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In Nostromo, Joseph Conrad has transformed an apocryphal anecdote about a sailor who got away with stealing a boat loaded with silver into a grandly panoramic, yet deeply unsettling, narrative that sees every conceivable type of political person — from the laughably oafish and brutal to various shades of the well-meaning — caught up in an episode of revolutionary upheaval in the fictional South American country of Costaguana. Who, if anyone, will emerge from this dreadful saga with a shred of dignity left intact?