THE COMPLETE SHORT STORIES OF JOSEPH CONRAD. Джозеф Конрад

before her. Suddenly she darted through the open gate into the dark and deserted street.

      "Stop!" she shouted. "Don't go!"

      And listening with an attentive poise of the head, she could not tell whether it was the beat of the swell or his fateful tread that seemed to fall cruelly upon her heart. Presently every sound grew fainter, as though she were slowly turning into stone. A fear of this awful silence came to her—worse than the fear of death. She called upon her ebbing strength for the final appeal:

      "Harry!"

      Not even the dying echo of a footstep. Nothing. The thundering of the surf, the voice of the restless sea itself, seemed stopped. There was not a sound—no whisper of life, as though she were alone and lost in that stony country of which she had heard, where madmen go looking for gold and spurn the find.

      Captain Hagberd, inside his dark house, had kept on the alert. A window ran up; and in the silence of the stony country a voice spoke above her head, high up in the black air—the voice of madness, lies and despair—the voice of inextinguishable hope. "Is he gone yet—that information fellow? Do you hear him about, my dear?"

      She burst into tears. "No! no! no! I don't hear him any more," she sobbed.

      He began to chuckle up there triumphantly. "You frightened him away. Good girl. Now we shall be all right. Don't you be impatient, my dear. One day more."

      In the other house old Carvil, wallowing regally in his arm-chair, with a globe lamp burning by his side on the table, yelled for her, in a fiendish voice: "Bessie! Bessie! you Bessie!"

      She heard him at last, and, as if overcome by fate, began to totter silently back toward her stuffy little inferno of a cottage. It had no lofty portal, no terrific inscription of forfeited hopes—she did not understand wherein she had sinned.

      Captain Hagberd had gradually worked himself into a state of noisy happiness up there.

      "Go in! Keep quiet!" she turned upon him tearfully, from the doorstep below.

      He rebelled against her authority in his great joy at having got rid at last of that "something wrong." It was as if all the hopeful madness of the world had broken out to bring terror upon her heart, with the voice of that old man shouting of his trust in an everlasting to-morrow.

      TALES OF UNREST

       Table of Contents

      "Be it thy course to being giddy minds With foreign quarrels." —SHAKESPEARE

       TO ADOLF P. KRIEGER FOR THE SAKE OF OLD DAYS

       Table of Contents

       AUTHOR'S NOTE

       KARAIN, A MEMORY

       THE IDIOTS

       AN OUTPOST OF PROGRESS

       THE RETURN

       THE LAGOON

      AUTHOR'S NOTE

       Table of Contents

      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.

      "An Outpost of Progress" is the lightest part of the loot I carried off from Central Africa, the main portion being of course "The Heart of Darkness." Other men have found a lot of quite different things there and I have the comfortable conviction that what I took would not have been of much use to anybody else. And it must be said that it was but a very small amount of plunder. All of it could go into one's breast pocket when folded neatly. As for the story itself it is true enough in its essentials. The sustained invention of a really telling lie demands a talent which I do not possess.

      "The Idiots" is such an obviously derivative piece of work that it is impossible for me to say anything about it here. The suggestion of it was not mental but visual: the actual idiots. It was after an interval of long groping amongst vague impulses and hesitations which ended in the production of "The Nigger" that I turned to my third short story in the order of time, the first in this volume: "Karain: A Memory."

      Reading it after many years "Karain" produced on me