Rachel Stephenson

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?