust into situations like war, or social arenas that lead to some form of spiritual, social, or mental enlightenment.

One canonical piece of literature that is well known for this is Heart of Darkness by Joseph Conrad. Despite, the fact that Conrad’s style is littered with complex rhetoric and layered narration making the story difficult both to teach, and for teens to understand themes of immense richness abound throughout the novel. Heart of Darkness is about one young and eager explorer, Marlow, who leaves England for a trek through the jungles of Africa on a small steamboat. What he experiences is a firsthand account of the chaotic and horrific images of violent imperialism. Through these experiences, he undergoes an emotional and psychological awakening that by the end causes Marlow to examine the morality of himself, and cultural ideas of patriotism/idealism in England.

Launching the Unit:

Introducing the Novel: Begin by asking students to use 5-10 min to write down a response to one of two ideas:

1. Describe 2-3 main events in your life that you believe have shaped you as a person, and why?

2. If you believe that your clothes represent your personality, character, or interests explain this concept as it relates to you.

After the students have taken time to write allow some students to share what they wrote. Then, inform them that the reason for this type of thinking is because when we study history, or literature we are really looking at a host of experiences (or clothes) that shape eras, events, or people. In many forms of literature history offers background to understand the author, or the narrative she/she presents in the same way events in your life help others to understand you.

History as background: Prior to launching into The Heart of Darkness consider reminding students that all history is compiled through personal experiences of the recorder (whether it be: King, scribe, soldier, researcher or student) and then filed into multiple canons. These compiled discourses offer a variety of possible interpretations about historical events.

Moreover, it is from these personal accounts or narratives wherefrom an extraction of historical information occurs. Simultaneously, when reading narratives one can catch a glimpse into the thoughts, ideas, feelings and/or otherwise overall messages about life from the author.

Therefore, let your students know that throughout the unit discussions regarding: the historical time period when Heart of Darkness was written, Joseph Conrad’s life and an ongoing analysis of Marlow’s experiences (relating to the previous concepts listed and ourselves) will take place.

1. A History Lesson (Activity 1):

A. Give a short presentation about England during the 1840s-1900s (PowerPoint attached)

B. Introduce Joseph Conrad as an explorer and writer during this time period. Also, while referring back to the ideas suggested in “history as a background,” handout a short biography about Joseph Conrad’s life.

C. Discussion: While students read about the life of Joseph Conrad ask each person to highlight any clues about him that seem significant. Next, openly discuss what they highlighted and why. Ask them how these aspects of his life might have influenced him to write a book.

Activity 2: Finish off the introduction by reading a few excerpts from the text to excite the students. Examples:

“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. What redeems it is the idea only. An idea at the back of it: not a sentimental pretence but an idea; and an unselfish believe in the idea—something you can set up, and bow down before, and offer a sacrifice to…” (Norton 1894).

“No, I don’t like work. I had rather laze about and think of all the fine things that can be done. I don’t like work—no man does—but I like what is in the work—the chance to find yourself. Your own reality—for yourself, not for others—what no other man can ever know. They can only see the mere show, and never can tell what it really means” (Norton 1911).

Assign Homework (Activity 3):

A. Ask the students to highlight/underline specific passages that seem significant to them as they begin reading the text. Perhaps, these passages will include meaningful quotes or thoughts from Marlow, or clues about the views and opinions of the historical era.

As the unit progresses:

Activity 1: Everyday get into a large circle or group discussion and discuss how the passages students underlined from the Heart of Darkness for homework help move the story along by identifying speaker/narrator/voice which will attempt to contextualize each passage. Furthermore, an open discussion regarding why specific pull-quotes appeal to students is also key for a positive and engaging discussion.

Activity 2: Divide the class into sections and assign half the class to study Kurtz, and the other to pay close attention to Marlow. Have the class reconvene and discuss what they have found. Have all the students take notes and mark their books with any additional key passages. This assignment will be key for end of novel discussions.

Closing the Unit:

Activity 1: After the students have finished reading Heart of Darkness; talk with them about considering the concept of “journey.” Open up the discussion by considering how the author used his personal experiences to share with readers his experiences in the Congo. Ask them to:

1. Refer back to:

a. “A History Lesson”-part a, b, and c

b. “Introducing the Novel” and the writing activity

c. Any “power-lines” from the text that reveal Conrad’s belief or overall ideas.

Activity 2: Ask the students to pull out their group work activity sheets regarding Marlow, and Kurtz. Write up on the board Kurtz’s words, “the Horror, the Horror.” Then, break the students back up into their groups that they were assigned to study Marlow and Kurtz:

Kurtz’s group:

1. By using all the accumulated information about Kurtz discuss why he said, “the horror, the horror.”

Marlow’s group:

1. Look at the end of the book when Marlow talks with Kurtz’s wife and discuss why thinks, “the dusk was repeating them in a persistent whisper all around us, in a whisper that seemed to swell menacingly like the first whisper of a rising wind. “The horror! The Horror!”

Bring the students back together and discuss what they have found.

