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200 10$aConrad, language, and narrative /$fMichael Greaney$b[electronic resource]
210  1$aCambridge :$cCambridge University Press,$d2002.
215   $a1 online resource (ix, 194 pages) $cdigital, PDF file(s)
300   $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015).
311   $a0-521-80754-9 
311   $a0-511-01845-2 
320   $aIncludes bibliographical references (p. 185-192) and index.
327   $apt. I. Speech Communities. 1. 'The realm of living speech': Conrad and oral community. 2. 'Murder by language': 'Falk' and Victory. 3. 'Drawing-room voices': language and space in The Arrow of Gold -- pt. II. Marlow. 4. Modernist storytelling: 'Youth' and 'Heart of Darkness'. 5. The scandals of Lord Jim. 6. The gender of Chance -- pt. III. Political Communities. 7. Nostromo and anecdotal history. 8. Linguistic dystopia: The Secret Agent. 9. 'Gossip tales, suspicions': language and paranoia in Under Western Eyes.
330   $aIn this re-evaluation of the writings of Joseph Conrad, Michael Greaney places language and narrative at the heart of his literary achievement. A trilingual Polish expatriate, Conrad brought a formidable linguistic self-consciousness to the English novel; tensions between speech and writing are the defining obsessions of his career. He sought very early on to develop a 'writing of the voice' based on oral or communal modes of storytelling. Greaney argues that the 'yarns' of his nautical raconteur Marlow are the most challenging expression of this voice-centred aesthetic. But Conrad's suspicion that words are fundamentally untrustworthy is present in everything he wrote. The political novels of his middle period represent a breakthrough from traditional storytelling into the writerly aesthetic of high modernism. Greaney offers an examination of a wide range of Conrad's work which combines recent critical approaches to language in post-structuralism with an impressive command of linguistic theory.
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