![]() ![]() One instance of Conrad's ambiguous deferrals at the generic level occurs in The Secret Agent late in the novel, the Assistant Commissioner tells the Home Secretary, "From a certain point of view we are here in the presence of a domestic drama" (204). ![]() Even in tales that contain no significant female characters or obvious love plots, Conrad portrays men whose gender identifications are not always clearly discrete in subtle acts of displacement, Conrad introduces elusive feminine presences into male/male relationships. ![]() Yet a thematics of gender suffuses Conrad's narrative strategies. Many critics have argued that Conrad's fictions are aesthetically flawed by the inclusion of women and love plots thus Thomas Moser has questioned why Conrad "did not cut them out altogether" (99). Conrad's use of allegorical feminine imagery, fleet or deferred introductions of female characters, and "hybrid" generic structures that combine features of "masculine" tales of adventure and intrigue and "feminine" dramas of love or domesticity have all inspired. In Joseph Conrad's tales, representations of women and of "feminine" generic forms like the romance are often present in fugitive ways. ![]()
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