JOSEPH CONRAD (1857-1924) was a remarkable figures in Englishliterature. A master stylist, both lush and precise, his outsider'seye gave him special insights into the moral dangers of the greatage of European empires.
"An Outcast of the Islands" is my second novel in the absolute sense of the word; second in conception, second in execution, second as it were in its essence. There was no hesitation, half-formed plan, vague idea, or the vaguest reverie of anything else between it and "Almayer's Folly." The only doubt I suffered from, after the publication of "Almayer's Folly," was whether I should write another line for print. Those days, now grown so dim, had their poignant moments. Neither in my mind nor in my heart had I then given up the sea.
In truth I was clinging to it desperately, all the more desperately because, against my will, I could not help feeling that there was something changed in my relation to it. "Almayer's Folly," had been finished and done with. The mood itself was gone. But it had left the memory of an experience that, both in thought and emotion was unconnected with the sea, and I suppose that part of my moral being which is rooted in consistency was badly shaken. I was a victim of contrary stresses which produced a state of immobility. I gave myself up to indolence. Since it was impossible for me to face both ways I had elected to face nothing. The discovery of new values in life is a very chaotic experience; there is a tremendous amount of jostling and confusion and a momentary feeling of darkness. I let my spirit float supine over that chaos.
A phrase of Edward Garnett's is, as a matter of fact, responsible for this book. The first of the friends I made for myself by my pen it was but natural that he should be the recipient, at that time, of my confidences. One evening when we had dined together and he had listened to the account of my perplexities (I fear he must have been growing a little tired of them) he pointed out that there was no need to determine my future absolutely. Then he added: "You have the style, you have the temperament; why not write another?" I believe that as far as one man may wish to influence another man's life Edward Garnett had a great desire that I should go on writing. At that time, and I may say, ever afterwards, he was always very patient and gentle with me. What strikes me most however in the phrase quoted above which was offered to me in a tone of detachment is not its gentleness but its effective wisdom. Had he said, "Why not go on writing," it is very probable he would have scared me away from pen and ink for ever; but there was nothing either to frighten one or arouse one's antagonism in the mere suggestion to "write another." And thus a dead point in the revolution of my affairs was insidiously got over. The word "another" did it. At about eleven o'clock of a nice London night, Edward and I walked along interminable streets talking of many things, and I remember that on getting home I sat down and wrote about half a page of "An Outcast of the Islands" before I slept. This was committing myself definitely, I won't say to another life, but to another book. There is apparently something in my character which will not allow me to abandon for good any piece of work I have begun. I have laid aside many beginnings. I have laid them aside with sorrow, with disgust, with rage, with melancholy and even with self-contempt; but even at the worst I had an uneasy consciousness that I would have to go back to them.
"An Outcast of the Islands" belongs to those novels of mine that were never laid aside; and though it brought me the qualification of "exotic writer" I don't think the charge was at all justified.
For the life of me I don't see that there is the slightest exotic spirit in the conception or style of that novel. It is certainly the most TROPICAL of my eastern tales. The mere scenery got a great hold on me as I went on, perhaps because (I may just as well confess that) the story itself was never very near my heart.
It engaged my imagination much more than my affection. As to my feeling for Willems it was but the regard one cannot help having for one's own creation. Obviously I could not be indifferent to a man on whose head I had brought so much evil simply by imagining him such as he appears in the novel - and that, too, on a very slight foundation.
