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By A. M. Purssell,
Royal Holloway College, University of London
Agnes S. K. Yeow, Conrad's
Eastern Vision: A Vain and Floating Appearance. Basingstoke:
Palgrave Macmillan, 2008. 252 pp. hardback £50
In the "Author’s Note" to his early
short tale, “The Lagoon” (1897), Conrad reflects fondly
on “the Malayan phase” of his literary career, “with
its special subject and its verbal suggestions” (Notes
on My Books, 23). This phase, beginning with the publication
in 1895 of Almayer’s Folly, and ending with that of The
Rescue in 1920, provides the meat of this new study by Agnes
S. K. Yeow. Although Conrad in the same note remarks that his “next
effort in short story writing” after “The Lagoon,”“
An Outpost of Progress” (1897) was meant as “a departure
from the Malay Archipelago,” the main thrust of Yeow’s
argument is that this and other departures from the East of Conrad’s
affectionate remembrance were never more than short absences. For,
while Conrad may only have spent a relatively small part of his
maritime career in the East, it was a place to which, as a writer,
he returned time and again.
Some critics have taken Conrad’s recollection
in A Personal Record (1912), of reaching out to touch the
same sort of “English ship” in which he would later
serve, as representing a foundational moment of cultural identification;
they have also seen, in this image of the ship as “home”,
a potent symbol, commensurate with his rootless early life and subsequent
exilic status. Taking Conrad’s transition from a mariner to
a writer as a point of departure, Yeow focuses on the significance
of another of Conrad’s affiliations, the announcement of which
was likewise made along nautical lines.
In the first flush of his literary career Conrad
settled on the pseudonym “Kamudi,”“a Malay word
meaning rudder” (CL1 170). This pseudonym, although
later abandoned, signalled, according to Yeow, a wish to be associated
in the minds of his reading public, at least at this early stage
of his career, “with ships, the sea, and a seafaring life”
(2). More important, for Yeow this pseudonym “clearly indicated
a desire to be marketed as a writer of ‘Malay’ fiction”
(Ibid.). (Just how many of Conrad's readers would have
recognized these associations is, however, a pertinent but never
posed question.)
In this introductory section, Conrad’s variegated
Eastern world, bracketed (perhaps a little too conveniently) as
“ostensibly Malay”, is placed within both broader global,
and more local Malay, contexts. Conrad’s “East,”
then, “is not only the product of its strategic location at
the confluence of major civilizations and the crossroads of early
modern globalization,”“but also the result of vast political,
economical, and social changes in the region itself in the last
quarter of the nineteenth century” (2).
Taking, in addition, an Orientalist tack, this section
also points up an important discursive context. The “East”
with which Conrad’s fiction interacts is rightly seen as “a
complex scientific, historical, and ethnographical construct erected
by Pires, Eredia, Valentijn, Wallace, McNair, and a host of other
‘serious traveller[s]’”, as Conrad called them
(2-3). Conrad’s spat with Sir Hugh Clifford, who in the North
American Review had claimed that Conrad’s representation
of the Malay Archipelago “‘can only be called Malay
in Mr. Conrad’s sense’” (22), is accordingly rehearsed
here.
The middle three sections are particularly strong,
fleshing out the historical and cultural details of Conrad’s
represented Malay world. For, as Yeow (demonstrating an overarching
interest in the interleaving – what she terms the “dialogism”
– of “art and history”) puts it: “Conrad’s
East affords us glimpses into history and history affords us glimpses
into Conrad’s [fiction]” (8). (This chiasmus also hints
at a tendency throughout towards rather gnomic phrasing, of which
more later.) The first of these sections takes a long view of European
interest in the archipelago, looking back on the early circulation
in Europe of myths of the “‘Golden Chersonese,’”
after early Greek and Byzantine Ptolemiac geographers had conceived
of the region as “a fabulous treasure trove” (42).
This feeds into an exploration of Anglo-Dutch rivalry
in the archipelago, a clash of colonial interests to which Conrad
gives shape, for example, through an awareness of the historical
role of “English country traders” such as Lingard, who,
since the early eighteenth century, had engaged in blockade, gun-running,
and other generally disruptive, activities. That recurrent phrase
in Conrad, “one of us,” is accordingly re-cast here
as a sign of cultural, national, or political identification with
this entrepreneurial class operative at the vanguard of European
commercial penetration.
