Titlebook: Intimations of Joseph Conrad; A Century of Sightin G.W. Stephen Brodsky Book 2024 The Editor(s) (if applicable) and The Author(s), under ex

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Introduction,Fitzgerald, to the moderns of a world canon: Albert Camus, John Le Carré, Ian McEwan, John Banfield, W.G. Sebald, Salman Rushdie, Adam Hochschild, John Le Carré, Jan Morris, Azar Nafisi, Sven Lindqvist, Maurice Wilson, and many more. Such sightings are valuable as referents. Thus, by looking back fr

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Conrad and War, and Its Aftermath,derworld thief and collaborator Henri Chamberlin and his actress lover Dita Parlo, draws in several World War II iterations of ., in film and radio. As vicious and amoral as Chamberlin’s thievery was the economic and commercial neocolonialism precipitated by the collapse of Europe’s empires followin

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,Conrad’s Influence in Postmodern Literature and Abroad, and in the Performing Arts,ong others in so-called “English” literature which has long embraced James Joyce. Albert Camus’s ., unofficially inducted into the English canon as early as the 1950s in translation as ., has tantalizing glimpses of Conrad; . chronicles its author Azar Nafisi’s efforts to dispel the darkness of cult

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Conrad in the Spy Novel and Modern Popular Literature,winist themes in Conrad’s . and creates his atavistic Baxter; his . draws explicitly on Conrad’s nostalgic reminiscence in “Youth”; W. G. Sebald’s . contains an entire chapter devoted to ., Roger Casement, and Leopold II; Salman Rushdie’s . has even in its title the author’s debt to Conrad; Juan Gab

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Monuments of Words and Wood in Craft Ashore and Crafts at Sea, in Bronze and Stone,istory would “sweep away” the collective memory: “We buttress our identities upon such bastions, but if what they defended were not threatened, there would be no need to build them” (Nora 9)..No . can be more poignant than funerals and cemeteries, the processions, headstones, and monuments like “bou

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