Modern Language Studies

Decentering "Heart of Darkness" Author(s): Perry Meisel Source: Modern Language Studies, Vol. 8, No. 3 (Autumn, 1978), pp. 20-28 Published by: Modern Language Studies Stable URL: http://www.jstor.org/stable/3194329 . Accessed: 07/04/2013 17:26
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Modern Language Studies is collaborating with JSTOR to digitize, preserve and extend access to Modern Language Studies.

http://www.jstor.org

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

DecenteringHeartof Darkness
PerryMeisel

Conrad's Heart of Darkness creates the terms of its appeal by challenging us to specifythe meaning Marlow tries to findin the character of Kurtz. Those readers who write about what they discover in Marlow's tracks pursue what Marlow himself says he is unable to disclose: the substance, the essence, the details of what it is that Kurtz has done, and what it is that he represents. Answers to the enigma usually reveal a common predisposition among the novel's critics to assign highly concrete meanings to the tale, oftenofa psychological kind, and to take the multiplicity ofclues provided by the narrative as indices of a significance to be found beyond the margins of the text. Stephen A. Reid, for example, is unhappy with the "unspeakable" nature of Kurtz's "lust and brutality"and claims that "it is necessary, psychologically,that Kurtz's rites have a particular content and a particular purpose."1 Reid's determination to ground the text in specificity,and in psychology, leads him to replace Conrad's silence about the exact nature of Kurtz's behavior with Frazer's account of primitive customs in The Golden Bough. Leo Gurko is less specific, but equally insistent on a ground to the narrative, which is, in his words, "held aloft by the flame of external nature rooted at the bottom of the story."2 Albert J. Guerard's classic interpretationof the novel as "a journey within the self" offers a more flexibleview of the tale, and indeed helps to generate the views of our firsttwo critics. Still, there is in Guerard a similar desire for specificity,and, of course, for psychology, despite his insistence on the necessity of the "unspeakable" in Conrad's story. For Guerard, Kurtz's admittedly "unspoken" conduct succeeds in becoming the token of a struggle with the instincts:"[W]hen the external restraints of society and work are removed," says Guerard, "we must meet the challenge and temptation of savage reversion."3 Guerard's assumption that Africanculture is without "society" is necessary, of course, ifhis psychological symbolism is to hold. Afterall, if the novel's landscape is to be read as the terrainof the id, then its native inhabitants have to be cast as primitives. Guerard's assumptions thereby conflictwith subsequent contentions in anthropology that there are no such qualitative differencesas he supposes between European and "savage" cultures,4 as well as with Conrad's own attempt to call such differences into question within the tale itself.Although the cannibal crewmen aboard Marlow's riverboat display, to his own surprise, a greater restraint than the novel's rapacious Europeans (104-105)*, and even though Kurtz's and citations from Heart of Darkness are from the Youth collec*All references Works,Kent Edition(GardenCity,New York: tion,VolumeXVI oftheComplete Doubleday, Page & Company,1925). 20

