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Conrad and Masculinity

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96 <strong>Conrad</strong> <strong>and</strong> <strong>Masculinity</strong><br />

throughout his work that <strong>Conrad</strong> took great interest in what he saw<br />

as the characteristics of different nations. In the same letter he<br />

explained that he had gone to some trouble to differentiate Nostromo,<br />

as an Italian, from Spanish or South American ways of behaving (‘As<br />

to his conduct generally <strong>and</strong> with women in particular’). 3 However,<br />

Fredric Jameson identifies a political subtext beneath this apparent<br />

concern for accuracy. He points out that the novel effectively takes<br />

the side of the aristocrats in South America by demonizing the<br />

Monterists, for which purpose they must be sharply distinguished<br />

from the tradition of European popular revolution associated with<br />

Nostromo’s friend <strong>and</strong> surrogate father, Viola, <strong>and</strong> thus with Italy.<br />

Jameson argues that<br />

<strong>Conrad</strong> never went further politically than in this sympathetic<br />

portrayal of the nationalist-populist ideal; at the same time, it must<br />

be said that he contains <strong>and</strong> carefully qualifies this pole of his new<br />

historical vision, primarily by separating off one genuine Latin (but<br />

European) revolutionary impulse – the Italian, which is here exotic<br />

<strong>and</strong> foreign – from the indigenous Monterista variety.<br />

(PU, 274)<br />

Nevertheless, the novel not only calls into question the implicit moral<br />

claims underlying Gould’s Englishness, but also demonstrates the<br />

moral <strong>and</strong> emotional vacuity of ideals of normative masculinity, since<br />

Gould <strong>and</strong> Nostromo are both revealed as hollow men of modernity.<br />

Imagining themselves to be heroic leaders <strong>and</strong> moulders of events,<br />

they discover themselves to be the tools of impersonal <strong>and</strong> often<br />

destructive forces. In the case of the women characters <strong>Conrad</strong> seems<br />

rather more in the thrall of the stereotypes, less ironical in deploying<br />

them. As Karen Klein judiciously concludes, in probably the most<br />

telling study of the role of the body in <strong>Conrad</strong>,<br />

Not the least of the ironies ... however, is that [<strong>Conrad</strong>’s] authorial<br />

attitude toward Mrs. Gould as a female – an idealization that masks<br />

his deep condescension based on his sense of superiority – is<br />

precisely the attitude of the men in power to Nostromo <strong>and</strong> is the<br />

basis of their exploitation of him.<br />

(FP, 115–16)<br />

Mrs Gould is given moral insights into the cruelty <strong>and</strong> futility of much<br />

political action <strong>and</strong> economic development in this colonial society.

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