Activity 3 (Draw Connections):

Draw connections regarding the theme of “journey and self-awareness” to other historical fiction/young adult novels containing a similar theme (about YA’s embarking on some form of journey and discovering something about themselves) they might have read like (all synopses below were used from the book itself):

The Adventures of Huckleberry Finn, by Mark Twain

Using realistic language, Twain tells the story of two runaways—Huck Finn and the slave Jim—and their adventures down the Mississippi River on a raft…Huck is concerned with deeper themes—man’s inhumanity to man and the hypocrisy of conventional values.

The Red Badge of Courage, by Stephen Crane

The novel is told through the eyes of Henry Fleming, a young soldier caught up in an unnamed Civil War battle who is motivated not by the unselfish heroism of conventional war stories, but by fear, cowardice and finally, egotism. However, his struggle to find reality amid the nightmarish chaos of war, the young soldier also discovers courage, humility and, perhaps wisdom.

All Quiet on the Western Front, by Erich Maria Remarque

This is the testament of Paul Baumer, who enlists with his classmates in the German army of World War I. They become soldiers with youthful enthusiasm. But the world of work, duty, culture and progress they had been taught breaks into pieces under the first bombardment in the trenches. Through the years of vivid horror, Paul holds fast to a single vow: to fight against the principle of hate that meaninglessly pits young men of the same generation but different uniforms against each other, if only he cam come out of war alive.

(Activity 3 cont’d): Illustrate the idea of Marlow’s journey as it pertains to contemporary ideas and themes. For example, one option is to discuss the idea about embarking on the road to fame.

1. Play the song “Hotel California,” by the Eagles. In this song, the theme about the glorious appearance of fame combined with its deceptive qualities can easily be linked up with Conrad’s theme on imperialism. So, the Eagles journey toward fame is like Marlow’s journey through the Congo as he examines imperialism.

Hotel California (lyrics provided by “sing that itune”)

On a dark desert highway, cool wind in my hair

Warm smell of colitas, rising up through the air

Up ahead in the distance, I saw a shimmering light

My head grew heavy and my sight grew dim

I had to stop for the night

There she stood in the doorway;

I heard the mission bell

And I was thinking to myself,

'This could be Heaven or this could be Hell'

Then she lit up a candle and she showed me the way

There were voices down the corridor,

I thought I heard them say...

Welcome to the Hotel California

Such a lovely place

Such a lovely face

Plenty of room at the Hotel California

Any time of year, you can find it here

Her mind is Tiffany-twisted, she got the Mercedes bends

She got a lot of pretty, pretty boys, that she calls friends

How they dance in the courtyard, sweet summer sweat.

Some dance to remember, some dance to forget

So I called up the Captain,

'Please bring me my wine'

He said, 'We haven't had that spirit here since nineteen sixty nine'

And still those voices are calling from far away,

Wake you up in the middle of the night

Just to hear them say...

Welcome to the Hotel California

Such a lovely place

Such a lovely face

They livin' it up at the Hotel California

What a nice surprise, bring your alibis

Mirrors on the ceiling,

The pink champagne on ice

And she said 'We are all just prisoners here, of our own device'

And in the master's chambers,

They gathered for the feast

The stab it with their steely knives,

But they just can't kill the beast

Last thing I remember, I was

Running for the door

I had to find the passage back

To the place I was before

'Relax,' said the night man,

We are programmed to receive.

You can checkout any time you like,

but you can never leave!

Close the Unit (cont’d):

1. In order to tie the "History-fiction and Self-awareness" unit together here are a few example paper topics for students

A. Discuss the significance of Kurtz’s words, “the horror, the horror” and connect it to British imperialism at the time.

B. By using examples from the text describe what Marlow understands after he returns to England.

2. Show the movie Apocalypse Now (A Vietnam rendition of Heart of Darkness) and have the students do a compare and contrast essay between the book and the movie.

3. Have the students pick one book from the extended book list either mentioned above or below and form independent book groups. Then, have each student (with the instructors help) develop paper topics regarding the main character’s journey, and how each experience in the book affects their overall awakening. Another option they can with this assignment is to connect the narratives from the independent book groups to Heart of Darkness.

Extending the Unit:

Historical Fiction includes many books beyond the stories mentioned above within its genre. Moreover, some of those books have been listed below. Furthermore, because history is constantly being written many contemporary books might, in fact make its way into the canon. Therefore, I have also included books that may not be Historical Fiction, but deal with similar themes as Heart of Darkness that might appeal to many young adults.

Slaughterhouse-Five, by Kurt Vonnegut

A Farewell to Arms, by Ernest Hemingway

Whale Talk, by Chris Crutcher

Bat 6, by Virginia Euwer Wolff

My Forbidden Face Growing up Under the Taliban: A Young Woman’s Story, by Latifa

If I Should Die Before I Wake, by Han Nolan

Stargirl, by Jerry Spinelli

Works Consulted:

Greenblatt, Jon and Jahan Ramazani, eds. Norton Anthology of English Lit. Vol. F. New

York: Norton Anthology & Co, 2006. 1800.

Greenblatt, Stephen and Carol T. Christ, eds. Norton Anthology of English Lit. Vol E.

New York: Norton Anthology & Co. 2006. 979-999.

Hampson, Robert, ed. “Introduction.” Conrad, Joseph. Heart of Darkness. London:

Penguin Books, 1995.