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

"savage" woman stages a "stately"ballet of farewellforher departing in orderto lover(135-136), Guerardnonetheless insists on his primitivism groundthe tale's meaningin the psychological categorieshe discernsin Conrad's text. The consequences of such a methodare to be foundin the probofthe critical lematictexture languageit produces. WhatGuerardmeans "the evil of to which the "hollow" Kurtz"succumbs"5is a by vacancy" littledifficult to tell in the lightofhis first argument. Surely"the temptationof savage reversion" carrieswithit some fecundity, some fullness of instinct whichGuerard'sinsistence on hollowness and vacancy,likeConrad's own, seems to call into question. Indeed, Guerardfallsinto these same rhetorical contradictions timeand again in hisreadingofthe novel. "Marlow'stemptation," he writes,"is made concretethrough his exposureto Kurtz,"6 lateron thatConradis always"deferrdespitehis remark the novelsymbolizes ingwhatwe mostwantto knowand see."7 Similarly, "the night into the and of an entity confrontation unconscious, journey withinthe self,"8even thoughKurtz's vanishingact late in the story means, accordingto Guerard, that "a part of [Marlow, too] has vanished."9This is critical languagesomehowdividedagainstitself, stipulatthe of ing presence meaning on the one hand, while noting the withdrawal of its groundon the other. I suggestthatGuerard's contradictions derivefrom undue assumptionsaboutConrad'stext,and thathis reading,likethoseofour othertwo thatMarlowis critics,fallspreyto the same epistemological temptations forcedto overcomeby the end of the tale. Indeed, it is Conrad'sradical of how language itselfcreates and controlsthe kind of understanding Marlow's deepest realization,one knowledgewe have that constitutes whichhe finds, in Conrad'swords,"altogether intolerable to monstrous, and odious to the soul" (141).It is, moreover,Marlow'scrisisin thought is in knowledgethatallows us to see whyKurtz's"vacancy"in the story factnecessary and inevitable, and thattendsto supplantour critics' psywitha horror even more difficult to face. chologicalterror It is Conrad'sepistemology thatI wishto pursue here, and I shall take as my focusMarlow'skey conclusionabout Kurtz,one based upon the evidence of the shrunken heads displayedbeforethe Inner Station: showed that Mr. Kurtz lacked restraint in thegratification of Theyonly his variouslusts,thattherewas something in him-some wanting smallmatter whenthepressing needarose,couldnotbe found which, under hismagnificent eloquence.(131) Marlow takes the heads as evidence for Kurtz's lack of restraint ("showed").Like the novel'scritics,Marlowdrawshis conclusionby taking suchevidence as a tokenofwhatis not reallypresent.Such inference leads to conclusionsabout the absence in anothersense, too. What is the evidence is preciselyKurtz'sabsence of moralitypresentthrough "thattherewas something in him." Kurtzhas sucha lackbecause wanting he seems to be a lustful like creature,fullof desire-that is, "wanting,"
21

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

Bellow's Henderson, in anothersense. Indeed, "wanting"takenas the presence of desire depends upon "wanting"taken as the absence of gratification. So in themiddleofMarlow'sassertive claimwe find ourselves back him elsewherein the novel. What Kurtz to the kindofriddlesthatbaffle has dependson whathe has not;whathe has notdepends on whathe has. We seem trappedin a play of languageat the verymomentof Marlow's to disclosesome discovery about Kurtz,whose own name (meanattempt ing "short"in German)replaysthis same play. This mutually relation betweenthe two senses of interdependent or of "short,"suggeststhatmeaningis a lateralevent within "wanting," however, language.Our critics, appear to sharea viewoflanguagewhich, linkbetween by contrast, presupposessome kindof direct,or symbolic, wordsand things,not onlyin Conrad, but also, forGuerardat least, in Freud. It is Freud, however,who drawsour attention to languageas an or lateral,mechanism as earlyas 1910,well beforethenotion oppositional, receivesits official introduction intolinguistics properwiththe publication in 1916of Ferdinandde Saussure'sCours de linguistique generale, and onlyeleven yearsafter thepublication ofHeart ofDarkness itself. In his brief "The Antithetical essay on Karl Abel's 1884 pamphlet, Meaning of PrimalWords,"Freud discoversan "astonishing"10 philological explain the languageof dreams, and delightsin its nationforcontradictions rule about the mechanismof transformation by Abel into a synchronic meaningin language as a whole. "Our concepts,"writesFreud, "owe theirexistenceto comparisons."1l Abel's pamphlet,Freud Citingfrom accountof whylanguageand its concepprovidesus withthe following tionsconstitute or differential a relational structure: "Ifitwerealways we should notbe able to distinguish from light light andconsequently we should notbe abletohaveeither theconcept dark, it . ." "It is clearthat oflight ortheword for onthis everything planet is relative andhasan independent in so far existence as itis differonly in respect entiated of its relations to other ..." "Sinceevery things is in thiswaythe twin of its contrary, howcouldit be first concept ofandhowcoulditbe communicated toother thought peoplewhowere itscontrary measured than to conceive it,other against bybeing trying ofstrength could notbe formed as .. ?"... "Sincetheconcept except contained a simultheworddenoting to weakness, a contrary 'strong' it first of'weak,'as thething taneous recollection by meansofwhich neither nor In reality thisworddenoted came intoexistence. 'strong' thetwo, which created between buttherelation anddifference 'weak,' bothofthem ... "12 equally of Freud's and Abel's view of meaningas an The implications are latent in Saussure as well, and all three "antithetical" formation thosestatesof takes that place in a sphereapartfrom signification suggest or If languagemeansby virtueofdifferential the worldto whichit refers. then meaningis relationswithinthe systemit constitutes, oppositional
22

