Abstract
If the period in which Conrad mainly wrote was not an interregnum, a simple waiting for the Great War to change everything in 1914, but a time in which a new consciousness was forged, then it was a time in which an essentially twentieth century awareness had to embrace changes in commerce as well as art. Writers have to eat, and families have to be provided for, as Conrad the husband and father realised. Discussion of art that ignores the processes of production, including the financial considerations, is liable to become detached from a reality of which the artists themselves are always aware. Conrad may have perceived himself at the centre of the forging of the modern consciousness, but he never forgot his financial problems, and the need of a writer to have a reading public.
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Notes
N. John Hall (ed.), The Letters of Anthony Trollope, II (Stanford, California: Stanford University Press, 1983), p. 715.
Peter Keating, The Haunted Study: A Social History of the English Novel 1875–1914 (London: Secker & Warburg, 1989), p. 15.
William Blackburn (ed.), Joseph Conrad: Letters to William Blackwood and David S. Meldrum (Durham, North Carolina: Duke University Press, 1958), p. 40.
W. N. Medlicott, Contemporary England 1914–1964 (London: Longmans, 1967), p. 81.
Pauline Gregg, A Social and Economic History of Britain 1760–1980 (London: Harrap, 1982) p. 514. The quotations within the passage are attributed to an official document: Report of the Privy Council on Education for 1886 XXVIII, pp. 262–3.
G. D. H. Cole and Raymond Postgate, The Common People 1746–1946 (London: Methuen, 1968), p. 454.
David Daiches, The Novel and the Modern World (Chicago: University of Chicago Press, 1965), p. 58.
Guy de Maupassant, translated by Leonard Tancock, Pierre and Jean (Harmondsworth: Penguin, 1987), p. 25.
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© 1992 Brian Spittles
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Spittles, B. (1992). Conrad in Context. In: Joseph Conrad. Writers in their Time. Palgrave, London. https://doi.org/10.1007/978-1-349-22205-6_3
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DOI: https://doi.org/10.1007/978-1-349-22205-6_3
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