Pub Date : 2004-01-01DOI: 10.1163/9789004490949_007
P. March-Russell
"THE INFORMER" (1906) is one of a number of Conrad's stories that has enjoyed fresh attention from scholars in recent years. In particular, Keith Carabine (1999) has shown how "the moral satirical idea" is central to understanding the text. This essay, in part, responds to Carabine's fine account in order to develop how Conrad's satire not only critiques the moral disaffection of its protagonists but also takes on the romantic form itself. My aim is to show how the combination of a multiple frame narratives with unreliable narrators infers not only a tale within a tale but also a love story that, in its futility and human complexity, describes a range and depth of emotion that outstrips conventional romance. Fur thermore, in suggesting a comparison between the story and Jacques Derrida's ethics of friendship,1 I argue that the doomed love of Sevrin and the Lady Amateur is a genuinely anarchistic gesture since it describes a Utopian desire that exceeds (and defeats) the comprehension of the anarchist-aesthetes. The very utopianism of this love is heightened by the extent to which it is inexperdy suppressed through the frame
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Pub Date : 2004-01-01DOI: 10.1163/9789004490949_006
Sema Postacioglu-Banon
A SET OF SIX, regarded as Conrad's most varied collection of short serves in several ways as a bridge between Nostromo and the later novels. It can be located as a "suspension" in view of the quality of the stories that move towards yet unwritten, longer, far more complex novels. "The Informer" and "An Anarchist" are separate yet complementary nuclei to be reworked and incorporated in The Secret Agent, as "The Duel" and "II Conde" will be in Under Western Eyes and Victory. In Robert Penn Warren's words, from his introduction to the Modern Library Edition of Nostromo, these later novels are "by and large, specializations and elabora tions of elements that had been in suspension in that work" (cited in Guerard 1957: 216). At first sight, however, the forward thrust binding these stories together seems missing in "Gaspar Ruiz," which reaches backwards to the material of Nostromo. The short story with which the collection opens seems to unhinge itself from the stories that follow, and the "failure" of Conrad's plan to write another cycle of South American novels, similar to the Malay Lingard trilogy, centred on Gaspar Ruiz (or Benavides according to the story's literary source) does hint at the short story's resistance to be reworked as another piece of prose.
《六集》被认为是康拉德最多样化的短篇小说集，在几个方面充当了诺斯特罗莫和他后来的小说之间的桥梁。它可以被定位为一种“暂停”，考虑到故事的质量，这些故事走向了尚未写出来的、更长的、更复杂的小说。“告密者”和“无政府主义者”是独立但互补的核心，将被重新制作并纳入《秘密特工》，就像“决斗”和“第二康德”将被纳入《西方人的眼睛》和《胜利》一样。用罗伯特·佩恩·沃伦(Robert Penn Warren)的话来说，在他为《诺斯特罗莫现代图书馆版》(Modern Library Edition of Nostromo)的介绍中，这些后来的小说“总的来说，是对那部作品中暂停的元素的专业化和细化”(引自《Guerard》1957:216)。然而，乍一看，《加斯帕·鲁伊斯》似乎缺少将这些故事联系在一起的向前推进的动力，它向后追溯到了《诺斯特罗莫》的素材。这部短篇小说的开头似乎与后面的故事脱离了关系，康拉德计划写另一个南美小说系列的“失败”，类似于马来林加德三部曲，以加斯帕·鲁伊斯(或贝纳维德斯，根据故事的文学来源)为中心，确实暗示了短篇小说不愿被改编成另一篇散文。
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Pub Date : 2004-01-01DOI: 10.1163/9789004490949_004
J. Kramer
OVER THE PAST fifteen years Conrad's "Amy Foster" (1901) has achieved some prominence among critics for a variety of reasons. Its different versions (Fraser 1988), its impressionist aspects (Epstein 1991), its dialogic and intercultural dimensions (Krajka 1990; Carabine 1992), its nature as "a colonialist story in reverse" (Ruppel 1996: 126), and its exploration of the trauma of "culture shock" (Finkelstein 2000; Shaffer 2000) have all garnered critical attention. In spite of their different foci these readings share the assumption that either Yanko or Amy or both are at the story's centre. Myrtle Hooper (1996), while not denying the protagonists' centrality, focuses on the way in which Kennedy, the principal I-narrator, shapes his narrative and thereby invites the collusion of his listener-visitor, the nameless frame-narrator, and male readers and critics. This interesting thesis is worth contesting as well as expanding on.
