Conrad's Marlow : narrative and death in 'Youth', Heart of by Marlow, Charlie; Wake, Paul; Conrad, Joseph

By Marlow, Charlie; Wake, Paul; Conrad, Joseph

Variously defined as 'the common pilgrim', a 'wanderer', and 'a Buddha preaching in ecu clothes', Charlie Marlow is the voice in the back of Joseph Conrad's formative years (1898), center of Darkness (1899), Lord Jim (1900) and probability (1912).

Conrad's Marlow bargains a finished account and significant research of 1 of Conrad's so much celebrated creations, asking either who and what's Marlow: a personality or a narrator, a biographer or an autobiographical monitor, a messenger or an interpreter, a bearer of fact or a faulty liar?

Reading Conrad's fiction along the paintings of Walter Benjamin, Maurice Blanchot, Jacques Derrida and Martin Heidegger, and delivering an research into the relationship among narrative and loss of life, this e-book argues that Marlow's essence is found in his liminality in his continually transferring place and that the emergence of that means in his tales is in any respect issues sure up with the method of his storytelling

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Additional info for Conrad's Marlow : narrative and death in 'Youth', Heart of darkness, Lord Jim and Chance

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See Conrad, Youth, Heart of Darkness, The End of the Tether, pp. 10, 12, 16, 21, 24. Conrad, Youth, Heart of Darkness, The End of the Tether, pp. 28, 17. Conrad, Youth, Heart of Darkness, The End of the Tether, p. 51. Conrad, Youth, Heart of Darkness, The End of the Tether, pp. 50, 82, 83, 94, 114, 162. Benjamin’s essay has been taken up by a number of critics working on Conrad. Notable examples include Peter Brooks (whose work on Heart of Darkness in Reading for the Plot is discussed in my second chapter), Peter Fothergill (1989) and Jakob Lothe (1989).

24 The Marlow encountered in ‘Youth’ is, in a way that cannot be said of his later narratives, very clearly the centre of narrative interest. It is when the two narrative levels are read together, a reading that the text demands, that these categories become increasingly problematic and, as I will go on to discuss, it is through the interaction of these two levels that ‘Youth’ functions as a meaningful narrative. The unnamed narrator of ‘Youth’, whose characterisation does not even extend to the act of naming, is apparently, in the four short paragraphs that frame Marlow’s tale, positioned in such a way as to minimise his intervention into the tale that he introduces.

In other words, this study will investigate the relation between Marlow’s two roles: as a storyteller and as a character of both his own stories and those of the unnamed narrator. Structural analyses of the Marlow texts soon reveal both the complexity of Conrad’s narratives and the precarious nature of Genette’s ‘narrative’, ‘story’ and ‘narrating’. This is something that Genette himself acknowledges, making direct reference to Lord Jim as a narrative ‘where the entanglement reaches the bounds of general intelligibility’, words which Lothe echoes in his remark that ‘the narrative discourse of Lord Jim .

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