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The All-Powerful Masses and the Limited Coterie: Problems of Popularity

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Notes Introduction: The All-Powerful Masses and the Limited Coterie: Problems of Popularity 1. John Conrad, Joseph Conrad: Times Remembered (Cambridge University Press, 1981), p. 167. 2. Ibid., pp. 31–2. 3. The Complete Works of George Orwell, 20 vols, vol. XIII, I Belong to the Left, 1945, ed. Peter Davison (London: Secker & Warburg, 2001), pp. 190–1, 200–1. The longer quotation is from Orwell’s letter to a friend who took issue with his earlier review in The Observer of wartime reprints of several novellas and short story collections in which he made clear his low opinion of Lord Jim. 4. Andrea White, Joseph Conrad and the Adventure Tradition: Constructing and Deconstructing the Imperial Subject (Cambridge University Press, 1993); Linda Dryden, Joseph Conrad and the Imperial Romance (Basingstoke: Macmillan, 1999). Among many shorter studies are Douglas Kerr, ‘Stealing Victory?: The Strange Case of Conrad and Buchan’, Conradiana 40.1 (Spring 2008), 147–63; Cedric Watts, ‘Conradian Eldritch: Bram Stoker’s Dracula and Joseph Conrad’s “The Heart of Darkness”’, The Conradian 37.2 (Autumn 2012), 1–18; Peter G. Winnington, ‘Conrad and Cutcliffe Hyne: A New Source for Heart of Darkness’, Conradiana 16 (1984), 163–82. 5. Tzvetan Todorov, Genres in Discourse, trans. Catherine Porter (Cambridge University Press, 1990), p. 15. 6. Conrad described Wells in a letter to his cousin as a ‘romancier du fantastique’ (CL2 138). 7. In I Belong to the Left, pp. 347–51. 8. These examples are drawn from Roger Luckhurst, ‘The Public Sphere, Popular Culture and the True Meaning of the Zombie Apocalypse’, in David Glover and Scott McCracken (eds), The Cambridge Companion to Popular Fiction (Cambridge University Press, 2012), pp. 66–85. 9. Terry Eagleton, Literary Theory: An Introduction, second edition (Oxford: Blackwell, 1996), p. 7. 10. Jacques Derrida, ‘The Law of Genre’, in W.J.T. Mitchell (ed.), On Narrative (University of Chicago Press, 1981), p. 61. 11. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca: Cornell University Press, 1981), pp. 206–19. 12. Jeremy Hawthorn, ‘Conrad’s Half-Written Fictions’, in Morag Shiach (ed.), The Cambridge Companion to the Modernist Novel (Cambridge University Press, 2007), p. 152. 184 Notes to Introduction 185 13. See Cedric Watts, The Deceptive Text (Brighton: Harvester Press, 1984), pp. 36–8, and Keith Carabine, The Life and the Art: A Study of Conrad’s Under Western Eyes (Amsterdam and Atlanta, GA: Rodopi, 1996), fn. p. 15. 14. For an excellent summary of these developments, see Sandra Kemp, Charlotte Mitchell and David Trotter, Edwardian Fiction: An Oxford Companion (Oxford University Press, 1997), pp. ix–xviii. See also Peter Keating, The Haunted Study: A Social History of the English Novel 1875–1914 (London: Secker & Warburg, 1989), p. 340. 15. Keating, The Haunted Study, pp. 33–5. 16. Richard Ohmann, Selling Culture: Magazines, Markets, and Class at the Turn of the Century (London and New York: Verso, 1996), pp. 11–30. 17. Kemp et al., Edwardian Fiction, p. xv. 18. H.G. Wells, The War in the Air (Harmondsworth: Penguin Books, 1973), p. 229. 19. John Sutherland, The Longman Companion to Victorian Fiction, second edition (Harlow: Pearson Education, 2009), p. 636. 20. Keating, The Haunted Study, pp. 25–6. See also Andrew Nash’s ‘The Production of the Novel, 1880–1940’, in Patrick Parrinder and Andrzej Gasiorek (eds), The Reinvention of the British and Irish Novel 1880–1940 (Oxford University Press, 2011), pp. 3–19. 21. See David Glover, ‘Publishing, History, Genre’, in Glover and McCracken (eds), Cambridge Companion to Popular Fiction, pp. 24–5. 22. Nash, ‘The Production of the Novel’, p. 3. For the continuing domi- nance of libraries, see Nicola Wilson, ‘Libraries, Reading Patterns, and Censorship’, in Parrinder and Gasiorek (eds), The Reinvention of the British and Irish Novel, pp. 36–51. 23. ‘The Spirit of Place’, in D.H. Lawrence, Studies in Classic American Literature (Cambridge University Press, 2003), p. 14. 24. Joyce Piell Wexler, Who Paid for Modernism: Art, Money, and the Fiction of Conrad, Joyce, and Lawrence (Fayetteville: University of Arkansas Press, 1997), p. xii. 25. Ibid., p. 48. Wexler’s analysis takes Conrad’s assertions on trust, and fails to engage seriously with the fiction itself, so her account rarely gets beyond a superficial portrait of the professional artist. 26. See Pierre Bourdieu, The Field of Cultural Production (Cambridge: Polity Press, 1993), especially chapter 1 (pp. 29–74). 27. Peter D. McDonald, British Literary Culture and Publishing Practice, 1880–1914 (Cambridge University Press, 1997), p. 24. 28. Ibid., pp. 24, 26–7. 29. Ibid., p. 27. 30. Nicholas Daly, Modernism, Romance and the Fin de Siècle: Popular Fiction and British Culture 1880–1914 (Cambridge University Press, 1999), p. 4. 