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Extra resources for Graham Greene: The Novelist
178) Kate has good looks and Anthony has conscience, but these 'fine flowers' of their class have become liabilities. Kate reflects: 'We're done, we're broke, we belong to the past, we haven't the character or the energy to do more than hang on to something new for what we can make out of it. Krogh is worth both of us .... ' ( 177). Kate has, however, intellectually identified herself with the new world, even though emotionally she remains tied to the past. Her innocence has been tainted and she knows it: Her dusty righteous antecedants pulled at her heart, but with 'lsolatoes and Exiles 47 all her intellect she claimed alliance with the present, this crooked day, this inhumanity.
His political philosophy is a means of escape from his lust, shame, betrayal and cowardice into the haven of abstractions. Conder, the journalist, falls bad: on another kind of pretence. His sad and unsatisfied 34 GRAHAM GREENE: THE NOVELIST brain conjures up different impersonations, the revolutionary, the intimate of Scotland Yard and, particularly, the family man. Enwrapped in his unrealities, the real Conder is a seedy and lonely man, with a collection of foreign coins, who lives in a squalid bed-sitting room.
He was doing for a wrong reason what he had refused to do for a right. He had turned a deaf ear to what his heart, supported by the critic within, had asked of him, but he had capitulated at the first hungry wail his dirty, lusting body had uttered. ( 129-30) At the trial, standing in the witness box, he affirms to himself the purer motive that he is there because of Elizabeth, and the sound of her name gives him courage. But when the trial is over, partly from fear and partly from lust, he spends the night with Lucy instead of going straight back to Elizabeth to warn her of the danger that threatens her.