The man who suggested Willems to me was not particularly interesting in himself. My interest was aroused by his dependent position, his strange, dubious status of a mistrusted, disliked, worn-out European living on the reluctant toleration of that Settlement hidden in the heart of the forest-land, up that sombre stream which our ship was the only white men's ship to visit. With his hollow, clean-shaved cheeks, a heavy grey moustache and eyes without any expression whatever, clad always in a spotless sleeping suit much be-frogged in front, which left his lean neck wholly uncovered, and with his bare feet in a pair of straw slippers, he wandered silently amongst the houses in daylight, almost as dumb as an animal and apparently much more homeless. I don't know what he did with himself at night. He must have had a place, a hut, a palm-leaf shed, some sort of hovel where he kept his razor and his change of sleeping suits. An air of futile mystery hung over him, something not exactly dark but obviously ugly. The only definite statement I could extract from anybody was that it was he who had "brought the Arabs into the river." That must have happened many years before. But how did he bring them into the river? He could hardly have done it in his arms like a lot of kittens. I knew that Almayer founded the chronology of all his misfortunes on the date of that fateful advent; and yet the very first time we dined with Almayer there was Willems sitting at table with us in the manner of the skeleton at the feast, obviously shunned by everybody, never addressed by any one, and for all recognition of his existence getting now and then from Almayer a venomous glance which I observed with great surprise. In the course of the whole evening he ventured one single remark which I didn't catch because his articulation was imperfect, as of a man who had forgotten how to speak. I was the only person who seemed aware of the sound. Willems subsided. Presently he retired, pointedly unnoticed - into the forest maybe? Its immensity was there, within three hundred yards of the verandah, ready to swallow up anything. Almayer conversing with my captain did not stop talking while he glared angrily at the retreating back. Didn't that fellow bring the Arabs into the river! Nevertheless Willems turned up next morning on Almayer's verandah. From the bridge of the steamer I could see plainly these two, breakfasting together, tete a tete and, I suppose, in dead silence, one with his air of being no longer interested in this world and the other raising his eyes now and then with intense dislike. It was clear that in those days Willems lived on Almayer's charity. Yet on returning two months later to Sambir I heard that he had gone on an expedition up the river in charge of a steam-launch belonging to the Arabs, to make some discovery or other. On account of the strange reluctance that everyone manifested to talk about Willems it was impossible for me to get at the rights of that transaction. Moreover, I was a newcomer, the youngest of the company, and, I suspect, not judged quite fit as yet for a full confidence. I was not much concerned about that exclusion. The faint suggestion of plots and mysteries pertaining to all matters touching Almayer's affairs amused me vastly. Almayer was obviously very much affected. I believe he missed Willems immensely. He wore an air of sinister preoccupation and talked confidentially with my captain. I could catch only snatches of mumbled sentences. Then one morning as I came along the deck to take my place at the breakfast table Almayer checked himself in his low-toned discourse. My captain's face was perfectly impenetrable. There was a moment of profound silence and then as if unable to contain himself Almayer burst out in a loud vicious tone:
"One thing's certain; if he finds anything worth having up there they will poison him like a dog."
Disconnected though it was, that phrase, as food for thought, was distinctly worth hearing. We left the river three days afterwards and I never returned to Sambir; but whatever happened to the protagonist of my Willems nobody can deny that I have recorded for him a less squalid fate.
J. C. 1919.
Joseph Conrad was a British author who is generally regarded as one of the greatest writers in English literature. Conrad's style influenced many of the great authors that followed him. This edition of Victory: An Island Tale includes a table of contents.
P>'It is a mighty force that of mere chance, absolutely irresistible yet manifesting itself often in delicate forms such for instance as the charm, true or illusory, of a human being' In Flora de Barral, the slender, dreamy, morbidly charming daughter of a parvenu financier, Conrad creates his most complex heroine and one of his most unrelenting, but not unhopeful, novels of emotional isolation. Neglected by her bankrupt father and rejected by her governess, drifting into abstraction and despair, Flora takes refuge at sea on Captain Anthony's ship, where tragedy and her transformation begin. When published in 1913, Chance was an immediate success. Arnold Bennett wrote that 'this is a discouraging book for a writer because he damn well knows he can't write as well as this'; while an anonymous reviewer in Punch declared that 'the whole thing is much nearer wizardry than workmanship'.
According to Wikipedia: "Joseph Conrad (1857 – 1924) was a Polish-born English novelist. Many critics regard him as one of the greatest novelists in the English language—a fact that is remarkable, as he did not learn to speak English fluently until he was in his twenties (and always with a strong Polish accent). He became a naturalized British subject in 1886. Conrad is recognized as a master prose stylist. Some of his works have a strain of romanticism, but more importantly he is recognized as an important forerunner of modernist literature. His narrative style and anti-heroic characters have influenced many writers, including Ernest Hemingway, D. H. Lawrence, F. Scott Fitzgerald, Graham Greene, William S. Burroughs, Joseph Heller, V.S. Naipaul, Italo Calvino and J. M. Coetzee."
Trajectory presents classics of world literature with 21st century features! Our original-text editions include the following visual enhancements to foster a deeper understanding of the work: Word Clouds at the start of each chapter highlight important words. Word, sentence, paragraph counts, and reading time help readers and teachers determine chapter complexity. Co-occurrence graphs depict character-to-character interactions as well character to place interactions. Sentiment indexes identify positive and negative trends in mood within each chapter. Frequency graphs help display the impact this book has had on popular culture since its original date of publication. Use Trajectory analytics to deepen comprehension, to provide a focus for discussions and writing assignments, and to engage new readers with some of the greatest stories ever told."The Moving Picture Girls: Or, First Appearances in Photo Dramas" is part of "The Moving Picture Girls" series. "The Moving Picture Girls" is a series about the adventures of Ruth and Alice DeVere who live with their father who is an actor.
