Product Description

Penguin inaugurates a series of revised editions of Conrad’s finest works, with new introductions

In a corrupt London underworld of criminals, terrorists, and fanatics, Mr. Verloc is assigned to plant a bomb. The tragic repercussions for his family show how Conrad’s ironic voice is concerned not with politics but with the terrible fates of ordinary people.

Product Details

• Amazon Sales Rank: #154551 in Books
• Published on: 2007-09-25
• Original language: English
• Number of items: 1
• Binding: Paperback
• 320 pages

About the Author
Joseph Conrad was born in the Ukraine in 1857 and grew up under Tsarist autocracy. In 1874 Conrad travelled to Marseilles, where he served in French merchant vessels before joining a British ship in 1878 as an apprentice. In 1886 he obtained British nationality. Eight years later he left the sea to devote himself to writing, publishing his first novel, Almayer's Folly, in 1895. The following year he settled in Kent, where he produced within fifteen years such modern classics as Youth, Heart of Darkness, Lord Jim, Typhoon, Nostromo, The Secret Agent and Under Western Eyes. He continued to write until his death in 1924. J. H. Stape is the author of The Several Lives of Joseph Conrad (1996) and Conrad's Notes on Life and Letters (2004).

Customer Reviews

Powerful and despairing
I must admit to having a love-hate relationship with Conrad. His novels possess an undeniable power, and I have read each of his novels with the utmost fascination. Yet, I can't say that actually reading a Conrad novel is an enjoyable experience. His vision of the world is a tad too bleak, his confidence in human nature way too despairing, and the overall atmosphere way too gloomy for me to derive pleasure from reading Conrad.
Although not set in one of the exotic locales which we associate with Conrad, THE SECRET AGENT is both one of his finest and one of his most typical novel, with one exception. In most of his books, the plot revolves around situations which inevitably lead to tragedy and disaster, but in which a central character is often able to somewhat redeem his life by an act or acts of personal heroism. The feel is usually quite similar to that of Norse mythology, in which Gods and men will struggle at the end of the world against the forces of evil, but will lose. The challenge is to oppose the evil heroically. But in THE SECRET AGENT, the central character is anything but heroic, and is in no truly important way opposed to the powers of evil.

I have to admit to being perplexed by claims that Conrad was a great prose stylist. I will confess that I find that with his prose, the sum is greater than its parts. If you examine his sentences, he is without question, along with Theodore Dreiser, perhaps the worst constructor of sentences in the English language. Perhaps having learned English only after reaching adulthood is to blame. Many of his sentences are grammatically opaque. Frequently his sentences are incomplete or badly constructed. Almost never does Conrad seem to sense the rhythm of the language. Perhaps this lack of rhythm is what many mistake for a great prose style. I have spent a fair amount of time in the secondary literature on Conrad, and so far I have yet to find a single Conrad scholar who felt that he possessed a command of the English language. The consensus seems to be that he is a great writer despite his struggle with the English language, not because of any mastery he possesses over it.

Overall, I hold this to be one of Conrad's most important novels, on a par with UNDER WESTERN EYES, HEART OF DARKNESS, VICTORY, and NOSTROMO.

Ironically, Alfred Hitchcock filmed a version of THE SECRET AGENT, but it was not the movie with the same name. Hitchcock's THE SECRET AGENT was actually based on Maugham's Ashenden stories (which Maugham says were based upon his own experiences as a secret agent; he claims to have been one of the more inept agents in history). Hitchcock's version of the Conrad novel was SABOTAGE. Hitchcock changed many of the details, and his religious beliefs never allowed him to engage in the despair one finds in Conrad (Hitchcock was a devout Catholic). Although his version resembles Conrad, it isn't a very faithful adaptation either in plot or in spirit.

Feminism in a Tasty Dystopia Shell
Conrad's afterword to this book, written twelve years after the book's original publication, shows pretty clearly that he had to be and was defensive about its value. I think the strength in this book is not really in the actual machinations of the anarchists, or their pathetic struggle to find strength in their own obvious weakness(this is often too hateful on Conrad's part for my taste--he clearly loathes them), but in Winnie's story, subdued by most of the events of the novel, and her mostly ignored "Maternal Passion" as Conrad puts it. This is the novel's heart, and the rest of the characters make up a sad, self-important circus around what is essentially her modern feminist heroism.