The Secret Agent, Agent Conasseouir.

            The Secret Agent by Joseph Conrad had a second sticky note to myself versus the novel, namely Verloc's relations. Verloc's a great character in choice and position all his own, but to me its his relations with others that really sparks my interest and the story. Really this is apparent in everything from Winnie to Bombs, and so results in a rather violent explosive result. Take away one string attached to Mr. Verloc and the whole tapestry of deceit comes crashing down with the lawful's dream of conquest (Inspector and Assistant Commissioner) and the blade of Verloc's end, passion.

          Winnie is the backbone of Verloc's transit as a villainous protagonist (more of a main character than hero to the public eye, as versus revolutionary standpoint he resides in), but does so in an enduring background sort of way. Throughout her appearance she is tied inseperably from her brother Stevie, a priorly outlined standout. She remains endearing and likeable even to the point wehre she finds out the web of deceit Adolf weaves is not only thick, but reaching into her very self, Stevie. A grand part of this heroine in the air turns the passion that drives us towards each, turns into a heated act of retribution for the painful knowledge that her charge, Stevie, is not a mere click away, or even passed, but rather splattered. All this is driven into Adolf by a blade, which in itself does seem just of passion, but after all she is his husband, a "love" relation exists in some other form to this now fatal man. This then alludes to the all too tragically familiar scene of killer turned killed, as the presumed widow casts herself from such a world of spite, for her it seemed.

        The Bombadiers are what catalyse such a volatile reaction in the first place, and while more seem to provide a context from which history is the source, revolution, still also provided a grisly face for what Adolf apparently was. Vladimir entails a human vice by his institution of incentive, do or die, a common application of people's fears to do what the threat giver feels is necessary in spite of the threatened's doubt or unwillingness to act (in a sort hesitation in this case, and alternative means-- Stevie). The Professor can be seen to be a sort of the aspect of zeal, where one is either devote or crazy enough to believe that even something that may be or grow to be, in ways, wrong (moral sense--example). Such a model is one some may wish to not exist for others less candid for the experience to follow, perhaps at times blindly or with inhibited reason. Michealis is, in my opinion, the great scapegoat of the story, as all falls to him in a wrong sense: Stevie's deadly missing case, the Revolutionary espionage (Inspector and Assistant Commissioner), and Verloc. All these characters lead Verloc not only to play the deadly game with trust in others of a similar fashion to a grim objective, but in ways lead to a much darker outcome than even onlookers percieved. With out each, one would be without a rhyme or reason, which is something revered by society, but not always transcribed in easy strokes or a delicate hand.