Almayer's Folly was Conrad's first novel, set in a remote Bornean outpost at the end of the 19th century. Conrad draws on his own experience to present the strains of life at a cultural crossroads. The Dutch trader, Almayer, is stranded in Sambir, thirty miles up a virtually unknown equatorial river. He lives among of and new cultures; his wife is Sulu (Philippino), behind him live his Arab rivals, across the river is the Malay rajah's campong, inland are the primitive Dyak headhunters, and decisions taken in London and Amsterdam affect every household in the settlement.
As a general rule we do not want much encouragement to talk about ourselves; yet this little book is the result of a friendly suggestion, and even of a little friendly pressure. I defended myself with some spirit; but, with characteristic tenacity, the friendly voice insisted, “You know, you really must.”
Katie was forced to marry Dillan, a notorious ruffian. Her younger sister mocked her, "You're just an adopted daughter. Count your blessings for marrying him!" The world anticipated Katie's tribulations, but her married life unfurled with unexpected serenity. She even snagged a lavish mansion in a raffle! Katie jumped into Dillan's arms, credited him as her lucky charm. "No, Katie, it's you who brings me all this luck," Dillan replied. Then, one fateful day, Dillan's childhood friend came to her. "You're not worthy of him. Take this 50 million and leave him!" Katie finally grasped Dillan's true stature—the wealthiest man on the planet. That night, trembling with trepidation, she broached the subject of divorce with Dillan. However, with a domineering embrace, he told her, "I'd give you everything I have. Divorce is off the table!"
For ten years, Daniela showered her ex-husband with unwavering devotion, only to discover she was just his biggest joke. Feeling humiliated yet determined, she finally divorced him. Three months later, Daniela returned in grand style. She was now the hidden CEO of a leading brand, a sought-after designer, and a wealthy mining mogul—her success unveiled at her triumphant comeback. Her ex-husband’s entire family rushed over, desperate to beg for forgiveness and plead for another chance. Yet Daniela, now cherished by the famed Mr. Phillips, regarded them with icy disdain. "I’m out of your league."
Two years ago, Ricky found himself coerced into marrying Emma to protect the woman he cherished. From Ricky's perspective, Emma was despicable, resorting to underhanded schemes to ensure their marriage. He maintained a distant and cold attitude toward her, reserving his warmth for another. Yet, Emma remained wholeheartedly dedicated to Ricky for more than ten years. As she grew weary and considered relinquishing her efforts, Ricky was seized by a sudden fear. Only when Emma's life teetered on the edge, pregnant with Ricky's child, did he recognize-the love of his life had always been Emma.
22-year-old Evelyn Carter is attempting to start over in California while avoiding her past. She will be embarking on a new career path as a private school teacher. She is smart, attractive, and doesn't put up with nonsense. Who wouldn't notice her? However, what happens when she attracts the attention of someone unwilling to let her go? Who wants her and nothing else after falling in love at first sight? A 25-year-old billionaire CEO and single father, Lucian Carrington. He takes what he wants and he is also a very dangerous man. All it needed was one look at a stunning woman to realize she was HIS, even though he doesn't believe in relationships because they always end. Preview: Miss Carter, you will be mine. I say firmly. "Release my arm, Mr. Carrington, before I force you to." She says, seeming to smile at me. I give her a sly smile. Squeezing my wrist with her other hand, she twists it uncomfortably. I gave a painful hiss. "Don't underestimate me, Mr. Carrington." "This is the only time I will allow you to walk away from me, Miss Carter." She glared at me as she turned. "Mr. Carrington, I am no possession of yours." I was left standing there when she opened the classroom door and left.
“You need a bride, I need a groom. Why don’t we get married?” Both abandoned at the altar, Elyse decided to tie the knot with the disabled stranger from the venue next door. Pitying his state, she vowed to spoil him once they were married. Little did she know that he was actually a powerful tycoon. Jayden thought Elyse only married him for his money, and planned to divorce her when she was no longer of use to him. But after becoming her husband, he was faced with a new dilemma. “She keeps asking for a divorce, but I don’t want that! What should I do?”
After my family's sinister plots collapsed, they lashed out at me, taking their rage to a violent level. Cornered and desperate, I married Jaxton—the town's most sought-after bachelor—due to an unplanned pregnancy. Love had no part in this marriage; I assumed he married me purely out of responsibility, his heart belonging elsewhere. The moment I chose to let him go and turned to leave, he grabbed me and pinned me down hard. "Jaxton, you promised you'd never touch me!" I snapped, glaring fiercely. His eyes flashed arrogantly as he leaned closer. "You're the one who started this!"