{"title":"What the Country Doctor “did not see”: The Limits of the Imagination in “Amy Foster”","authors":"J. Kramer","doi":"10.1163/9789004490949_004","DOIUrl":"https://doi.org/10.1163/9789004490949_004","url":null,"abstract":"OVER THE PAST fifteen years Conrad's \"Amy Foster\" (1901) has achieved some prominence among critics for a variety of reasons. Its different versions (Fraser 1988), its impressionist aspects (Epstein 1991), its dialogic and intercultural dimensions (Krajka 1990; Carabine 1992), its nature as \"a colonialist story in reverse\" (Ruppel 1996: 126), and its exploration of the trauma of \"culture shock\" (Finkelstein 2000; Shaffer 2000) have all garnered critical attention. In spite of their different foci these readings share the assumption that either Yanko or Amy or both are at the story's centre. Myrtle Hooper (1996), while not denying the protagonists' centrality, focuses on the way in which Kennedy, the principal I-narrator, shapes his narrative and thereby invites the collusion of his listener-visitor, the nameless frame-narrator, and male readers and critics. This interesting thesis is worth contesting as well as expanding on.","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126962640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1163/9789004490949_005
C. Watts
The essay links (a) the fraudulence of the theories of "Saussure" (better referred to as Saucisse), (b) their attribution to Saussure, and (c) the multiple fraudulence of the gilded sixpence in Conrad's "Karain".
{"title":"Fraudulent Signifiers: Saussure and the Sixpence in “Karain”","authors":"C. Watts","doi":"10.1163/9789004490949_005","DOIUrl":"https://doi.org/10.1163/9789004490949_005","url":null,"abstract":"The essay links (a) the fraudulence of the theories of \"Saussure\" (better referred to as Saucisse), (b) their attribution to Saussure, and (c) the multiple fraudulence of the gilded sixpence in Conrad's \"Karain\".","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117287792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1163/9789004490949_012
J. Turner
IN 1912, CONRAD WROTE to Edward Garnett describing "The Secret Sharer" with rare enthusiasm: "No damned tricks with girls there. Eh? Every word fits and there's not a single uncertain note" (CL5: 128). The flippant tone encourages the stereotype of Conrad as a misogynistic writer of sea stories for and about men, a characterization he objected to: "This damned sea business keeps off as many people as it gathers in."1 Yet the sea features in all of Conrad's novels, even if indirecdy Winnie Verloc's leap into the English Channel in The Secret Agent (1907) ? or only briefly ? Peter Ivanovitch's escape from Russia in Under Western Eyes (1911). Nonetheless, Conrad's annoyance at being categorized as a "sea writer" suggests that whatever the pervasive presence of the sea in his work, he did not consider it his central conceit. With respect to his female characters the emphasis is reversed: despite the complaint that women characters figure infrequentiy in Conrad's writing, "The Secret Sharer" is his only story not to introduce one. Attributing the tale's artistic success to its exclusively male concerns, Conrad did, however, admit "tricks with girls" in his other stories even asking Garnett: "Do you think one can make something interesting without any women?!" (CL1: 171). The question implies that however reluctant Conrad was to write about women, he had to do so not merely for the sake of popu larity but out of interest. His description of "The Secret Sharer" is a deliberate attempt to deflect and confuse or an admission that women represent one of his most problematic concerns.