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

the productof internalresonanceswithinthe system,ratherthan the of actual links between the systemand real states of the world. effect Instead of a distanceto be lamentedand overcome,however,this disof tancebetweenlanguageand theworldis a givensinceit is thesignature language-of culture-itself. ofhumanusage as a whole thatstipulate Thus it is the conditions in the next section of the the kind of problem that Marlow confronts sentencewe have been examining: matter when thepressing couldnot . . . somesmall needarose, which, be found... in the sense of subof finding "some . . . matter," It is the possibility of stance, that Marlow claims "could not be found,"even in its effect concreteto go by in the case of Kurtz.Of course,the nothing producing differential meaning of "wanting"has already suggestedwhat Marlow here makes explicit:that language-the inevitablemedium of his inof Kurtz-is in no positionto discoverthe "matter"which terpretation wishesto assignto the elusive object ofhis Marlow,like all interpreters, it is not, or lateralphenomenon, is differential Because a quest. language or surface/depth, relation to the statesofthe after all, in a subject/object, worldits signsappear to designate.13 But lest thisrecessivequalityof"matter" seem merely let fanciful, us turnfora momentto the verystartof the tale, where it is precisely these difficulties thatConraddiscussesin broad terms.Marlow'sparable ofthe Romanofficial who came to Britain longago is, ofcourse,a caution he brings to bear on his ownnotions aboutthecentrality oftheCongo. To the Roman,Britain is theperiphery ofa circlewhosecenteris Rome. And is itself thecenterofanother circlewhose later,Britain yetnow,centuries includes African colonies. the periphery By implication, Congo will perforcecomprisethe centerofstillanother,newercircle,whose periphery will in turncomprisethe centerof stillanothernew circle,and so on, ad The model,in otherwords,is epistemological as well as politiinfinitum. cal. Everydiscovery ofa centeror an origin is subjectto a decentering,14 or, to put it anotherway, everydisclosureof a groundis subject to the recessionof that ground.15 Conrad's formulation helps to explain, and may even govern, the problem of Marlow's quest for Kurtz, and the forever recessiveobject, or center,thatKurtzcomprises. It is just thisshift or recessionofcentersthatmakesup the drama of Marlow'ssearch. PursuingKurtzto the CentralStation,Marlowfinds that there is still anothercenter,the Inner Station.And havingfound Kurtzthere, Marlow stillfindsthe essentialKurtzto escape him again, since the object of his quest is a "shadow" (134), "unsteady,. . . pale, like a vapour"(142). All Marlowhas to workwithis "a voice" indistinct, (135), "discoursing" (113)-nothing, that is, but language. In this way, Kurtz has, in the Saussurean implicationsthe text seems to affirm, "kickedhimself loose of the earth"(144). In fact,Kurtzhas "kickedthe the veryearthto pieces" (144).As a piece oflanguage,Kurtzis "wanting"
23