31. Henry James, for instance, described the reading public in 1898 as ‘really as subdivided as a chess-board’. See Wexler, Who Paid for Modernism, p. 125. 32. Stephen Donovan, ‘Conrad and the Harmsworth Empire: The Daily Mail, London Magazine, Times, Evening News, and Hutchinson’s Magazine’, Conradiana 41.2–3 (2009), 162. 186 Notes to Introduction 33. See James Hepburn, The Author’s Empty Purse and the Rise of the Literary Agent (Oxford University Press, 1968), p. 90, and Mary Ann Gillies, The Professional Literary Agent in Britain, 1880–1920 (University of Toronto Press, 2007), p. 94. 34. Hepburn, The Author’s Empty Purse, p. 192. 35. Stephen Donovan, Joseph Conrad and Popular Culture (Basingstoke: Palgrave Macmillan, 2005), p. 177. 36. Quoted in McDonald, British Literary Culture, p. 96. 37. See Max Saunders, Ford Madox Ford: A Dual Life, 2 vols, vol. 1 (Oxford University Press, 1996), pp. 248–9. 38. Thomas C. Moser’s Joseph Conrad: Achievement and Decline (1957) is one of the most influential works to promote this paradigm, but earlier works advancing a similar thesis include M.C. Bradbrook’s Joseph Conrad: Poland’s English Genius (1941) and Albert J. Guerard’s Joseph Conrad (1947). See John G. Peters, Joseph Conrad’s Critical Reception (Cambridge University Press, 2013), especially pp. 35–57. 39. Todorov, Genres in Discourse, pp. 18–19. 40. Ibid., p. 19. 41. Quoted in John Frow, Marxism and Literary History (Cambridge, MA: Harvard University Press, 1986), p. 10. 42. Gérard Genette, ‘The Architext’, in David Duff (ed.), Modern Genre Theory (Harlow: Pearson Education, 2000), p. 213. 43. Ernest A. Baker, ‘The Standard of Fiction in Public Libraries’, in The Library Association Record 1907 (Nendeln, Liechtenstein: Kraus Reprint, 1970), p. 70. 44. Ibid., p. 72. 45. Ibid., p. 77. 46. John Frow, Genre (London and New York: Routledge, 2006), p. 102. 47. E.M. Forster, Aspects of the Novel (Harmondsworth: Penguin Books, 1984), pp. 73–81. 48. Ohmann, Selling Culture, p. 24. 49. See David Glover, ‘Introduction’, in Edgar Wallace, The Four Just Men (Oxford University Press, 1995), p. x. 50. Edward Garnett (ed.), Letters from Joseph Conrad 1895–1924 (London: Nonesuch Press, 1928), p. 24. 51. Distant Reading is the title of Moretti’s collection of essays (London: Verso, 2013). See especially his essay ‘Style, Inc.: Reflections of 7,000 Titles’, pp. 179–210. 52. Arthur Conan Doyle, A Study in Scarlet (London: Pan Books, 1980), p. 49. 53. The Hound of the Baskervilles was serialized from August 1901 to April 1902, and published in volume form later that year. Conrad’s letter to Blackwood is dated 31 May 1902. For Conan Doyle’s ‘unprecedented’ fee of £100 per thousand words, see Andrew Lycett, Conan Doyle: The Man Who Created Sherlock Holmes (London: Weidenfeld & Nicolson, 2007), p. 266. Notes to Chapter 1 187 1 ‘Armed with the defensive mandate of a menaced society’: Detectives, Professionalism and Liberty in The Secret Agent 1. ‘The Science of Deduction’ is the title of chapter 2 of A Study in Scarlet, and chapter 1 of The Sign of Four. 2. See Julian Symons, Bloody Murder: From the Detective Story to the Crime Novel: A History (Harmondsworth: Penguin, 1974), p. 66. Symons (pp. 35–42) provides an excellent synoptic account of the rise of detective fiction, which followed the emergence of investigative institutions in Britain, France and America. Martin Priestman’s Detective Fiction and Literature: The Figure on the Carpet (Basingstoke: Macmillan, 1990) is also useful, and takes a detour through ‘Heart of Darkness’ (pp. 140–2) as a narrative of detection. 3. ‘A.C.’, ‘Crime in Current Literature’, Westminster Review, April 1897, cited in McDonald, British Literary Culture, p. 160. 4. See Symons, Bloody Murder, p. 79 for Conan Doyle’s remuneration, and John Stape, The Several Lives of Joseph Conrad (Toronto: Doubleday Canada, 2007), p. 125 for Conrad’s. The sum of £200 in 1902 is equiva- lent to around £20,000 today, an indication of the remuneration available to a writer with a high reputation and low sales. 5. Andrew Glazzard, ‘“Some reader may have recognized”: The Case of Edgar Wallace and The Secret Agent’, The Conradian 37.2 (Autumn 2012), 19–34. 6. Watts, The Deceptive Text, pp. 36–8. 7. See Symons, Bloody Murder, p. 47. 8. Conrad’s ‘The Lagoon’ was published in the Cornhill Magazine (no. 445, January 1897, 59–71). The same issue carried ‘The Road Murder’ by J.B. Atlay, an account of Constance Kent’s murder of her half-brother, and the troubled investigation of the case by Jonathan Whicher. Atlay notes (94) that ‘it is impossible to doubt’ that Collins had Whicher and another detective, Foley, in mind when writing The Moonstone. For the background to the Road Murder and Whicher’s reputation, see Kate Summerscale, The Suspicions of Mr Whicher (London: Bloomsbury, 2008). 9. W.T. Stead, ‘The Police and Criminals of London’, The W.T.
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