TALES OF UNREST by Joseph Conrad
• Table of contents with working links to chapters is included
• The book has been corrected for spelling and grammatical errors
• New and improved version
AUTHOR'S NOTE
Of the five stories in this volume, "The Lagoon," the last in order, is the earliest in date. It is the first short story I ever wrote and marks, in a manner of speaking, the end of my first phase, the Malayan phase with its special subject and its verbal suggestions. Conceived in the same mood which produced "Almayer's Folly" and "An Outcast of the Islands," it is told in the same breath (with what was left of it, that is, after the end of "An Outcast"), seen with the same vision, rendered in the same method—if such a thing as method did exist then in my conscious relation to this new adventure of writing for print. I doubt it very much. One does one's work first and theorises about it afterwards. It is a very amusing and egotistical occupation of no use whatever to any one and just as likely as not to lead to false conclusions.
Anybody can see that between the last paragraph of "An Outcast" and the first of "The Lagoon" there has been no change of pen, figuratively speaking. It happened also to be literally true. It was the same pen: a common steel pen. Having been charged with a certain lack of emotional faculty I am glad to be able to say that on one occasion at least I did give way to a sentimental impulse. I thought the pen had been a good pen and that it had done enough for me, and so, with the idea of keeping it for a sort of memento on which I could look later with tender eyes, I put it into my waistcoat pocket. Afterwards it used to turn up in all sorts of places—at the bottom of small drawers, among my studs in cardboard boxes—till at last it found permanent rest in a large wooden bowl containing some loose keys, bits of sealing wax, bits of string, small broken chains, a few buttons, and similar minute wreckage that washes out of a man's life into such receptacles. I would catch sight of it from time to time with a distinct feeling of satisfaction till, one day, I perceived with horror that there were two old pens in there. How the other pen found its way into the bowl instead of the fireplace or wastepaper basket I can't imagine, but there the two were, lying side by side, both encrusted with ink and completely undistinguishable from each other. It was very distressing, but being determined not to share my sentiment between two pens or run the risk of sentimentalising over a mere stranger, I threw them both out of the window into a flower bed—which strikes me now as a poetical grave for the remnants of one's past.
But the tale remained. It was first fixed in print in the "Cornhill Magazine", being my first appearance in a serial of any kind; and I have lived long enough to see it guyed most agreeably by Mr. Max Beerbohm in a volume of parodies entitled "A Christmas Garland," where I found myself in very good company. I was immensely gratified. I began to believe in my public existence. I have much to thank "The Lagoon" for.
My next effort in short-story writing was a departure—I mean a departure from the Malay Archipelago. Without premeditation, without sorrow, without rejoicing, and almost without noticing it, I stepped into the very different atmosphere of "An Outpost of Progress." I found there a different moral attitude. I seemed able to capture new reactions, new suggestions, and even new rhythms for my paragraphs. For a moment I fancied myself a new man—a most exciting illusion. It clung to me for some time, monstrous, half conviction and half hope as to its body, with an iridescent tail of dreams and with a changeable head like a plastic mask. It was only later that I perceived that in common with the rest of men nothing could deliver me from my fatal consistency. We cannot escape from ourselves.
"1113712467"
• The book has been corrected for spelling and grammatical errors
• New and improved version
AUTHOR'S NOTE
Of the five stories in this volume, "The Lagoon," the last in order, is the earliest in date. It is the first short story I ever wrote and marks, in a manner of speaking, the end of my first phase, the Malayan phase with its special subject and its verbal suggestions. Conceived in the same mood which produced "Almayer's Folly" and "An Outcast of the Islands," it is told in the same breath (with what was left of it, that is, after the end of "An Outcast"), seen with the same vision, rendered in the same method—if such a thing as method did exist then in my conscious relation to this new adventure of writing for print. I doubt it very much. One does one's work first and theorises about it afterwards. It is a very amusing and egotistical occupation of no use whatever to any one and just as likely as not to lead to false conclusions.