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

"earth" or "matter" that Marlow wishes him to comprise, so as to make him an object concrete enough to seize upon. But because the recessive Kurtz is a mere series of contradictory,differential utterances (kurtz, for example, is twice described as "long," 134, 142), his ground-his objecthood-cannot be located. "There was nothing either above or below him," says Marlow, "and I knew it ... I . . did not know whether I stood on the ground or floated in the air" (144). What is true of Marlow's search for Kurtz is true also of Marlow's very presence in the Congo. Notice, for example, that the "insoluble problem" (126) of the harlequin, "covered with patches all over, with bright patches, blue, red, and yellow" (122), resembles the map Marlow has seen in Brussels, with its "blue, a little green, smears of orange, and . . a purple patch" (55). No wonder the harlequin's "aspect" reminds Marlow of"something funny[he] had seen somewhere" (122). Here at the real site to which the map's representations refer, Marlow finds simply another version ofthe (same) representation. That is, the grounded reality of what the map represents recedes fromMarlow even as he stands upon it, turningas it does into a representation of itselfmuch in the same way that Kurtz, too, is (only) language or representation. This recession of presence, this decentering, is in evidence throughout the novel, and constitutes the book's active epistemological principle. In fact,it accords precisely with the famous definitionof meaning attributed to Marlow at the start of the tale: ofan episode was not insidelike a kernelbut outside, . . . the meaning out a haze, itoutonlyas a glowbrings thetalewhichbrought enveloping in the likenessof one of these mistyhalos that sometimesare made of moonshine.(48) visibleby the spectralillumination Conrad's anonymous narratordiscards the notion of meaning as a core or "kernel" without reservation, setting up instead a more problematic definition that plays upon the meanings of"spectral illumination." "Spectral" signifies"prismatic" and "phantom-like" at once, thereby definingmeaning as without substance (in the sense of "specter"), multiple and prismatic (in the sense of"spectrum"), and at a distance froman original source of illumination ("moonshine"). All of these requirements are met, ofcourse, in the tale itself,and, indeed, in our own Saussurean view of language, though they are by no means met in the tales our critics tell. What is more, it is precisely these requirements that Marlow meets again at the close of the sentence we have been examining: cent eloquence.
. . . some . . . matterwhich . . .could not be found under his magnifi-

Justas there is no "kernel" inside, so there is nothingto "be found under" Kurtz's "eloquence." The reason has nothing to do, of course, with Kurtz's being any more of a liar than anyone else, but with the inescapa24

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

ble conditions ofmeaningitself. The "matter" ofKurtz'smeaning escapes to locate or, as the essence is difficult Marlownot because thiswishful critics psychological might argue,because it mustremainrepressed,but because it simplydoes not exist. The geologyof surface/depth meaning mustgive away, in Marlow'sunderstanding as well as in our own, to a relations lateralor surfacetopography-a map perhaps-of differential within a systemof representations or signs. Conrad, of course, is concernedwithrepresentations throughout imthe text.Even in our focussentence, Kurtz'seloquence is figured or raiment as a fabric ("under" makes"eloquence" a coveringof plicitly some kind),whileelsewherein thetextit is describeddirectly as "folds of eloquence" (147), similarto the "diaphanousfolds"(46) of the narrator's own discourse. Like the book's images of maps, documents, dress, ciphers, and so on, the numerous images of fabricconstituterepresentations ofrepresentations, each one suggesting a weave or a network of relations much like the one presentedby the textitself. These are Conforthe structure of lanrad's alternative and interchangeable metaphors in the pursuitof discovery. guage thatwe, like Marlow,interpret I suggest,then,thatthe horror thatassails Marlowhas to do with the impossibility ofdisclosing a central to core, an essence, even a ground what Kurtzhas done and what he is. There is no centralthreadin the weave of the evidences thatconstitute his character, much less no deep centerto his existenceas a surfaceof signs. So when our criticspuzzle overKurtz'sabsence whenMarlowfinds himgonefrom hiscabin,we may offer the alternative conclusion thatKurtz'sabsence is itself a signfor his one whichis "short"or "wanting." meaning, Hence Marlow'spuzzlementat Kurtz'sabsence takeson a direct and precise meaningwithin our presentperspective: I think ifI hadbelieved I wouldhaveraised an outcry myeyes.ButI didn't them atfirst-the seemed so impossible. Thefact is believe thing I wascompletely unnerved blank terror, fright, bya sheer pureabstract with ofphysical What madethis unconnected distinct danger. any shape I I define it?-themoral emotion so overpowering was-howshall shock intolerable to thought as ifsomething monstrous, received, altogether and odiousto thesoul,had been thrust This uponme unexpectedly. lasted ofcourse themerest ofa second, andthen theusualsense fraction ofa sudden ofcommonplace, thepossibility deadly danger, onslaught I saw impending, and massacre, or something ofthekind, which was so much I andcomposing. Itpacified that welcome me,infact, positively did notraisean alarm. (141) Marlow's "fright" and "terror" are responses to the "sheer blank" and of KuYtz'sself-evident "pure abstract[ion]" absence, even though-or because-it is "unconnected withany distinct rather, shape," especially the "physical." Thus the promiseofpresence,no matter in how terrible a form-"a sudden onslaught or massacre,or something of the kind"-is welcome" and pacifying to Marlow's"altogether monstrous" "positively realization thatpresence itself is a fiction.
25

