w and even describes his personal reactions.

Initially, like Marlow he too, sees everything

merged into one colour but gradually with the unraveling of Marlow’s tale, the truth becomes
clear. He is, in a way, the audience whom the author is trying to convince.
The verbal nature of Marlow’s tale makes for yet another narration device- the
disjunction in the true sequence. Although Conrad’s departure from accepted time sequence is
not as radical as that of Joyce, Faulkner and Woolf, it is nevertheless a determined step in that
direction. The second narrator’s account is not immediate and current but refracted b