Asking the right questions is truly an art form. However, it is an even greater burden to try to answer from an analytical perspective these subjective questions that inspire answers and explanations to the ultimate “why” and “how”. As readers we are obligated to bring with us an open mind, an analytical eye, and room for suggestive argument when we try to analyze a piece of writing. The short story Heart of Darkness by Joseph Conrad offers the perfect platform for interpretation. With a dozen shades of misty grey, the tale cries out for a pair of eyes that can see it through. Without delving too much into the novella, many analytical suggestions can be drawn on what the title itself implies. The word Darkness seems to be a constant theme throughout the book. So much so that the amount of weight it carries has given it a special place on the cover. Many critics have found common ground in deciphering the interpretation of the word. The concept of darkness could represent evil. However, some important subjective questions remain unanswered: exactly which character in the story fell victim to this evil? Is it the same Conrad, Marlow, Kurtz or the natives? Everyone? Are there different forms in which this evil can manifest itself? Are we talking about darkness literally or figuratively? Would we be considered naive if we thought that evil could be contained, or is darkness a necessary evil that we all possess and an undeniable part of our reality? The reality! Will we, the sentimental beings driven by passion, hope and emotional bonds, ever be able to face the harsh reality? Whether reality is there, sitting on a chair in front of us, looking us straight in the eyes or whether reality is hiding...... middle of paper...... tumult of feelings that fail to coexist in harmony. Marlow's inability to create a distinction between colors “so dark green as to be almost black” is a manifestation of his regard for the continent. Furthermore, the following sentence compares the deep blue of the sea as being “obscured by a creeping fog,” once again leaving Africa an uninteresting and characterless terrain. According to his syntax, Conrad considers the continent to be a mass of nothingness. With the colors all blending together to create “black”, it gives it a tired feel. An isolated entity that will never be understood by European imperialists. With such dense prose, with such contradictory elements, the reader has difficulty getting an idea of ​​Africa. Marlow's struggle to penetrate him physically and mentally is a demonstration of the darkness that the author possesses of Africa.