result in outcomes that are reprehensible to both parties. In a way, Conrad’s writing was a portent of the complications that have arisen in modern societies where people from different cultures attempt to homogenize but often realize that cultural isolation or segregation are the best ways to find social harmony and accord. We may all belong to the same species biologically, but socially and culturally we can be so disparate as to seem like different species. In essence modern nations immerse peoples of ‘primitive’ culture within populations of ‘developed’ culture, so that incompatibilities and antitheses cause people to foment. No one is right, no one is wrong, but the results can be unfortunate and unpleasant whatever one’s precepts.
In this way Conrad was a kind of literary social anthropologist. Study of the human as a moral being was his interest, because he himself had encountered a plethora of specimens of humanity over the years and witnessed all manner of extreme behaviours, including his own. He wanted to understand what it means to be human and the novel became the chosen conduit for expounding his ideas in a non-academic and creative way. It would be a few years before other novelists dared to delve so deeply into what might be described as the human soul in such an exposing and revelatory way. As is so often the case with pioneers, Conrad remained largely unsung until other writers began citing him as an influence.
TO
PERCEVAL
AND
MAISIE GIBBON
Calling shapes and beckoning shadows dire And airy tongues that syllable men’s names On sands and shores and desert wildernesses.
COMUS
CONTENTS
