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- Herausgeber: Diamond Book Publishing
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
- Veröffentlichungsjahr: 2024
These five stories were collected and published as
Tales of Unrest in 1898, shortly before
Heart of Darkness, the first of Conrad’s major novels. Ranging from the faraway and unfamiliar, where the acquisitiveness of colonial adventure is damningly exposed, to an ostensibly ordinary London household, these disparate tales display Conrad’s ability to explore and lay bare human nature.
Set in Central Africa, ‘An Outpost of Progress’ is suffused with irony and represents a ruthlessly mocking view of European imperialism. ‘Karain’ and ‘The Lagoon’ are exotic tales of the Malay Archipelago, with the former telling of disharmony and discord between Western traders and the indigenous inhabitants. ‘The Return’ recounts the story of, in the author’s own words, “a desirable middle-class town residence which somehow manages to produce a sinister effect”.
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Joseph Conrad
Tales of Unrest Preview
Classic Short Story Fiction
Table of contents
AUTHOR’S NOTE
KARAIN, A MEMORY
By
Joseph Conrad
Table of Contents
AUTHOR’S NOTE
KARAIN, A MEMORY
THE IDIOTS
AN OUTPOST OF PROGRESS
THE RETURN
THE LAGOON
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.
“ 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 the effect of something seen through a pair of glasses from a rather advantageous position. In that story I had not gone back to the Archipelago, I had only turned for another look at it. I admit that I was absorbed by the distant view, so absorbed that I didn’t notice then that the motif of the story is almost identical with the motif of “The Lagoon.” However, the idea at the back is very different; but the story is mainly made memorable to me by the fact that it was my first contribution to “Blackwood’s Magazine” and that it led to my personal acquaintance with Mr. William Blackwood whose guarded appreciation I felt nevertheless to be genuine, and prized accordingly. “Karain” was begun on a sudden impulse only three days after I wrote the last line of “The Nigger,” and the recollection of its difficulties is mixed up with the worries of the unfinished “Return,” the last pages of which I took up again at the time; the only instance in my life when I made an attempt to write with both hands at once as it were.
Indeed my innermost feeling, now, is that “The Return” is a left-handed production. Looking through that story lately I had the material impression of sitting under a large and expensive umbrella in the loud drumming of a heavy rain-shower. It was very distracting. In the general uproar one could hear every individual drop strike on the stout and distended silk. Mentally, the reading rendered me dumb for the remainder of the day, not exactly with astonishment but with a sort of dismal wonder. I don’t want to talk disrespectfully of any pages of mine. Psychologically there were no doubt good reasons for my attempt; and it was worth while, if only to see of what excesses I was capable in that sort of virtuosity. In this connection I should like to confess my surprise on finding that notwithstanding all its apparatus of analysis the story consists for the most part of physical impressions; impressions of sound and sight, railway station, streets, a trotting horse, reflections in mirrors and so on, rendered as if for their own sake and combined with a sublimated description of a desirable middle-class town-residence which somehow manages to produce a sinister effect. For the rest any kind word about “The Return” (and there have been such words said at different times) awakens in me the liveliest gratitude, for I know how much the writing of that fantasy has cost me in sheer toil, in temper, and in disillusion.
J. C.
KARAIN, A MEMORY
We knew him in those unprotected days when we were content to hold in our hands our lives and our property. None of us, I believe, has any property now, and I hear that many, negligently, have lost their lives; but I am sure that the few who survive are not yet so dim-eyed as to miss in the befogged respectability of their newspapers the intelligence of various native risings in the Eastern Archipelago. Sunshine gleams between the lines of those short paragraphs—sunshine and the glitter of the sea. A strange name wakes up memories; the printed words scent the smoky atmosphere of to-day faintly, with the subtle and penetrating perfume as of land breezes breathing through the starlight of bygone nights; a signal fire gleams like a jewel on the high brow of a sombre cliff; great trees, the advanced sentries of immense forests, stand watchful and still over sleeping stretches of open water; a line of white surf thunders on an empty beach, the shallow water foams on the reefs; and green islets scattered through the calm of noonday lie upon the level of a polished sea, like a handful of emeralds on a buckler of steel.