Interestingly, Yeow notes that Conrad’s fictional
locales such as Sambir and Patusan lay “mostly outside British
and Dutch jurisdiction, in places where the traditional socio-political
structure was” frequently “still extant in its entirety”
(49). Correspondingly, the next section focuses on how European
interlopers adapted these structures to their own purposes, taking
Lord Jim (1899-1900) as an example. Yeow unravels the political
valences of “the multi-purpose term” “Tuan,”
and the significance of Marlow’s stress that, rather than
claim it directly, Jim’s political authority in Patusan is
foisted upon him – a fine, but crucial, distinction. The passive
character of Jim’s assumption of power corresponds to “native
models of kingship,” which European powers depended upon for
political leverage: “’He who is made lord’ is
surrounded by an aura of sanctity and invincibility called daulat,”
which loosely translates as “‘sovereignty’”
(79). Jim’s authority in Patusan, then, has strong foundations
in a Malay narrative of legitimation on which European narratives
legitimating the imperial project would feed.
The implications of Yeow’s analysis are twofold:
Jim is placed in a much broader tradition of Western “kings
of the Malay world” than familiar scholarly comparisons with,
for example, the “Rajah of Sarawak”, tend to allow.
And, whereas this Western appropriation of Malay titles is, likewise,
familiar from other studies of Conrad, Yeow looks much closer at
the ideological implications of this appropriation from, crucially,
a Malay perspective. One cavil, however, is that in the process
Jim’s own motivations are sometimes overlooked. For instance,
Yeow concludes by describing Jim’s death as “unromantic”
(91). Surely, as other critics have suggested, Jim’s demise
is nothing if not true to the generic tenets of the romance and
adventure fiction that hitherto have provided the measure of his
actions?
Rounding things off, the third of these middle
sections examines Conrad’s attentiveness not just to Western,
but also to Chinese and Arab, influences in the archipelago. After
all, Conrad’s introduction to this part of the world was largely
mediated through Arab, not European, trading networks. Particularly
interesting is the discussion of how an Arab élite, represented
in An Outcast of the Islands (1896) by Syed Abdulla’s
“rhizomatic” networks of correspondence, sustained an
empire of influence across Malayo-Muslim communities in a similar
way as did the Colonial Office in London elsewhere, with its “volumes
of letter, dossiers, files and reports” (123-24). Sticking
with Conrad’s early Malay fiction, discussion also focuses
upon how members of a Chinese business élite, in particular
Straits-born Chinese like Jim-Eng in Almayer’s Folly
(1895), were able to cross, and thereby confuse, cultural lines
through their claim to “Britishness.” Such represented
crossings had an historical precedent, as Yeow, building on existing
scholarship, ably demonstrates.
The final chapter, like the book itself, comes
under the heading “A Vain and Floating Appearance,”
a strange sentence lifted from one of Conrad’s letters to
R. B. Cunninghame Graham, written in late January 1898. In it Conrad,
sounding rather like Victory’s Schopenhauerian miserabilist,
Heyst Senior, ruminates thus: “There is no morality, no knowledge
and no hope; there is only the consciousness of ourselves which
drives us about a world that whether seen in a convex or a concave
mirror is always but a vain and floating appearance” (CL2
30).
Yeow seems to offer this privately-voiced concern
with the instability of “appearances” as a reason for
Conrad’s attempts in his fiction at scopic fidelity, a task
enshrined in Conrad’s oft-cited, coercive address to the reader
in the Preface to The Nigger, to, “by the power of
the written word … make you see” (x). The word “seems,”
however, is used advisedly: too often this chapter’s argument,
in an unfortunate echo of Conrad’s complaint to Cunninghame
Graham, tends to hove from view. The dust-jacket blurb, apparently
unable to decide what the book is about, struggles instead to describe
this last chapter. Thus, Conrad’s “belief in the superiority
of fiction over [contemporary] optical inventions as a way of stimulating
vision compelled him to invoke the prevailing visual paradigms of
his times in order to emphasize the truth of his own particular
vision.” Such obscurantism is less likely to invite than dissuade
potential readers, be they battle-hardened scholars of, or newcomers
to, Conrad.
Similarly, the book is studded with too many sentences
that, at the risk of over-flogging Forster’s famous grumble
about Conrad, are misty in the middle as well as at the edges. For
example: “Conrad’s East is a visual construct in the
form of a hallucinated mirage, no more or less” (6); or, three
lines later: “Nothing is anything in and of itself and both
art and history are themselves dialogic and subjective”; these
appear intent more on emulating than unpacking the secret casket
of Conradian obscurity. In addition, much is made of “the
relativity of all facts” (41), in line with an overall interest
in the narrative make-up of Western historiographical representation.
There are, however, plenty of established “facts”
in Conrad studies that could better have been attended to. This
is a problem typified by the opening gambit’s reference to
“The Lagoon” – rather than “The Idiots”
– as Conrad’s “first short story” (1). Nevertheless,
there is much in this study to recommend it; indeed, the middle
sections alone make it worth a look. Overall, Conrad’s
Eastern Vision is a useful addition to an ever-growing, and
ever-fascinating, body of scholarship on Conrad’s Malay world.
© 2009 A. M. Purssell
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