ENGL 3P38 - Sample Essay |
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Removing the Shield: Joseph Conrad's Critique of Elitism Throughout The Secret Agent In his discussion of "condomization" throughout Joseph Conrad's The Secret Agent, Tom Rice asserts that modernist writers "seem to self-protectively sheathe their texts […] from their audience" and thereby "may be withdrawing from a mass audience that they believed they were never destined to reach" (Rice 130-1). This argument suggests that Conrad's novel entertains elitist ideological values, because of its "prophylactic barriers" that limit its readership intellectually (Rice 132). Rice's argument, however, becomes problematic when considering the effects of the novel's vague narration, popular genre, and most significantly its presentation of a non-decision making class, which to my mind analogizes the consequences of artistic elitism alongside societal elitism. Ultimately, this essay will contend that Conrad's novel is not an exclusive text, but rather a critique of the restraining repercussions of artistic elitism. Rice interprets Conrad's "particularly dense style in The Secret Agent" to be "demanding [of] its first-time readers" (Rice 131). This "demanding" writing style, Rice argues, imposes "barriers" that limit the novel's audience (Rice 132). To further these assertions, Rice examines the novel's narrator, and suggests that "Conrad's readers […] have a right to complain, as the Assistant Commissioner does to Heat, that the author 'shouldn't leave me to puzzle things out for myself like this' and that his method 'seems to consist in keeping' them 'in the dark'" (Rice 132). Essentially, Rice's discussion attempts to suggest that the novel's narrator is separating himself, and the novel, from readers through vagueness. However, Rice's observations are troublesome in that they ignore the bond that this vagueness inherently creates between the narrator and readers. To my mind, Conrad's vague narration synthesizes the situation of the narrator with that of the reader – both individuals are forced to share the same unawareness. Therefore, Conrad does not employ a vague narrator to confuse and thereby exclude some of his readers, but instead to offer readers a companion who shares their confusion. To my mind, Conrad is attempting to empathize with and encourage troubled readers through narrative bonding, and is therefore not writing for an exclusively elite and intellectual audience. Susan Jones also recognizes Conrad's attempts to solicit readership in her examination of his 1912 periodical Chance, in which she discusses "the lively marketing campaign which declared the sea-novelist's promise to write especially for women" (Jones 105). Scholars must explore the luring characteristics of Conrad's work, because of his willingness to publicly encourage readership. A discussion of The Secret Agent's generic classifications will further illustrate its invitational qualities, and thereby discredit its status as an exclusive and elitist text. Before acquiring knowledge of the novel's content, readers are presented with its apprising title, which implies the novel's forthcoming discussion of a "Secret Agent" (Conrad, title page). "Secret" is indicative of mystery and suspense, while "Agent" suggests the novel to be detective or spy fiction. Mystery and suspense are staples of entertaining fiction, while detective and spy fictions are known for their exciting and engrossing plots. By including a reference to these characteristics within his novel's title, Conrad is calling upon readers who are seeking entertainment, and thereby condoning his novel's popularity. In addition to its suggestive title, The Secret Agent's political themes also reflect Conrad's attention to popular genre. According to the New York Times, the Best Fiction Novel of 1907 – the same year The Secret Agent was first published – was Gilbert Parker's politically themed novel The Weavers (New York Times). It is troublesome and paradoxical to interpret Conrad's text as both an intriguing novel of popular genre and an exclusive elitist text, which suggests that Conrad's novel is solely the former, because of its undeniable entertaining and appealing characteristics. The most obvious route of attack toward this essay's assertions is a discussion of the novel's presentation of the non-decision making class, who ostensibly appear unable to manage themselves without counsel. Stevie and Winnie, for example, are dependent of Mr. Verloc who designates them each with menial tasks, such as caring for his "small" shop (Conrad 13). The acquisition of important personal responsibility directly causes the demise of both characters: Stevie is "blown to fragments" after his only individual enterprise outside of the Verloc's home (Conrad 215); Winnie commits "suicide" when left with no choice but to become a self-reliant "widow" (Conrad 246, 215). Therefore, Conrad seemingly presents readers with a rather simple and elitist equation: members of a non-decision making class plus responsibility equal death. However, this equation's inability to coexist congruently with the novel's aforementioned opposition to elitism is quite problematic. Readers must consider all aspects of Conrad's presentation of Stevie and Winnie in order to fully understand the novel's commentary on elitism; especially that of Stevie, who, save his intellectual disabilities, is the most admirable, "good" and "innocen[t]" character within the novel (Conrad 45, 215). It is interesting that Conrad chose a woman and an intellectually disabled man to act out his apparently pro-elitist equation. To my mind, this choice suggests that Conrad is presenting readers with a reflection of their own society, and not an overtly cruel and sexist depiction of power. If Conrad cast an intellectually sound and privileged, yet unimportant and uneducated, man into a sudden position of responsibility that resulted in his death, scholars could possibly argue that The Secret Agent is an elitist text. However, Conrad enlists this role only unto societal groups that have been historically oppressed and marginalized: the intellectually disabled and women. Therefore, The Secret Agent cannot be a simple cautionary tale that attempts to dissuade those of the non-decision making class from pursuing positions of influence within society. Stevie and Winnie destroy themselves only because of their oppressing surroundings, which limit their abilities through societal elitism. For example, the narrator describes Stevie as an "artist" who is "drawing circles" (Conrad 45, 46). Mr. Verloc, however, describes Stevie's drawings as a typical behavourial trait of a "degenerate" (Conrad 46). As discussed, Mr. Verloc is in an elitist position of power over Stevie, and is thereby considered accurate in his accusation. Mr. Verloc's opinion, which is accepted by his comrades, prevents Stevie from being regarded as a possibly influential and artistic individual. Similarly, the narrator constantly juxtaposes Winnie's apparent "freedom" with her uncontrollable urge to act "obediently" (Conrad 211). To my mind, Conrad's depiction of Winnie, a liberated woman who is unable to act freely, is a comment on early-twentieth century female liberation, which illustrates the irremovable and vile damage caused by previous societal acceptance of gender hierarchies, or gender elitism. The Secret Agent is congested with "prophylactic imagery […] – coats, cloaks, veils, and most especially Verloc's omnipresent hat" (Rice 134). However, the mere presence of this imagery does not necessarily suggest that "Conrad is saying that the true artist must prophylactically shield his work of art from contact with, and contamination by, the fluids of mass culture" (Rice 142). The novel's only "artist" is Stevie, a young man helplessly lost amongst the unheard masses (Conrad 46). I would argue that the stifling repercussions of societal elitism depicted throughout Conrad's novel are meant to analogize elitism amongst his own community of modernist artists. This analogy foregrounds the single-mindedness and oppression associated with elitism, and attempts to provide the marginalized and misunderstood with a voice. Therefore, readers must not interpret Conrad's "prophylactic imagery" as a needed artistic separation from culture, but rather as a critical explanation of the consequences of elitism and an advisory to remove our "shields." "Best Books of 1907." The New York Times 9 Aug. 1908. Print. Conrad, Joseph. The Secret Agent. 1907. New York: Penguin Books, 1963. Print. Jones, Susan. "Modernism and the Marketplace: The Case of Conrad's Chance." College Literature 34.3 (2007): 101-19. Print. Rice, Tom. "Condomization in The Secret Agent and Under Western Eyes." Conradia 40.2 (2008): 129-45. Print. Return to ENGL 3P38 - Assignments |