THE COMPLETE NOVELS OF JOSEPH CONRAD (All 20 Novels in One Edition). Джозеф Конрад

of that expensive tombstone. When he turned round at last he saw his guest sleeping, his arms on the table, his head on his arms.

      "Now, look here!" he shouted, slapping the table with the palm of his hand.

      The naturalist woke up, and sat all in a heap, staring owlishly.

      "Here!" went on Almayer, speaking very loud and thumping the table, "I want to know. You, who say you have read all the books, just tell me . . . why such infernal things are ever allowed. Here I am! Done harm to nobody, lived an honest life . . . and a scoundrel like that is born in Rotterdam or some such place at the other end of the world somewhere, travels out here, robs his employer, runs away from his wife, and ruins me and my Nina—he ruined me, I tell you—and gets himself shot at last by a poor miserable savage, that knows nothing at all about him really. Where's the sense of all this? Where's your Providence? Where's the good for anybody in all this? The world's a swindle! A swindle! Why should I suffer? What have I done to be treated so?"

      He howled out his string of questions, and suddenly became silent. The man who ought to have been a professor made a tremendous effort to articulate distinctly—

      "My dear fellow, don't—don't you see that the ba-bare fac—the fact of your existence is off—offensive. . . . I—I like you—like . . ."

      He fell forward on the table, and ended his remarks by an unexpected and prolonged snore.

      Almayer shrugged his shoulders and walked back to the balustrade.

      He drank his own trade gin very seldom, but when he did, a ridiculously small quantity of the stuff could induce him to assume a rebellious attitude towards the scheme of the universe. And now, throwing his body over the rail, he shouted impudently into the night, turning his face towards that far-off and invisible slab of imported granite upon which Lingard had thought fit to record God's mercy and Willems' escape.

      "Father was wrong—wrong!" he yelled. "I want you to smart for it. You must smart for it! Where are you, Willems? Hey? . . . Hey? . . . Where there is no mercy for you—I hope!"

      "Hope," repeated in a whispering echo the startled forests, the river and the hills; and Almayer, who stood waiting, with a smile of tipsy attention on his lips, heard no other answer.

      THE NIGGER OF THE ‘NARCISSUS’:

       A TALE OF THE FORECASTLE

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      TO

       EDWARD GARNETT

       THIS TALE

       ABOUT MY FRIENDS

       OF THE SEA

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       TO MY READERS IN AMERICA

       PREFACE

       CHAPTER ONE

       CHAPTER TWO

       CHAPTER THREE

       CHAPTER FOUR

       CHAPTER FIVE

      TO MY READERS IN AMERICA

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      From that evening when James Wait joined the ship—late for the muster of the crew—to the moment when he left us in the open sea, shrouded in sailcloth, through the open port, I had much to do with him. He was in my watch. A negro in a British forecastle is a lonely being. He has no chums. Yet James Wait, afraid of death and making her his accomplice was an impostor of some character—mastering our compassion, scornful of our sentimentalism, triumphing over our suspicions.

      But in the book he is nothing; he is merely the centre of the ship's collective psychology and the pivot of the action. Yet he, who in the family circle and amongst my friends is familiarly referred to as the Nigger, remains very precious to me. For the book written round him is not the sort of thing that can be attempted more than once in a life-time. It is the book by which, not as a novelist perhaps, but as an artist striving for the utmost sincerity of expression, I am willing to stand or fall. Its pages are the tribute of my unalterable and profound affection for the ships, the seamen, the winds and the great sea—the moulders of my youth, the companions of the best years of my life.

      After writing the last words of that book, in the revulsion of feeling before the accomplished task, I understood that I had done with the sea, and that henceforth I had to be a writer. And almost without laying down the pen I wrote a preface, trying to express the spirit in which I was entering on the task of my new life. That preface on advice (which I now think was wrong) was never published with the book. But the late W. E. Henley, who had the courage at that time (1897) to serialize my "Nigger" in the New Review judged it worthy to be printed as an afterword at the end of the last instalment of the tale.

      I am glad that this book which means so much to me is coming out again, under its proper title of "The Nigger of the 'Narcissus'" and under the auspices of my good friends and publishers Messrs. Doubleday, Page & Co. into the light of publicity.

      Half the span of a generation has passed since W. E. Henley, after reading two chapters, sent me a verbal message: "Tell Conrad that if the rest is up to the sample it shall certainly come out in the New Review." The most gratifying recollection of my writer's life!

      And here is the Suppressed Preface.

      1914. JOSEPH CONRAD.

      PREFACE

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      A work that aspires, however humbly, to the condition of art should carry its justification in every line. And art itself may be defined as a single-minded attempt to render the highest kind of justice to the visible universe, by bringing to light the truth, manifold and one, underlying its every aspect. It is an attempt to find in its forms, in its colours, in its light, in its shadows, in the aspects of matter and in the facts of life what of each is fundamental, what is enduring and essential—their one illuminating and convincing quality—the very truth of their existence. The artist, then, like the thinker or the scientist, seeks the truth and makes his appeal. Impressed by the aspect of the world the thinker plunges into ideas, the scientist into facts—whence, presently, emerging they make their appeal to those qualities of our being that fit us best for the hazardous enterprise of living. They speak authoritatively to our common-sense, to our intelligence, to our desire of peace or to our desire of unrest; not seldom to our prejudices, sometimes to our fears, often to our egoism—but always to our credulity. And their words are heard with reverence, for their concern is with weighty matters: with the cultivation of our minds and the proper care of our bodies, with the attainment of our ambitions, with the perfection of the means and the glorification of our precious aims.

      It is otherwise with the artist.

      Confronted by the same enigmatical spectacle the artist descends within himself, and in that lonely region of stress and strife, if he be deserving and fortunate, he finds the terms of his appeal. His appeal is made to our less obvious