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

to instill a sense of on himself Marlow,however,playslittletricks there in where is he in sees the absence "nothing presence, ground for underfoot" (150).When theharlequin, example,tellshimthatthetext as he thinks is cipheris reallyRussian,Marlowfeelsa momentary relief, thoughRussian were a more natural,or grounded,code than cipher. to Russian and fictive, such a reassuring, Indeed, Marlowgrants priority to accentthe plain sense ofa wordlike "degradation" muchas he prefers to him. Like "wanting" or like (144)in orderto makeKurtzapprehensible after all, "degradation"-whichseems onlyto mean besottedor "short," withall its echoes ofsoil and ground-has a second layerofmeandirty, the sense of"not even 'specThis alternative too. signified suggests ing, thathas been neutralized(de-graded)or detral,'" thatis, "gradation" composed, so that even the prismatic grades of lightpromisedby the definition of narrator's meaningearlyin the tale are absentin "spectral" Kurtz'sradicalcase. Thus Marlowis quite literalwhen he says,"I could notappeal in the nameofanything highor low" (144),since Conradfinally nameablequalities,renderdrains Kurtzofall distinguishing, differential, Marlowmostof all. ing him the "blank"(52, 141)thataffrights Now perhapswe can be more precise about whyHeart of Darkat odds with ofa consciousness ness is Marlow'sstory.It is the narrative is a lateralone, betweentwo in an exemplary itself way. Marlow'stension orkurtzin both one absent;"wanting" oftheworld-one present, notions to match.Indeed, thisis the or vocabularies senses-with twogrammars language,too, with unspokentensionwe have seen in Guerard'scritical an oscillationthat now its oscillationbetween contradictory rhetorics, discourseof the narrative appears to be a responseto the self-divided itself. I shouldpointout, ofcourse,how myown readingofthe textfalls forexample, that into a mythof presence of its own. My contention, oftheworldwithgrammars is one "betweentwonotions Marlow's conflict to match"suggeststhatthereare extra-linguistic ideas, ideas whichexist of the languagethrough which,by which-the natureof independently are expressed.I simply me from notblundering-they languageprevents thatwill notassume the independent cannotmakeanykindofstatement existence of things or ideas apart fromlanguage. "Language," says ofits own critique."17 the necessity itself JacquesDerrida,"bears within Moreover, some of the terms I have employed in my own critical language-"key," forexample, or "layer"-contradictthe very deconto ofpresenceand depththatI have attempted and decentering struction showat workin the novel. issues from So the problematic meaningof Marlow'squest finally ofall meaningin Heart of DarkConrad'sconcernwiththe problematics ness. Ratherthana psychological work,Heart of Darkness is a textthat ofthelanguagein whichit inheres. status the interrogates epistemological whichour from Fromthispointofview,Conrad'snoveljoins thetradition also derives.As Derridahimin criticism moment deconstructive present less than a departure selfhas made plain, we are dealing withnothing in whichthe time-honored from classic Cartesianthinking, assumptions we make about the statusof languageand the worldare subject to the
26

