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1. Thomas Moser, Joseph Coilrad: Achieveme"T and Decline (Cambridge, Conrad: Pola"D's Eilglish Getlius (Cambridge

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1. Thomas Moser, Joseph Coilrad: Achieveme Notes Notes to the Introduction 1. Thomas Moser, Joseph COIlrad: Achieveme"t and Decline (Cambridge, Mass.: Harvard University Press, 1957) p. 10; M. C. Bradbrook, Joseph Conrad: Pola"d's EIlglish Getlius (Cambridge: Cambridge University Press, 1941); Morton Zabel, TI.e Portable Conrad (New York: Viking, 1947); F. R. Leavis, The Great Traditioll (London: Chatto " Windus, 1948). A. J. Guerard's monograph Josepl. Conrad (New York: New Directions, 1947) should be added to this list. 2. (a) Richard Curle, Josepl. Cotlrad: A Study (London: Kegan Paul, Trench, Triibner, 1914); Wilson Follett, Joseph Conrad: A Short Study. (b) Ford Madox Ford, Josepl. COllrad: A Personal Remembrance (London: Duckworth, 1924); Richard Curle, The Last Twelve Years of Joseph Conrad (London: Sampson Low, Marston, 1928); Jessie Conrad, Joseph Conrad as I KIlew Him (London: Heinemann, 1926) and Joseph Conrad and his Circle (London: Jarrolds, 1935). (c) Five Letters by Joseph Cotlrad to Edward Noble in 1895 (privately printed, 1925); Joseph Co"rad's Letters to his Wife (privately printed, 1927); Conrad to a Friend: 150 Selected Letters from Joseph COllrad to Richard Curle, ed. R. Curle (London: Sampson Low, Marston, 1928); Letters from Joseph Conrad, 1895 to 1924, ed. Edward Garnett (London: Nonesuch Press, 1928); Joseph Conrad: Life alld Letters, ed. G. Jean-Aubry (London: Heinemann, 1927) - hereafter referred to as L.L. 3. Gustav Morf, The Polish Heritage of Joseph Conrad (London: Sampson Low, Marston, 1930); R. L. M~groz,Joseph Conrad's Milld and Method (London: Faber" Faber, 1931); Edward Crankshaw, Josepll Conrad: Some Aspects of tl.e Art of tl.e Novel (London: The Bodley Head, 1936); J. D. Gordan, Joseph Cmlrad: The Making of a Novelist (Cambridge, Mass.: Harvard University Press, 1940). 4. Douglas Hewitt, Conrad: A Re-nssessment (Cambridge: Bowes" Dowes, 1952); Thomas Moser, Joseph COllrnd: Achievement and Decline (Cam­ bridge, Mass.: Harvard University Press, 1957); A. J. Guerard, Conrad tl.e Novelist (Cambridge, Mass., Harvard University Press, 1958). Moser was a member of Guerard's 1950 and 1953 Harvard/Radcliffe gradu­ ate seminars in the modern novel; he acknowledges a debt to Guerard for 'nearly a decade' of discussions on Conrad (p. vii); and he aligns himself with Guerard and Hewitt (p. 3). In particular, the account of Conrad's 'anticlimax' in Guerard's earlier work, Joseph Conrad (pp. 27-30) is credited as influencing Moser's view of Conrad's 'decline' after TI.e SI.ndow Lille ~p. 2). 5. For recent work that pays some attention to the early fiction, see William W. Bonney, Thorns & Arabesques (Baltimore: The Johns Hopkins University Press, 1980); Cedric Watts, The Deceptive Text (Sussex: The Harvester Press, 1984); Stephen K. Land, Conrad at.d the Paradox of Plot (London: Macmillan, 1984). More representative, however, are Aaron 282 Notes 283 Fogel, Coercion to Speak (Cambridge, Mass.: Harvard University Press, 1985); Suresh Raval, The Art of Failure (London: Allen & Unwin, 1986); Jakob Lothe, Conrad's Narrative Method (Oxford: Clarendon Press, 1989) - all of which concentrate on the canon of texts established by the 'achievement and decline' paradigm. 6. John A. Palmer, loseph Conrad's Fiction: A Study in Literary Growth (Ithaca, N.Y.: Cornell University Press, 1968) p. 10. Palmer's account of the development of the paradigm ('Achievement and Decline: A Bibliographical Note', pp. 260-86) can be read as complementary to my own. Thomas Kuhn's concept, the 'paradigm', has an obvious applicability to changes and developments in literary critical tradi­ tions. For Kuhn, paradigms are 'universally recognised scientific achievements that for the time provide model problems and solutions to a community of practitioners' (The Structure of Scientific Revolutions (Chicago: University of Chicago Press, 1962) p. x). 7. Palmer, p. ix. For more recent criticism of the late novels, see Chapter 8. 8. After describing the 'rediscovery' of Conrad as 'a profound psycholo­ gist', 'a political prophet' and an 'audacious craftsman', Moser asserts that 'over these three' and 'including them all, stands Conrad the moralist' (pp. 10-11). For a similar privileging of 'Conrad the moral­ ist', see Paul L. Wiley, Conrad's Measure of Man (Madison: University of Wisconsin Press, 1954); C. Cooper, Conrad and the Human Dilemma (London: Chatto & Wlndus, 1970); J. E. Saveson, Conrad: The lAter Moralist (Amsterdam: Rodopi, 1972); R. A. Gekoski, Conrad: The Moral World of the Novelist (London: Paul Elek, 1978). 9. Guerard, p. 146. Compare: 'Fictional characters are representations of life and, as such, can only be understood if we assume they are real. And this assumption allows us to find unconscious motivation by the same procedure that the traditional critic uses to assign conscious ones' (M. A. Kaplan and R. Kloss, The Unspoken Motive (New York, 1973) p. 4). 