{"title":"“Petticoats” and “Sea Business”: Women Characters in Conrad’s Edwardian Short Stories","authors":"J. Turner","doi":"10.1163/9789004490949_012","DOIUrl":"https://doi.org/10.1163/9789004490949_012","url":null,"abstract":"IN 1912, CONRAD WROTE to Edward Garnett describing \"The Secret Sharer\" with rare enthusiasm: \"No damned tricks with girls there. Eh? Every word fits and there's not a single uncertain note\" (CL5: 128). The flippant tone encourages the stereotype of Conrad as a misogynistic writer of sea stories for and about men, a characterization he objected to: \"This damned sea business keeps off as many people as it gathers in.\"1 Yet the sea features in all of Conrad's novels, even if indirecdy Winnie Verloc's leap into the English Channel in The Secret Agent (1907) ? or only briefly ? Peter Ivanovitch's escape from Russia in Under Western Eyes (1911). Nonetheless, Conrad's annoyance at being categorized as a \"sea writer\" suggests that whatever the pervasive presence of the sea in his work, he did not consider it his central conceit. With respect to his female characters the emphasis is reversed: despite the complaint that women characters figure infrequentiy in Conrad's writing, \"The Secret Sharer\" is his only story not to introduce one. Attributing the tale's artistic success to its exclusively male concerns, Conrad did, however, admit \"tricks with girls\" in his other stories even asking Garnett: \"Do you think one can make something interesting without any women?!\" (CL1: 171). The question implies that however reluctant Conrad was to write about women, he had to do so not merely for the sake of popu larity but out of interest. His description of \"The Secret Sharer\" is a deliberate attempt to deflect and confuse or an admission that women represent one of his most problematic concerns.","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128284392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1163/9789004490949_010
M. Larabee
WHILE GENERALLY DEEMED one of Conrad's less successful works, "Freya of the Seven Isles" boasts a memorable ending. Old Nelson may get the last word, relating the death of his daughter, Freya, from a broken heart; but the image that remains in the reader's mind is that of Freya's intended, Jasper Allen, haunting the beach at Makassar and gazing at the sight of his brig, wrecked on a reef outside the town. Just how that hazard got there deserves investigation, for, contrary to his claims about historical accuracy, this reef did not exist as Conrad portrayed it. Exami ning previously neglected nautical sources reveals several important topographical manipulations in this work, alterations that Conrad did not acknowledge but that are nevertheless fundamental to the story's artistic integrity. Setting is far more than a mere backdrop in this tale, whose sources have received scant critical attention. Norman Sherry's influential Conrad's Eastern World (1966) and Jerry Allen's The Sea Years of Joseph Conrad (1965), otherwise so comprehensive, only briefly mention the story. Later scholars tend to accept without question Conrad's version of the historical setting, or decline to analyze the precise function of the fictional landscape, or both. But evidence indicates that Conrad rear ranges certain details of the historical seascape and subjects other aspects to selective description for important symbolic purposes. Conrad's topographical alterations lend this undervalued tale considerably more stylistic subdety and richness than critics have recognized. Only an awareness, first, of the lengths to which Conrad went to create a carefully organized topography out of manipulated historical facts opens our understanding to the crucial links between the story's physical and psychological landscapes.
