F.P. members because of their anarchist views. Moreover, Michaelis' actions are monitored by the police to such an extent that he must notify the police station that he is moving to the country. The plot to destroy Greenwich is in itself anarchistic. Vladimir asserts that the bombing "must be purely destructive" and that the anarchists who will be implicated as the architects of the explosion "should make it clear that [they] are perfectly determined to make a clean sweep of the whole social creation." However, the political form of anarchism is ultimately controlled in the novel: the only supposed politically motivated act is orchestrated by a secret government agency. Some critics, such as Fredrick R Karl, think that the main political phenomenon in this novel is the modern age, as symbolised by the teeming, pullulating foggy streets of London (most notably in the cab ride taken by Winnie Verloc and Stevie). This modern age distorts everything, including politics (Verloc is motivated by the need to keep his remunerative position, the Professor to some extent by pride); the family (symbolised by the Verloc household, in which all roles are distorted, with the husband being like a father to the wife, who is like a mother to her brother); even the human body (Michaelis and Verloc are hugely obese, while the Professor and Yundt are unusually thin). This extended metaphor, using London as a centre of darkness much like Kurtz's headquarters in Heart of Darkness, presents "a dark vision of moral and spiritual inertia" and a condemnation of those who, like Mrs Verloc, think it a mistake to think too deeply. Literary significance and reception Initially, the novel fared poorly in the United Kingdom and the United States, selling only 3,076 copies between 1907 and 1914. The book fared slightly better in Britain, yet no more than 6,500 copies were printed before 1914. Although sales increased after 1914, it never sold more than modestly during Conrad's life. It was published to favourable reviews, most agreeing with the view of The Times Literary Supplement that it "increase[d] Conrad's reputation, already of the highest". However, there were detractors who criticised the novel's "unpleasant characters and subject". Country Life magazine called the story "indecent" and criticised Conrad's "often dense and elliptical style".The Secret Agent has come to be considered one of Conrad's finest novels. The Independent calls it "[o]ne of Conrad's great city novels" whilst