Conrad S Secrets

Conrad's Secrets explores a range of knowledges which would have been familiar to Conrad and his original readers. Drawing on research into trade, policing, sexual and financial scandals, changing theories of trauma and contemporary war-crimes, the book provides contexts for Conrad's fictions and produces original readings of his work.

Originally published in 1979, this concordance consists of a Verbal Index listing the location of all words used by Conrad, a Word Frequency Table listing number occurrences for each word in his text, and a Field of Reference in which the user can locate in its context a word cited in the Verbal Index. This volume is part of a series which produced verbal indexes, concordances, and related data for all of Conrad’s works.

Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 2,3, Saarland University (Anglistik, Amerikanistik und Anglophone Kulturen), course: Joseph Conrad, language: English, abstract: “’The horror! The horror!’” “’Horrible, horrible!’” Although the novels are different in style and plot, Joseph Conrad’s Heart of Darkness and The Secret Agent have one thing in common: They are full of different kinds of ‘horror’ and ‘madness’. But what are all these different kinds of horror? Why does Conrad use this word this often? Is the horror in the Heart of Darkness the same as in The Secret Agent? In this paper, I will try to analyse some of the horrible aspects Conrad mentions in his texts. The first chapter will have a closer look at Kurtz’s famous phrase “’The horror! The horror!’”. I will give insight in some of my own interpretations of what could be meant with this horror. The second part of this paper will investigate the horrors and fears of the three main characters in The Secret Agent: Stevie, Winnie Verloc and Mr Verloc. In the end, there will be a short conclusion of the aspects of horror I have explored.

The Routledge Companion to Joseph Conrad attests to the global significance and enduring importance of Conrad’s works, reception, and legacy. This volume brings together an international roster of scholars who consider his works in relation to biography, narrative, politics, women’s studies, comparative literature, and other forms of art. They offer approaches as diverse as re-examining Conrad’s sea voyages using newly available digital materials, analyzing his archipelagic narrative techniques, applying Chinese philosophy to Lord Jim, interrogating gendered epistemology in the neglected story “The Tale,” considering Conrad alongside W.E.B. Du Bois, Graham Greene, Virginia Woolf, or Orhan Pamuk, or alongside sound, gesture, opera, graphic novels, or contemporary events. An invaluable resource for students and scholars of Conrad and twentieth-century literature, this groundbreaking collection shows how Conrad’s works – their artistry, vision, and ideas – continue to challenge, perplex, and delight.

A biographical chapter relates The Secret Agent to Conrad's career. Next, the work's process of composition is discussed, and differences between the serial, the book version and the stage version are explained. An analysis of the plot gives particular attention to its ironic strategies and to the character of the narrator. Various themes and contexts are explored: conceptions of time and topography; anarchistic and Fenian politics; anti-Semitism; evolution, Lombroso and criminology. Literary influences and analogues are illustrated: Dickens, Zola, Ibsen, terrorist fiction. The characters are considered from various viewpoints. A critical survey summarises the work's reception since its first publication. The bibliography provides a guide to further reading.

A Study Guide for Joseph Conrad's "Secret Sharer," excerpted from Gale's acclaimed Short Stories for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Short Stories for Students for all of your research needs.

The Secret Agent (1907) is a compelling tale of espionage and terrorism set in Edwardian London. Ironically subtitled 'A Simple Tale', it paints a terrifying portrait of revolutionaries and anarchists whose personal lives are as barren and futile as their public acts of violence. It concludes with the unwitting accomplice of a would-be terrorist blowing himself to bits with his own bomb, the terrorist's subsequent murder by his own wife, and the wife's own suicide. This new edition is based on a painstaking comparison of the original manuscript of the work with its first, truncated appearance in the American magazine Ridgeway's: A Militant Weekly for God and Country, and with all subsequent book-form publications overseen by Conrad himself. The result is a new text, purged of the printers' errors and editorial interventions that have been reproduced in all previous printings. There is also a critical introduction, an essay on the text, a textual apparatus, and helpful explanatory notes.

The present book explores a variety of fundamental questions that all of us secretly share. Its twenty-one chapters, written by some of the world’s leading Melville and Conrad scholars, indicate possible directions of comparativist insight into the continuity and transformations of western existentialist thought between the 19th and 20th centuries. The existential philosophy of participation—so mistrustful of analytical categories—is epitomized by the lives and oeuvres of Melville and Conrad. Born in the immediacy of experience, this philosophy finds its expression in uncertain tropes and faith-based actions; rather than muffle the horror vacui with words, it plunges head first into liminality, where logos dissolves into a “positive nothing.” Unlike analytical philosophers, both Melville and Conrad refrain from talking about reality: they expose those who would listen to a first-hand experience of participation in an interpretive act. Employing literary tropes to denude the essence of the human condition, they allow their readers to transgress the limitations of language. Mistrustful of language, they accept the necessity of discourse which, to make sense, must be actively reshaped, endlessly questioned, and constantly revised. And if uncertainty is the only certainty available to us, our lowly human condition also necessitates compassion: an existential cure against the liquid, capricious reality we are afforded.