Anybody can see that between the last paragraph of "An Outcast" and the first of "The Lagoon" there has been no change of pen, figuratively speaking. It happened also to be literally true. It was the same pen: a common steel pen. Having been charged with a certain lack of emotional faculty I am glad to be able to say that on one occasion at least I did give way to a sentimental impulse. I thought the pen had been a good pen and that it had done enough for me, and so, with the idea of keeping it for a sort of memento on which I could look later with tender eyes, I put it into my waistcoat pocket. Afterwards it used to turn up in all sorts of places—at the bottom of small drawers, among my studs in cardboard boxes—till at last it found permanent rest in a large wooden bowl containing some loose keys, bits of sealing wax, bits of string, small broken chains, a few buttons, and similar minute wreckage that washes out of a man's life into such receptacles. I would catch sight of it from time to time with a distinct feeling of satisfaction till, one day, I perceived with horror that there were two old pens in there. How the other pen found its way into the bowl instead of the fireplace or wastepaper basket I can't imagine, but there the two were, lying side by side, both encrusted with ink and completely undistinguishable from each other. It was very distressing, but being determined not to share my sentiment between two pens or run the risk of sentimentalising over a mere stranger, I threw them both out of the window into a flower bed—which strikes me now as a poetical grave for the remnants of one's past.
But the tale remained. It was first fixed in print in the "Cornhill Magazine", being my first appearance in a serial of any kind; and I have lived long enough to see it guyed most agreeably by Mr. Max Beerbohm in a volume of parodies entitled "A Christmas Garland," where I found myself in very good company. I was immensely gratified. I began to believe in my public existence. I have much to thank "The Lagoon" for.
My next effort in short-story writing was a departure—I mean a departure from the Malay Archipelago. Without premeditation, without sorrow, without rejoicing, and almost without noticing it, I stepped into the very different atmosphere of "An Outpost of Progress." I found there a different moral attitude. I seemed able to capture new reactions, new suggestions, and even new rhythms for my paragraphs. For a moment I fancied myself a new man—a most exciting illusion. It clung to me for some time, monstrous, half conviction and half hope as to its body, with an iridescent tail of dreams and with a changeable head like a plastic mask. It was only later that I perceived that in common with the rest of men nothing could deliver me from my fatal consistency. We cannot escape from ourselves.
TALES OF UNREST by Joseph Conrad
• Table of contents with working links to chapters is included
• The book has been corrected for spelling and grammatical errors
• New and improved version
AUTHOR'S NOTE
Of the five stories in this volume, "The Lagoon," the last in order, is the earliest in date. It is the first short story I ever wrote and marks, in a manner of speaking, the end of my first phase, the Malayan phase with its special subject and its verbal suggestions. Conceived in the same mood which produced "Almayer's Folly" and "An Outcast of the Islands," it is told in the same breath (with what was left of it, that is, after the end of "An Outcast"), seen with the same vision, rendered in the same method—if such a thing as method did exist then in my conscious relation to this new adventure of writing for print. I doubt it very much. One does one's work first and theorises about it afterwards. It is a very amusing and egotistical occupation of no use whatever to any one and just as likely as not to lead to false conclusions.
Anybody can see that between the last paragraph of "An Outcast" and the first of "The Lagoon" there has been no change of pen, figuratively speaking. It happened also to be literally true. It was the same pen: a common steel pen. Having been charged with a certain lack of emotional faculty I am glad to be able to say that on one occasion at least I did give way to a sentimental impulse. I thought the pen had been a good pen and that it had done enough for me, and so, with the idea of keeping it for a sort of memento on which I could look later with tender eyes, I put it into my waistcoat pocket. Afterwards it used to turn up in all sorts of places—at the bottom of small drawers, among my studs in cardboard boxes—till at last it found permanent rest in a large wooden bowl containing some loose keys, bits of sealing wax, bits of string, small broken chains, a few buttons, and similar minute wreckage that washes out of a man's life into such receptacles. I would catch sight of it from time to time with a distinct feeling of satisfaction till, one day, I perceived with horror that there were two old pens in there. How the other pen found its way into the bowl instead of the fireplace or wastepaper basket I can't imagine, but there the two were, lying side by side, both encrusted with ink and completely undistinguishable from each other. It was very distressing, but being determined not to share my sentiment between two pens or run the risk of sentimentalising over a mere stranger, I threw them both out of the window into a flower bed—which strikes me now as a poetical grave for the remnants of one's past.
