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Published at the turn of the nineteenth century, Joseph Conrad’s Heart of Darkness occupies a liminal space that explores early ideas of a modernist Self. Questioning established narrative truths that marked Victorian fiction, Heart of Darkness illuminates the unnamed, unsaid, and unexplained through the narrative ellipses that surround the narrator, Marlow, Kurtz, and the Intended. Such ellipses symbolize the overwhelming disillusionment—the inability to articulate a defined selfhood—that marked the fin de siècle and the collective apprehension of the unknown. Conrad further displaces a Victorian tellability of identity through narratological design, psychological (un)awareness, and physiological ambiguity, which foreshadows approaching modernism. As the reader interacts with this disillusioned abyss, vague representations and uncertain realities culminate in the fundamental question of modernity: can one truly define, represent, or know the Self through narrative? While some attempt to proffer an answer, Conrad’s Heart of Darkness embraces, albeit with unnerving hesitation, the indefinite essence of modernity’s selfhood and illuminates the heart of the fin de siècle.

“What no other man can ever know”: Foreshadowing a Modernist Self in Heart of Darkness