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

kind of deconstruction announced by Nietzsche and extended by him, and by figures like Pater and Freud, into our own moment of criticism. We are leftwith nothing less than a critique of our normal stipulation that being is presence, and, within the sphere of criticism, with a critique of our belief that literarytexts entertain a subject/object relation to states of the world and to their own meanings. Even to the extent that we may wish to encounter our psychological critics on the ground of Freud, Freud's work constitutes a pre-eminent critique of presence in its own right, insistent as it is on the linguistic or representational status of dreams in particular and of mental functioningin general. And like Conrad, Freud's writing also constitutes a network of discourse in ironic relation to its own discoveries. Heart of Darkness and its meaning, then, do not stand apart from one another in a subject/object relation the way our critics, in their various ways, like to assume. Even the story's title is a paradox or riddle designed to tempt its interpretersrather than to locate for us a heart or center that does not exist. It is not Guerard's "psychic need" or "literary tact"19-nor is it Guetti's "alinguistic" truth-that keeps the details of Kurtz's experiences or their meaning at a remove from us in the story. Instead, it is the meaning of the storythat keeps Kurtz's meaning absent, and, indeed, that makes of absence the ground of presence itself. New York University

NOTES 1. StephenA. Reid, "The 'Unspeakable Rites' in Heart of Darkness,"Modern FictionStudies, 9 (Winter1963-1964), 351. 2. Leo Gurko, JosephConrad: Giant in Exile (New York:Macmillan,1962),p. 151. 3. Albert Massachusetts: Harvard J. Guerard,Conrad theNovelist(Cambridge, Press, 1958),p. 36. University 4. See Claude L6vi-Strauss, The Savage Mind (Chicago: University of Chicago Press, 1966; Paris: LibrairiePlon, 1962). 5. Guerard,p. 36. 6. Guerard,p. 39. 7. Guerard,p. 41. 8. Guerard,p. 39. 9. Guerard,p. 41. 10. SigmundFreud, "The Antithetical Meaningof PrimalWords,"in The Standard Edition of the CompletePsychological Worksof SigmundFreud, ed. JamesStrachey (London: HogarthPress, 1953-1966), XI, 156. 11. Freud, XI, 157. 12. Freud, XI, 157-158. 13. JamesGuetti has also shownthat Marlow"admitsthatit is impossible"to "lookbeneaththe surface," his reasonsforwhy"language. . . fails although to discoverthe meaningof Kurtz and of experience"are simplythat"the ofexperiencelies beyondlanguage"and that"the essentialsofexperireality ence remain. .. alinguistic"; see " 'Heart ofDarkness'and the Failureofthe Sewanee Review,83 (Summer1965),498, 500, 501, 502. Imagination,"
27

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions

14. See Jacques Derrida, "Structure,Sign, and Play in the Discourse of the Human Sciences," in The Structuralist ed. RichardMacksey Controversy, and Eugenio Donato (Baltimore: Press,1972),pp. Johns HopkinsUniversity 247-265. to note that Freud himselfdiscoveredthe same kind of 15. It is interesting when he searched in vain forthe primal scene of seduction decentering duringhis researchesin the 1890's; see Jean Laplanche,Life and Death in trans.Jeffrey Mehlman(Baltimore: Psychoanalysis, JohnsHopkins UniversityPress, 1976),pp. 31-32. 16. Mario D'Avanzo has also noticed the similarity between the harlequin's in bothonlya recurrent and the map in Brussels,but finds motley "symbol" for"disorder";see "Conrad's Motleyas an OrganizingMetaphor,"College Journal,9 (March 1966),289-291. Language Association 17. Derrida, p. 254. in JacquesDerrida,Speech and Phenomena, 18. See, forexample,"Differance," and other essays on Husserl's Theory of Signs, trans. David B. Allison Press, 1973),pp. 148ff. (Evanston:Northwestern University 19. Guerard,p. 40.

E. M. FORSTER CONFERENCE Concordia University,Montreal, Quebec, is planning a conference on May 3-5, 1979 to mark the centenary of the birth of E. M. Forster. Major addresses by scholars of international reputation and seminar papers and discussions will be included. Seminar papers (about 10 pages) should arrive by October 15, 1978. Send to: Prof. Judith Herz, English Department Loyola Campus, Concordia University, Montreal. Quebec, H4B 1R6.

28

This content downloaded from 116.202.7.126 on Sun, 7 Apr 2013 17:27:00 PM All use subject to JSTOR Terms and Conditions