Conrad, as a modern writer, explores the role of language through Lord Jim as he had done in Heart of Darkness. His focus, like most modern writers, is on the ability of language to evade and alter the truth in the process of its disclosure. Conrad’s emphasis on the constant quest for meaning, and elusiveness of ultimate truth are inherently modernist concerns, despite the geopolitics of Lord Jim and its reactionary anti-imperialist undertones. Marlow’s narrative is couched in ambiguity. The language of facts and the domain of the artistic narrative intersect as their boundaries are permeable by the inherently deceptive nature of both: “There shall be no message, unless such as each of us can interpret for himself from the language of facts, that are so often more enigmatic than the craftiest arrangement of words” (Lord Jim, 256).
For Conrad, the structure of language implicitly validates the social order, which demarcates the limitations of creative thought by playing with the framing and documenting of memory and perception. Language, when viewed as a means of documentation, is an act intended to be objective but one that cannot help but be subjective, owing to its deeply flawed structure . The language of facts is something that is completely arbitrary as we see when reading Wallace’s The Malay Archipelago as a legitimate scientific article based on the theories of (and dedicated to) Charles Darwin. Truth and accepted reality become the one and the same under this line of thought, which is one of the unfortunate by-products of using language as a means of documenting experience.
In Lord Jim, this is dramatized in Marlow’s growing belief that the idea of social cohesion is an illusion and that communal solidarity is not indomitable–and is, as all things believed to be stable, vulnerable to the individual.