By Michael Greaney
During this second look of the writings of Joseph Conrad, Michael Greaney areas language and narrative on the center of his literary success. As a trilingual Polish expatriate, Conrad introduced an impressive linguistic self-consciousness to the English novel and tensions among speech and writing are the defining obsessions of his profession. Greaney examines a variety of Conrad's paintings, combining contemporary serious methods to language in post-structuralism with a magnificent command of linguistic conception.
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Example text
Unsurprisingly, perhaps, Tanner lays emphasis on Schomberg at the expense of the dozens of anonymous gossips in the novel. Schomberg’s hotel is the true seedbed of gossip in the novel. Heyst’s incongruously urbane manner, unpredictable comings and goings, and unlikely business transactions, establish him as a local eccentric whose antics fascinate the community of expatriate sailors and traders who patronize the hotel. It is the venue for an incessant buzz of gossip, the discursive life-blood of the speech community – the ‘hail-fellow-well-met crowd’ (p.
Fluctuating between sheer textuality and raw experience, the tale struggles to affirm the primacy of the latter even as it ultimately concedes the triumph of the former. Schomberg’s victory is sealed in the concluding paragraph where the narrator finds himself and Falk immortalized in a new tale that testifies to the irrepressibility of gossip: ‘there was some vague tale still going about the town of a certain Falk, owner of a tug, who had won his wife at cards from the captain of an English ship’ (p.
Subsequently inquiring as to the precise meaning of that ‘“very funny word”’, Hermann is offered the following definition: ‘“you exaggerate things – to yourself. Without inquiry, and so on”’ (pp. –). The repetition of the word, and the discussion over its precise meaning accords it a privileged position in the lexicon of ‘Falk’. Squeamishness is a form of psychological censorship whereby people take refuge in ignorance or, like Schomberg, in pre-emptive fictionalizations that fend off a direct encounter with experience.