Heart of Darkness by Joseph Conrad, Matt Kish

By Joseph Conrad, Matt Kish

Following his massive--and hugely successful--Moby Dick in photographs, artist Matt Kish has set himself upon an both extraordinary, and no much less harrowing, activity: illustrating every one web page of Joseph Conrad's masterpiece, center of Darkness.

Kish’s wealthy, inventive drawings and work reflect Conrad’s unique textual content and serve to light up Marlow’s trip into the center of the Congo, and into the depths of the human soul.

Heart of Darkness is a textual content ripe for research and argument, officially and thematically; it explores concerns of imperialism, racism, gender, and the duality of human nature. Kish’s illustrations upload one other layer, and one other voice within the dialog.

Heart of Darkness is a vital variation for lovers and scholars of Conrad’s paintings, yet is, exceptionally, a section of artwork all its personal. Kish’s creation lends context to his process, information his courting and fight with Conrad’s paintings, and illuminates his personal inventive procedure. An index within the rear of the publication catalogs the sentences and words that encouraged all the 100 unique items of paintings.

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Extra resources for Heart of Darkness

Sample text

Martin Amis’s Money (1984), set in 1981–2, is a transatlantic satire of the emerging Reagan–Thatcher era and its mood of acquisitiveness. The protagonist’s name, John Self, proclaims the intention to make him representative of the period. He shuttles between London and New York in the process of making a movie, and leading a hedonistic lifestyle on apparently inexhaustible funds. Self is a gross figure, ‘addicted to the twentieth century’ (p. 91), and most particularly to alcohol, pornography, and his own misogynistic world-view.

There are disillusionments for her as well, but in her relatively modest aspirations to be a brilliant lecturer with The State and the Novel 33 no desire to publish, the novel might seem to advocate a kind of quietism. 35 When Esther’s upstairs neighbour is arrested as the Harrow Road murderer, media attention forces her to sell her flat. In retreat from the social connectivity the episode demonstrates, she then decides to move to Italy. The novel, in fact, is an enactment of Alix’s perception of ‘the social structure’ as ‘a vast web, a vast network’ in which ‘we are all but a part of a whole which has its own, its distinct, its other meaning’ (pp.

The earth deepens to a more profound red. The sun bleeds, the earth bleeds. The sun stands still. (p. 396) The stasis of this conclusion embodies a curious ambivalence in which the progression from radiance to an image of blood and suffering is interrupted by the checked sunset. It is the narrator’s artifice, in effect, that arrests the characters’ attention, and that underscores the difficulty of weaving a cohesive social web or network in fiction. This challenging ending achieves in miniature that which the novel attempts as a whole.

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