10. Guerard, p. 12. Leo Gurko's criticism of Morf can be transferred to this part of Guerard's work: 'To read Lord /im as a compendium of clues to Conrad's personal feelings is to shrink its range of discourse and turn literature generally into a treasure hunt for disguised personal refer­ ences' (/oseph Conrad: Giant in Exile, p. 18). Guerard suggests, for example, that by the time Conrad came to write his late novels, he was bereft 'of certain unconscious drives' (p. 255). Guerard is at his worst with Ti,e Arrow of Gold. His particular psychological approach leads him to focus on Conrad's 'evasion' of the biographical truth about the 'duel'. This concentration on an event described briefly in the second 'Note' Is of a piece with Guerard's belief that 'the interest of the novel ... is extra-literary' (p. 284). 11. Bernard C. Meyer,loseph Conrad: A Psychoallalytic Biogmphy (Princeton, N.J.: Princeton University Press, 1967). 12. Notice that Freud himself observed, in his Illtroductory Lectures on Psychoanalysis (The Pellcan Freud Library, .): 'Interpretation based on a knowledge of symbols Is not a technique which can replace or 284 Notes compete with the associative one. It forms a supplement to the latter and yields results which are only of use when introduced into it' (p. 184). The principle, he noted earlier, was· that 'psychoanalysis follows the technique of getting the people under examination so far as possible themselves to produce the solution of their riddles' (p. 130), and this is obviously not possible when the subject is a dead author. 13. See, for example, Freud's Studies in Hysteria (The Pelican Freud li­ brary, III) pp. 389-92, or Introductory Lectures on Psychoanalysis (The Pelican Freud Library, .) pp. 482-500 (e.g.: 'what turns the scale in his struggle is not his intellectual Insight ... but simply and solely his relation to the doctor' [po 497». See also Jacques Lacan's 'Intervention on Transference' (1951): 'What happens in an analysis is that the subject Is, strictly speaking, constituted through a discourse ... psy­ choanalysis is a dialectical experience' (I" Dora's Case, ed. Charles Bernheimer and Claire Kahane (London: Virago Press, 1985) p. 93). 14. See, for example, Freud's Studies in Hysteria, pp. 380-1. 15. Gilles Deleuze and Felix Guattari, Anti-Oedipus, trans. Robert Huxley, Mark Seem and Helen R. Lane (New York: Viking, 1977); Fredric Jameson, The Political Uflcoflscious (London:. Methuen, 1981) p. 99. See also Freud, Introductory Lectures on Psychoanalysis: 'there is no justifica­ tion for carrying this shift of interest so far that, in looking at the matter theoretically, one replaces the dream entirely by the latent dream-thoughts' (p. 217). 16. Richard Brown, 'James Joyce: The Sexual Pretext', Ph.D. thesis, Uni­ versity of London (1981); revised version published as James Joyce and Sexllality (Cambridge: Cambridge University Press, 1985). 17. Frank J. Sulloway, Frelld: Biologist of the Mil1d (London: Fontana, 1980). 18. Wiley, p. 14. See also Ralph Tymms, Doubles in Literary Psychology (Cambridge: Bowes and Bowes, 1949) pp. 93-4. 19. J. Galsworthy, 'Reminiscences of Conrad', Castles in Spain (London: Heinemann, 1927) p. 91. (In a 1908 letter to Galsworthy, Conrad com­ mented on the character of Hilary Dallison In Galsworthy's Fratemity: 'Morbid psychology, be it always understood, is a perfectly legitimate subject for an artist's genius' [L.L., II, p. 78).) S. Freud, Selected Papers Oil Hysteria & other Psychoneuroses (Nervous &: Mental Disease Mono­ graph Series No.4; New York, 1912). C. G. Jung, Psychology of t',e UtlconsciulIS, trans. Beatrice M. Hinkle (New York: Moffat, Yard, 1916). Hinkle prefaces her translation with an introductory essay on psy­ choanalysis. (Conrad's copy was included in Hodgson's catalogue for their 1925 sale of books from his library.) 20. Jeffrey Berman, 10sepl' Conrad: Writing as Rescue (New York: Astra Books, 1977) pp. 149-50. Berman, however, does not make much of this observation: after suggesting that 'genuine loneliness, feelings of abandonment, and submerged hostility towards her imprisoned father ... prompt Flora to repudiate her life', he goes on to sar only that Flora 'stili does not have the intellectual or psychologlca com­ plexity that Conrad's solitary males possess' (p. 154). Notes 285 21. Richard Brown, p. 26. J. D. Patterson has attempted to do this for the earlier novels in 'The Representation of Love in the Novels of Joseph Conrad: 1895-1915', D.Phil. thesis, Oxford University (1984). 22. Paul Kirschner, Comad: The Psychologist as Artist (Edinburgh: Oliver &: Boyd, 1968); Zdzislaw Najder, Conrad's Polish Background (London: Oxford University Press, 1964); Avrom Fleishman, Conrad's Politics (Baltimore: The Johns Hopkins University Press, 1967); Eloise Knapp Hay, The Political Novels of Joseph Conrad (Chicago: University of Chi­ cago Press, 1963). Two other works were also influential in the early stages of my research: Edward Said, Joseph Conrad and the Fiction of Autobiography (Cambridge, Mass.: Harvard University Press, 1965) and Robert R. Hodges, The Dual Heritage of Joseph Conrad (The Hague: Mouton, 1967).
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