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Variously described as ‘the average pilgrim’, a ‘wanderer’, and ‘a Buddha preaching in European clothes’, Charlie Marlow is the voice behind Joseph Conrad’s ‘Youth’ (1898), Heart of Darkness (1899), Lord Jim (1900) and Chance (1912). Conrad’s Marlow offers a comprehensive account and critical analysis of one of Conrad’s most celebrated creations, asking both who and what is Marlow: a character or a narrator, a biographer or an autobiographical screen, a messenger or an interpreter, a bearer of truth or a misguided liar?Reading Conrad’s fiction alongside the work of Walter Benjamin, Maurice Blanchot, Jacques Derrida and Martin Heidegger, and offering an investigation into the connection between narrative and death, this book argues that Marlow’s essence is located in his liminality – in his constantly shifting position – and that the emergence of meaning in his stories is at all points bound up with the process of his storytelling.

This volume presents all known Conrad letters from the years 1917-1919 (many of them published for the first time) in a framework highlighting their literary, historical, cultural, and biographical significance. His correspondence reveals his state of mind as he and his family dealt with the anxieties of the war time years, and the return to a fragile peace. During this time, Conrad published The Shadow-Line, The Arrow of Gold, and The Rescue, along with a considerable amount of shorter works, and was engaged in a critical rereading of his earlier books.

Dust jacket notes: Joseph Conrad is regarded as one of the twentieth century's most insightful writers on the human condition. His tales of characters compelled by circumstance to make difficult moral choices in a world seemingly bereft of a moral center are among the most provocative in modern literature. Although Conrad set his stories in a wide variety of locales, ranging from the Pacific Ocean to the South Sea Islands and the Congo, their true terrain is an inner landscape comprised of his characters' hearts and minds. This volume collects all of the short stories Conrad completed in his lifetime, including "The Secret Sharer," "The Brute," "Youth: A Narrative," and "Heart of Darkness," his literary masterpiece and an acknowledged pillar of modern literary fiction.

Heart of Darkness, Joseph Conrad's fictional account of a journey up the Congo river in 1890, raises important questions about colonialism and narrative theory. This casebook contains materials relevant to a deeper understanding of the origins and reception of this controversial text, including Conrad's own story "An Outpost of Progress," together with a little-known memoir by one of Conrad's oldest English friends, a brief history of the Congo Free State by Sir Arthur Conan Doyle, and a parody of Conrad by Max Beerbohm. A wide range of theoretical approaches are also represented, examining Conrad's text in terms of cultural, historical, textual, stylistic, narratological, post-colonial, feminist, and reader-response criticism. The volume concludes with an interview in which Conrad compares his adventures on the Congo with Mark Twain's experiences as a Mississippi pilot.

The Invention of the West: Joseph Conrad and the Double-Mapping of Europe and Empire

Collects Conrad's short stories and tales, with a chronology and the author's own notes on his shorter fiction

The Cambridge Companion to Joseph Conrad offers a wide-ranging introduction to the fiction of Joseph Conrad, one of the most influential novelists of the twentieth century. Leading Conrad scholars give an account of Conrad's life, provide detailed readings of his major works, and discuss his narrative techniques, his complex relationship with cultural developments of his time, his influence on later writers and artists, and recent developments in Conrad criticism. The volume, which is aimed at students and the general reader, also contains a chronology and guide to further reading.

New texts of Joseph Conrad's modern classic 'The Secret Sharer' and of two other tales appear in this edition of 'Twixt Land and Sea with numerous words, sentences, and entire paragraphs restored from Conrad's manuscripts and typescripts. Written while he was working on Under Western Eyes, these stories, when collected together in 1912, marked the turning point in Conrad's professional fortunes that Chance would soon confirm. Published for the first time as Conrad meant them to be, these authoritative texts are accompanied by a new Introduction that discusses their sources, composition, and publication, and their reception up to our time. The Notes explain nautical, geographical, and historical references and are supplemented by diagrams, maps, and other illustrations. A textual essay and apparatus examine the revisions, excisions, divisions, and censorship the tales underwent, which till now have been reflected in editions unduly trusted by countless readers.

This volume presents all known Conrad letters from the years 1917-1919 (many of them published for the first time) in a framework highlighting their literary, historical, cultural, and biographical significance. His correspondence reveals his state of mind as he and his family dealt with the anxieties of the war time years, and the return to a fragile peace. During this time, Conrad published The Shadow-Line, The Arrow of Gold, and The Rescue, along with a considerable amount of shorter works, and was engaged in a critical rereading of his earlier books.

Joseph Conrad's novel in German Language

The period covered by the third volume of a projected eight marks the years when Conrad stood at the height of his powers. It was during this time that he completed Nostromo and The Secret Agent. Yet, it was also a time of great personal unhappiness: his plans for leisurely, contemplative work were constantly interrupted by dangerous illnesses in the family, his own bad health, financial worries, and the pleas of editors desperate for copy. Conrad maintained his correspondence with old friends such as Galsworthy, Wells, and Ford, and developed a number of new friendships. This is also the period when Conrad became absorbed in political fiction, reflected in an intriguing series of letters dealing with Poland, the Congo, Latin America, and censorship. As always, the letters to his agent J.B. Pinker provide a detailed--and largely unpublished--account of the writer's monthly and weekly plans and literary commitments.

