![]() Drawing on postcolonial theory, art criticism and R. Two instances of particular importance (ivory and the white worsted round the dying black man’s throat in the “grove of death” scene) are analyzed in detail in order to show that what could not be conveyed through facts when the novella was first published is made sensible thanks to the disruptive presence of apparently insignificant objects. This article analyses how a limited number of objects shed a revealing light onto the novella’s meaning. ![]() A closer look reveals however that they are essential, not only because they create circuits of meaning throughout the novella which point at hidden aspects of colonialism but also because Conrad’s aesthetic strategy rests largely on these apparently unimportant objects – details through which the horror’s daily manifestations are made visible, details that may re-introduce the human element into the picture. There are only a limited number of objects in Heart of Darkness and they may at first glance look like details. ![]()
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