Mammonart: An essay in economic interpretationSinclair, Upton
History
Mammonart: An essay in economic interpretation
Sinclair, Upton
Arts and society; Economics and literature; Literature -- History and criticism -- Theory, etc.
One other thing the obituary reviews agree upon--that he was the perfect
type of the “pure” artist, who gave us immortal fiction without trace of
purpose. And that I call a joke for the ages: Joseph Conrad being as
grim and determined a propagandist as ever used fiction for a medium.
Most of the time he carries on this propaganda with the Olympian calm of
one who is sure of his thesis and fears no dispute. But now and then he
stumbles upon some personality or point of view which seems to threaten
his doctrine; and then suddenly the front of Jove becomes wrinkled, and
the eyes of Jove shoot flames, and we discover the great Olympian in a
venomous fury.
The strangest fact about this master of English prose is that he was
born in Poland, and began life as a sailor, shipping on French craft in
the Mediterranean. He was born in 1857 and came to England at the age of
twenty-one; he rose in the British merchant service to become a captain,
and was nearly forty before his first novel was published.
This man paces the quarter-deck through the long night watches in lonely
silent seas. He reflects upon life, and comes to a conclusion about it.
But it is not the conclusion officially recommended by his native
countrymen; this merchant captain does not pray to the Virgin Mary for
the safety of his ship and the souls of those on board; neither does he
accept the official formula of his adopted country, in whose churches
the congregations implore:
Eternal Father, strong to save,
Whose arm hath bound the restless wave,
Who bidd’st the mighty ocean deep
Its own appointed limits keep:
O hear us when we cry to Thee
For those in peril on the sea.
No, in the fiction of Joseph Conrad the gods, both male and female, have
shriveled up and crumbled and blown away as dust, and over the universe
there broods a dark inscrutable fate. Conrad himself puts it into words:
“a stealthy Nemesis lies in wait.” You see, he uses the classic symbol,
and unites in one blending the terror of four different races--Greek,
Polish, English and Malay. This “stealthy Nemesis” is the enemy of men,
and they fight against it, and almost invariably it overcomes them and
destroys them, the good and generous and capable as well as the cowardly
and weak.
Public-domain text, read in full here on John Shaqi.
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