Although the importance of Conrad's work has long been recognized, Jacques Berthoud attempts a full demonstration of the clarity, consistency, and depth of thought evident in the novels written during the first decade of this century. Instead of the standard versions of Conrad - from sceptical moralizer to 'metaphysician of darkness' - he offers a tragic novelist, engaged in a sustained exploration of the contradictions inherent in man's relations with his fellows; and from the perspective thus achieved, he is able to show why Conrad occupies a leading place among the creators of modern literature. This book will be of interest to specialists in English studies because it seeks to make a substantial contribution to the critical debate on the significance of Conrad's work. It will also appeal to any reader looking for guidance through the complexities of the major novels: the central issues have been presented as simply as the originality of Conrad's art and thought permits.

Since the publication of the Cambridge edition of The Collected Letters of Joseph Conrad, the numerous letters in the nine volumes, many of them published for the first time and many more taken from hard-to-find books and journals, have had a profound influence on writing about Conrad. This selection makes the highlights available in one volume. The letters have been re-edited with shorter footnotes and an emphasis on the latest scholarship. Letters originally written in French or Polish appear only in revised English translations. Among the topics that stand out are Conrad's memories of growing up in Poland and Ukraine, his ideas about fiction, often expressed in precise but sympathetic comments on the work of his friends, the anxieties of war and revolution, his struggle to keep his integrity as a writer, and his lives as a sailor and a family man.

Through an examination of short stories spanning Joseph Conrad's entire writing career, Daphna Erdinast-Vulcan engages with the question of authorial subjectivity and ethics in Modernism. Part One establishes an original theoretical matrix, which turns on the principle of 'heterobiography'. Part Two applies this cultural-historical perspective through close readings of ten of Conrad's short stories.

The great English novelists are Jane Austen, George Eliot, Henry James and Joseph Conrad...' So begins what is arguably F. R. Leavis's most controversial book, The Great Tradition, an uncompromising critical and polemical survey of English fiction that was first published in 1948. He puts a powerful case for moral seriousness as the necessary criterion for inclusion in any list of the finest novelists. In the course of his argument he adds D. H. Lawrence to the pantheon, and singles out Charles Dickens's Hard Times as the one work of his that has the strength of 'a completely serious work of art'. The Great Tradition is full of Leavis's characteristically austere rejections of styles of fiction that he found lacking in moral intensity. He dismissed Lawrence Sterne for his 'irresponsible (and nasty) trifling'. Of Henry Fielding he wrote that he is important 'not because he leads to Mr J. B. Priestley but because he leads to Jane Austen, to appreciate whose distinction is to feel that life isn't long enough to permit of one's giving much time to Fielding or any to Mr Priestley.' Joyce's Ulysses, he said, was less a new start for fiction than 'a dead end'. Fiercely serious, pugnacious and stimulating, The Great Tradition is an unforgettable defence of 'those creative geniuses whose distinction is manifested in their being peculiarly alive in their time'.

A novella about a voyage up the Congo River into the Congo Free State, in the heart of Africa, as told by the story's narrator Marlow. Marlow tells his story to friends aboard a boat anchored on the River Thames, London, England. This setting provides the frame for Marlow's story of his obsession with the ivory trader Kurtz, which enables Conrad to create a parallel between London and Africa as places of darkness.

Edward W. Said locates Joseph Conrad's fear of personal disintegration in his constant re-narration of the past. Using the author's personal letters as a guide to understanding his fiction, Said draws an important parallel between Conrad's view of his own life and the manner and form of his stories. The critic also argues that the author, who set his fiction in exotic locations like East Asia and Africa, projects political dimensions in his work that mirror a colonialist preoccupation with "civilizing" native peoples. Said then suggests that this dimension should be considered when reading all of Western literature. First published in 1966, Said's critique of the Western self's struggle with modernity signaled the beginnings of his groundbreaking work, Orientalism, and remains a cornerstone of postcolonial studies today.

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These 3 short stories and 4 brief novels, which are based on Conrad's own experiences as a sailor, are excellent examples of the author's abilities for storytelling

Lord Jim, first published in 1900, confirmed Conrad's place in literature as one of the first 'modernists' of English letters. Set in the Malay Archipelago, not only does the novel provide a gripping account of maritime adventure and romance, but also an exotic tale of the East. Nostromo is the only man capable of the decisive action needed to save the silver of the San Tome mine and secure independence for Sulaco, Occidental Province of the Latin American state of Costaguana. Is his integrity as unassailable as everyone believes, or will his ideals, like those which have inspired the struggling state itself, buckle under economic and political pressure? The Secret Agent, Conrad's story of espionage and anarchists, tells of Winnie Verloc and her devotion to her peculiar and simple-minded brother, Stevie. Its savagely witty themes of human absurdity and misunderstanding are written in an ironic style that provokes both laughter and unease. This volume also includes a selection of Conrad's matchless short stories - Youth, Typhoon, Heart of Darkness, The End of the Tether and The Shadow-Line