Joseph Conrad’s multilayered masterpiece tells of one nation's violent revolution and one hero's moral degeneration. Conrad convincingly invents an entire country, Costaguana, and sets it afire as warlords compete for power and a fortune in silver.
Señor Gould, adamant that his silver should not become spoil for his enemies, entrusts it to his faithful longshoreman, Nostromo, a local hero of sorts whom Señor Gould believes to be incorruptible. Nostromo accepts the mission as an opportunity to increase his own fame. But when his exploit fails to win him the rewards he had hoped for, he is consumed by a corrupting resentment.
Nostromo, relevant both as literature and as a brilliant social study, ambitiously brings to life Latin American history and the politics of an underdeveloped country.
Public Domain (P)2010 Blackstone Audio, Inc.
"I'd rather have written Conrad's Nostromo than any other novel." (F. Scott Fitzgerald)
A part-time buffoon and ersatz scholar specializing in BS, pedantry, schmaltz and cultural coprophagia.
One thinks of Heart of Darkness and even perhaps of Lord Jim when one thinks of Conrad (IF one even thinks of Conrad, let's just be honest). Nostromo, however, is an almost perfect novel: complex narrative, compelling characters, writing that makes the biblical J-writer feel she could have done better with her story. I can't think of but a handful of writers (Dostoevsky, Kafka, McCarthy, Melville) who have written a better book.
Say something about yourself!
At times a good book can fall flat due to poor narration. This listen was my first experience of excellent narration of a story with little purpose. In Nostromo, Conrad seems to have spent too much time on language and not enough time on storytelling.
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