By Jeremy Hawthorn
Awarded 3rd position for The Adam Gillon ebook Award in Conrad reviews 2009
The e-book offers a sustained critique of the interlinked (and contradictory) perspectives that the fiction of Joseph Conrad is basically blameless of any curiosity in or difficulty with sexuality and the erotic, and that after Conrad does try to depict sexual wish or erotic pleasure then this leads to undesirable writing. Jeremy Hawthorn argues for a revision of the view that Conrad lacks figuring out of and curiosity in sexuality. He argues that the comprehensiveness of Conrad's imaginative and prescient doesn't exclude a priority with the sexual and the erotic, and that this quandary isn't really with the sexual and the erotic as separate spheres of human lifestyles, yet as parts dialectically on the topic of these concerns public and political that experience consistently been famous as valuable to Conrad's fictional success. The publication will open Conrad's fiction to readings enriched via the insights of critics and theorists linked to Gender experiences and Post-colonialism.
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Additional resources for Sexuality and the Erotic in the Fiction of Joseph Conrad
Sample text
Nothing profound. His taste was natural rather than cultivated. He had obviously seen many fine things in his life and appreciated them: but he had no jargon of a dilettante or the connoisseur. A hateful tribe. He spoke like a fairly intelligent man of the world, a perfectly unaffected gentleman. (269) The two men meet while standing, side by side, looking at the statue of a beautiful, seated, adolescent boy, a representation that the narrator describes as a 'wholly admirable piece'. The Count initiates a conversation between the two men, and he chooses to talk to the narrator about the statue.
Elsewhere in Conrad's fiction the force of the word is less easy to fix. In Lord Jim (1900) the bar-keeper Schomberg - who also appears in 'Falk' and Victory - refers to Jim as 'a very nice young man' (144) in conversation with Marlow. Schomberg's behaviour in Victory leaves no doubt as to his own heterosexual urges (if we are allowed to assume a transtextual consistency in the character), but it is just possible that he is delivering a slur here, and impugning Jim's sexuality. The issue of the sexual covert plot of Lord Jim is one to which I shall return later on.
Then he walked back and turned about once more. He did this several times before he noticed that there was somebody occupying one of the benches. The spot being midway between two lamp-posts the light was faint. The man lolled back in the corner of the seat, his legs stretched out, his arms folded and his head drooping on his breast. He never stirred, as though he had fallen asleep there, but when the Count passed by next time he had changed his attitude. He sat leaning forward. His elbows were propped on his knees, and his hands were rolling a cigarette.