{"title":"Territorial Vision and Revision in “Freya of the Seven Isles”","authors":"M. Larabee","doi":"10.1163/9789004490949_010","DOIUrl":"https://doi.org/10.1163/9789004490949_010","url":null,"abstract":"WHILE GENERALLY DEEMED one of Conrad's less successful works, \"Freya of the Seven Isles\" boasts a memorable ending. Old Nelson may get the last word, relating the death of his daughter, Freya, from a broken heart; but the image that remains in the reader's mind is that of Freya's intended, Jasper Allen, haunting the beach at Makassar and gazing at the sight of his brig, wrecked on a reef outside the town. Just how that hazard got there deserves investigation, for, contrary to his claims about historical accuracy, this reef did not exist as Conrad portrayed it. Exami ning previously neglected nautical sources reveals several important topographical manipulations in this work, alterations that Conrad did not acknowledge but that are nevertheless fundamental to the story's artistic integrity. Setting is far more than a mere backdrop in this tale, whose sources have received scant critical attention. Norman Sherry's influential Conrad's Eastern World (1966) and Jerry Allen's The Sea Years of Joseph Conrad (1965), otherwise so comprehensive, only briefly mention the story. Later scholars tend to accept without question Conrad's version of the historical setting, or decline to analyze the precise function of the fictional landscape, or both. But evidence indicates that Conrad rear ranges certain details of the historical seascape and subjects other aspects to selective description for important symbolic purposes. Conrad's topographical alterations lend this undervalued tale considerably more stylistic subdety and richness than critics have recognized. Only an awareness, first, of the lengths to which Conrad went to create a carefully organized topography out of manipulated historical facts opens our understanding to the crucial links between the story's physical and psychological landscapes.","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122452275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-01-01DOI: 10.1163/9789004490949_009
S. Donovan
CONRAD MADE LITTLE SECRET of his contempt for advertising. "I must strongly protest against the abominable advertisement being put op posite my dedication," he admonished his publisher in January 1896 after finding an "Opinions of the Press" page at the front of An Outcast of the Islands (CIA: 261). By the time Conrad made his protest the medium's power over literary production could no longer be ignored or denied. Asking his agent to ensure that the publisher of Typhoon made "a certain amount of fuss about the story," Conrad confessed: "The public's so used to the guidance of Advertis[e]ment! Why! even I myself feel the spell of such emphasis" (CL2: 319). Indeed, it is a nice paradox that disdain for advertising became an integral part of Conrad's public image, itself carefully promoted in later years. After briefly sketching the history of late-Victorian and Edward ian advertising, this essay offers a reappraisal of "An Anarchist" (1906) and "The Partner" (1911), two relatively neglected magazine stories writ ten during the difficult years preceding the commercial success of Twixt Tand and Sea (1912) and Chance (1914). It argues that the representation of advertising in these works evinces critical incisiveness and topicality, and that they anticipate Conrad's sophisticated treatment of the similarly topical theme of finance capitalism in Chance} Both stories situate advertising at the cutting edge of an emergent capitalist system organized around speculation and consumption ? figurative terms whose literal con notations of seeing and eating provided the inspiration for these two tighdy constructed satires. As I seek to show, Conrad's specific choice of a patent medicine and a patent food reflects not just the ubiquity of these
{"title":"Magic Letters and Mental Degradation: Advertising in “An Anarchist” and “The Partner”","authors":"S. Donovan","doi":"10.1163/9789004490949_009","DOIUrl":"https://doi.org/10.1163/9789004490949_009","url":null,"abstract":"CONRAD MADE LITTLE SECRET of his contempt for advertising. \"I must strongly protest against the abominable advertisement being put op posite my dedication,\" he admonished his publisher in January 1896 after finding an \"Opinions of the Press\" page at the front of An Outcast of the Islands (CIA: 261). By the time Conrad made his protest the medium's power over literary production could no longer be ignored or denied. Asking his agent to ensure that the publisher of Typhoon made \"a certain amount of fuss about the story,\" Conrad confessed: \"The public's so used to the guidance of Advertis[e]ment! Why! even I myself feel the spell of such emphasis\" (CL2: 319). Indeed, it is a nice paradox that disdain for advertising became an integral part of Conrad's public image, itself carefully promoted in later years. After briefly sketching the history of late-Victorian and Edward ian advertising, this essay offers a reappraisal of \"An Anarchist\" (1906) and \"The Partner\" (1911), two relatively neglected magazine stories writ ten during the difficult years preceding the commercial success of Twixt Tand and Sea (1912) and Chance (1914). It argues that the representation of advertising in these works evinces critical incisiveness and topicality, and that they anticipate Conrad's sophisticated treatment of the similarly topical theme of finance capitalism in Chance} Both stories situate advertising at the cutting edge of an emergent capitalist system organized around speculation and consumption ? figurative terms whose literal con notations of seeing and eating provided the inspiration for these two tighdy constructed satires. As I seek to show, Conrad's specific choice of a patent medicine and a patent food reflects not just the ubiquity of these","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132177937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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