Fredric Jameson at the LRB:
It is historically unsurprising that, in the context of an emerging mass culture, nostalgia for older forms should express itself in their revival and imitation as high-art products. The adventure story was promoted into literature. A taste for this ‘canon’, from Stevenson to Kipling, from gaucho stories to Westerns, was formative for Borges, whose admiration for Conrad was well known. It is a mistake to consider Borges a modernist; rather, when he was awarded the Prix Formentor in 1961, marking his belated arrival on the world literary stage (along with Beckett, who shared the prize that year), it was a harbinger of the postmodern return to plot, to intricacy and intrigue, and away from the densities of poetic language. Conrad’s ‘postmodern’ reversion to plot was, however, combined with a different kind of modernist supplement, namely the work of style. Conrad dealt with his traditional raw material according to a stylistic strategy very different from Borges’s superposition of alternating plots and narrative paradoxes; yet the affinity betrays a deeper contradiction in the literary production process common to their respective historical moments.