Literary Others: Outsider Narratives

Our society intricately manages collective ideas about who gets to belong to our group and which types of people are seen as different—the other. Social identities are inherently relational, as groups typically define themselves in relation to others. This is because identity has very little meaning without the existence of “the other.” This concept is deeply rooted in cultural and historical contexts, as seen in various literary works. In Joseph Conrad’s “Heart of Darkness,” the protagonist Marlow defines the white European people as “his people,” while the Africans are portrayed as fundamentally different from him.

Marlow describes the Africans using dehumanizing terms such as ‘black shadows,’ ‘black shapes,’ or ‘bundles of acute angles,’ and does not perceive them entirely as humans. It is only when he embarks on a journey to the interior of the world that he begins to explore the reality and complexity of their existence.

Identity and Otherness

“Heart of Darkness” projects Africa as ‘the other world,’ the antithesis of Europe, and therefore, of civilization. The maps that Marlow grew up with illustrate how the European gaze constructed the world, viewing other countries in relation to itself. Africa, in Europe’s eyes, is a blank space, devoid of meaning until Europeans endow it with historical and geographical significance. ‘Civilization’ becomes a crucial criterion for categorizing people as ‘the other’ in “Heart of Darkness.” As European explorers fill the map with names, Africa and its people are not merely defined by emptiness but as an exotic ‘other’ to Europe. Marlow’s perception of Africa is shaped by imperialist ideology, seeing it as enigmatic and personifying it as ‘savage and always mute with an air of whispering.’ Before his journey, nowhere in the text does Marlow describe the Africans as human beings. Conrad intentionally omits names for African characters, implying linguistic and cultural barriers between them and Europeans. Marlow’s reduction of Africans to ‘savages’ without interaction highlights how humans judge ‘the other’ based on the societal judgment of ‘our people.’

Marlow’s judgment of Africans is influenced by the imperialistic perceptions common among Europeans. The novel consistently explores the theme of ‘the other’s’ perceived inferiority. Conrad’s description of an African fireman as akin to “seeing a dog in a parody of breeches” underscores Europeans’ views of Africans’ social and mental state. The narrator’s belief in the inherent inferiority of blacks suggests that societal norms heavily influence our judgments. Through Marlow, Conrad illustrates how deeply Europeans’ thoughts are molded by their society, rendering Africans subservient in their eyes. Even seeing Africans wear pants is perceived as a warped joke to the white men. Darkness symbolizes the unknown, primitive, and impenetrable. The novel’s title suggests that Europeans’ ignorance about Africa leads them to perceive Africans as inferior ‘the other.’ Marlow realizes that Europeans in Africa are so consumed by greed that they become less human, as suggested by Kurtz’s fence of heads, portraying them as ‘savage’ in comparison to Africans. This reversal of perception causes Marlow to experience an identity crisis, questioning his notions of ‘his people’ and ‘the other.’

Cultural Collision

“The Ambiguous Adventure” by Cheikh Hamidou Kane centers around Samba Diallo, who ventures abroad for higher studies, losing touch with his Senegalese roots and Islamic faith while seeking the secret of the white man’s power. The novel addresses the collision of Islamic African values with Western culture, portraying the latter as ‘the other’ to the Diallobe people. Samba finds himself torn between the materialistic secularism and isolation of French civilization and the deeper spiritual influences of his homeland when he attends a French school. The Diallobe community fears French imperialists, believing their materialistic world leads to spiritual loss. This fear stems from cultural differences, justified when The Most Royal Lady warns that French education may erase cherished traditions from their children. She believes the cultural divide between the French and Diallobe is insurmountable.

At the journey’s outset, Samba struggles with French culture, feeling alien. However, as he adapts, this otherness fades, yet upon returning from France, he finds himself spiritually shattered. His vibrant sense of community is lost, as he realizes his identity has become ambiguous, not fully replaced by European identity. This duality illustrates how ‘the other’ can lead to self-questioning, as seen in Samba Diallo’s experience. The novel powerfully demonstrates the internal conflict and identity crisis arising from exposure to ‘the other,’ reflecting broader themes of cultural imperialism and assimilation.

Cultural Identity

“Vietnamerica,” a graphic memoir by GB Tran, reveals the journey of his family from their homeland to ‘the other’ world, which ultimately becomes ‘his world.’ The differences between GB and his father, Tri, illustrate how they are each other’s significant ‘the other.’ GB is fully Americanized, disconnected from his family’s culture, as shown by his video game habits, inappropriate funeral attire, and struggle with Vietnamese pronunciation. In contrast, Tri, despite significant time in America, struggles to adapt to its culture. Their cultural construction as fundamentally different defines ‘the other’ in the novel.

Despite sharing Vietnamese origins, GB and Tri’s reactions to similar circumstances differ due to cultural construction. The power of definition reinforces differences between ‘us’ and ‘them.’ This text respects ‘the other,’ acknowledging America’s shelter during their time of need and GB’s journey to Vietnam, which helped him understand his parents’ history and sacrifices. However, the struggle to adapt highlights that identity is tied to origin, distinguishing self from the other. Like previous protagonists, GB develops an ambiguous identity in Vietnam, feeling alienated from his supposed family. This suggests that merging with ‘the other’ contributes to self-loss.

All three texts explore characters that enhance the concept of ‘the other.’ In ‘Heart of Darkness,’ we see a European’s perception of Africans as ‘the other,’ while ‘Ambiguous Adventure’ offers the opposite perspective. ‘Vietnamerica’ illustrates how ‘the other’ can exist within a family. Place, culture, and civilization are criteria for distinguishing self from the other. The protagonists’ journeys away from their origins lead to identity crises. This suggests that inclination towards the other can threaten the concrete identity of ‘the self,’ emphasizing the profound impact of cultural and social constructs on personal identity formation.

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