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Silence, Space and Absence in Conrad's Works
This book considers the relationship between sound and silence in the works of Joseph Conrad, along with their ties to Western and non-Western space. Throughout Conrad’s works, a pattern emerges where Western space is associated with sound and non-Western space is associated with silence; similarly, Western space is portrayed as full of objects and activity, whereas non-Western space is portrayed as empty. As these tales progress, though, Conrad’s characters embark on transformational journeys that cause them to reassess the world they live in and sometimes even the nature of the universe. These journeys invariably occur through encountering non-Western space, and during the course of these journeys, the dichotomy between Western space, perceived as replete with sound and activity, and non-Western space, empty of such, blurs such that the fullness of the West is revealed to be simply a surface hiding the emptiness beneath. In the end, both Western and non-Western space are revealed to be absences, as the absence of sound becomes a correlative for the emptiness of space and the emptiness of space becomes a metonym for the cosmological emptiness of nothingness.
Conrad's Short Fiction
In recent years, critics and readers alike have increasingly recognized the unique brilliance of Joseph Conrad's short fiction, elevating it to the pinnacle of his artistic achievements. Marvin Mudrick, in his provocative analysis, even argues that Conrad’s finest works are his novellas, suggesting that their compact scope perfectly channels his intense moral and psychological explorations. While Mudrick's view might challenge the centrality of Conrad’s renowned novels like Lord Jim or Nostromo, it highlights the enduring power of works such as Typhoon, The Shadow-Line, and Heart of Darkness, which encapsulate Conrad’s themes with unparalleled clarity and force. This book delves into C...
Conrad and Impressionism
John Peters investigates the impact of Impressionism on Conrad and links this to his literary techniques as well as his philosophical and political views. He investigates the sources and implications of Conrad's impressionism in order to argue for a consistent link between his literary technique, philosophical presuppositions and socio-political views.