But the tale remained. It was first fixed in print in the "Cornhill Magazine", being my first appearance in a serial of any kind; and I have lived long enough to see it guyed most agreeably by Mr. Max Beerbohm in a volume of parodies entitled "A Christmas Garland," where I found myself in very good company. I was immensely gratified. I began to believe in my public existence. I have much to thank "The Lagoon" for.
My next effort in short-story writing was a departure—I mean a departure from the Malay Archipelago. Without premeditation, without sorrow, without rejoicing, and almost without noticing it, I stepped into the very different atmosphere of "An Outpost of Progress." I found there a different moral attitude. I seemed able to capture new reactions, new suggestions, and even new rhythms for my paragraphs. For a moment I fancied myself a new man—a most exciting illusion. It clung to me for some time, monstrous, half conviction and half hope as to its body, with an iridescent tail of dreams and with a changeable head like a plastic mask. It was only later that I perceived that in common with the rest of men nothing could deliver me from my fatal consistency. We cannot escape from ourselves.
• The book has been corrected for spelling and grammatical errors
• New and improved version
AUTHOR'S NOTE
Of the five stories in this volume, "The Lagoon," the last in order, is the earliest in date. It is the first short story I ever wrote and marks, in a manner of speaking, the end of my first phase, the Malayan phase with its special subject and its verbal suggestions. Conceived in the same mood which produced "Almayer's Folly" and "An Outcast of the Islands," it is told in the same breath (with what was left of it, that is, after the end of "An Outcast"), seen with the same vision, rendered in the same method—if such a thing as method did exist then in my conscious relation to this new adventure of writing for print. I doubt it very much. One does one's work first and theorises about it afterwards. It is a very amusing and egotistical occupation of no use whatever to any one and just as likely as not to lead to false conclusions.
Anybody can see that between the last paragraph of "An Outcast" and the first of "The Lagoon" there has been no change of pen, figuratively speaking. It happened also to be literally true. It was the same pen: a common steel pen. Having been charged with a certain lack of emotional faculty I am glad to be able to say that on one occasion at least I did give way to a sentimental impulse. I thought the pen had been a good pen and that it had done enough for me, and so, with the idea of keeping it for a sort of memento on which I could look later with tender eyes, I put it into my waistcoat pocket. Afterwards it used to turn up in all sorts of places—at the bottom of small drawers, among my studs in cardboard boxes—till at last it found permanent rest in a large wooden bowl containing some loose keys, bits of sealing wax, bits of string, small broken chains, a few buttons, and similar minute wreckage that washes out of a man's life into such receptacles. I would catch sight of it from time to time with a distinct feeling of satisfaction till, one day, I perceived with horror that there were two old pens in there. How the other pen found its way into the bowl instead of the fireplace or wastepaper basket I can't imagine, but there the two were, lying side by side, both encrusted with ink and completely undistinguishable from each other. It was very distressing, but being determined not to share my sentiment between two pens or run the risk of sentimentalising over a mere stranger, I threw them both out of the window into a flower bed—which strikes me now as a poetical grave for the remnants of one's past.
But the tale remained. It was first fixed in print in the "Cornhill Magazine", being my first appearance in a serial of any kind; and I have lived long enough to see it guyed most agreeably by Mr. Max Beerbohm in a volume of parodies entitled "A Christmas Garland," where I found myself in very good company. I was immensely gratified. I began to believe in my public existence. I have much to thank "The Lagoon" for.
My next effort in short-story writing was a departure—I mean a departure from the Malay Archipelago. Without premeditation, without sorrow, without rejoicing, and almost without noticing it, I stepped into the very different atmosphere of "An Outpost of Progress." I found there a different moral attitude. I seemed able to capture new reactions, new suggestions, and even new rhythms for my paragraphs. For a moment I fancied myself a new man—a most exciting illusion. It clung to me for some time, monstrous, half conviction and half hope as to its body, with an iridescent tail of dreams and with a changeable head like a plastic mask. It was only later that I perceived that in common with the rest of men nothing could deliver me from my fatal consistency. We cannot escape from ourselves.
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TALES OF UNREST by Joseph Conrad
TALES OF UNREST by Joseph Conrad
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Product Details
| BN ID: | 2940013323056 |
|---|---|
| Publisher: | Unforgotten Classics |
| Publication date: | 09/27/2011 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 228 KB |
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