There are faces too—faces dark, truculent, and smiling; the frank audacious faces of men barefooted, well armed and noiseless. They thronged the narrow length of our schooner’s decks with their ornamented and barbarous crowd, with the variegated colours of checkered sarongs, red turbans, white jackets, embroideries; with the gleam of scabbards, gold rings, charms, armlets, lance blades, and jewelled handles of their weapons. They had an independent bearing, resolute eyes, a restrained manner; and we seem yet to hear their soft voices speaking of battles, travels, and escapes; boasting with composure, joking quietly; sometimes in well-bred murmurs extolling their own valour, our generosity; or celebrating with loyal enthusiasm the virtues of their ruler. We remember the faces, the eyes, the voices, we see again the gleam of silk and metal; the murmuring stir of that crowd, brilliant, festive, and martial; and we seem to feel the touch of friendly brown hands that, after one short grasp, return to rest on a chased hilt. They were Karain’s people—a devoted following. Their movements hung on his lips; they read their thoughts in his eyes; he murmured to them nonchalantly of life and death, and they accepted his words humbly, like gifts of fate. They were all free men, and when speaking to him said, “Your slave.” On his passage voices died out as though he had walked guarded by silence; awed whispers followed him. They called him their war-chief. He was the ruler of three villages on a narrow plain; the master of an insignificant foothold on the earth—of a conquered foothold that, shaped like a young moon, lay ignored between the hills and the sea.
From the deck of our schooner, anchored in the middle of the bay, he indicated by a theatrical sweep of his arm along the jagged outline of the hills the whole of his domain; and the ample movement seemed to drive back its limits, augmenting it suddenly into something so immense and vague that for a moment it appeared to be bounded only by the sky. And really, looking at that place, landlocked from the sea and shut off from the land by the precipitous slopes of mountains, it was difficult to believe in the existence of any neighbourhood. It was still, complete, unknown, and full of a life that went on stealthily with a troubling effect of solitude; of a life that seemed unaccountably empty of anything that would stir the thought, touch the heart, give a hint of the ominous sequence of days. It appeared to us a land without memories, regrets, and hopes; a land where nothing could survive the coming of the night, and where each sunrise, like a dazzling act of special creation, was disconnected from the eve and the morrow.
Karain swept his hand over it. “All mine!” He struck the deck with his long staff; the gold head flashed like a falling star; very close behind him a silent old fellow in a richly embroidered black jacket alone of all the Malays around did not follow the masterful gesture with a look. He did not even lift his eyelids. He bowed his head behind his master, and without stirring held hilt up over his right shoulder a long blade in a silver scabbard. He was there on duty, but without curiosity, and seemed weary, not with age, but with the possession of a burdensome secret of existence. Karain, heavy and proud, had a lofty pose and breathed calmly. It was our first visit, and we looked about curiously.
The bay was like a bottomless pit of intense light. The circular sheet of water reflected a luminous sky, and the shores enclosing it made an opaque ring of earth floating in an emptiness of transparent blue. The hills, purple and arid, stood out heavily on the sky: their summits seemed to fade into a coloured tremble as of ascending vapour; their steep sides were streaked with the green of narrow ravines; at their foot lay rice-fields, plantain-patches, yellow sands. A torrent wound about like a dropped thread. Clumps of fruit-trees marked the villages; slim palms put their nodding heads together above the low houses; dried palm-leaf roofs shone afar, like roofs of gold, behind the dark colonnades of tree-trunks; figures passed vivid and vanishing; the smoke of fires stood upright above the masses of flowering bushes; bamboo fences glittered, running away in broken lines between the fields. A sudden cry on the shore sounded plaintive in the distance, and ceased abruptly, as if stifled in the downpour of sunshine. A puff of breeze made a flash of darkness on the smooth water, touched our faces, and became forgotten. Nothing moved. The sun blazed down into a shadowless hollow of colours and stillness.
It was the stage where, dressed splendidly for his part, he strutted, incomparably dignified, made important by the power he had to awaken an absurd expectation of something heroic going to take place—a burst of action or song—upon the vibrating tone of a wonderful sunshine. He was ornate and disturbing, for one could not imagine what depth of horrible void such an elaborate front could be worthy to hide. He was not masked—there was too much life in him, and a mask is only a lifeless thing; but he presented himself essentially as an actor, as a human being aggressively disguised. His smallest acts were prepared and unexpected, his speeches grave, his sentences ominous like hints and complicated like arabesques. He was treated with a solemn respect accorded in the irreverent West only to the monarchs of the stage, and he accepted the profound homage with a sustained dignity seen nowhere else but behind the footlights and in the condensed falseness of some grossly tragic situation. It was almost impossible to remember who he was—only a petty chief of a conveniently isolated corner of Mindanao, where we could in comparative safety break the law against the traffic in firearms and ammunition with the natives. What would happen should one of the moribund Spanish gun-boats be suddenly galvanized into a flicker of active life did not trouble us, once we were inside the bay—so completely did it appear out of the reach of a meddling world; and besides, in those days we were imaginative enough to look with a kind of joyous equanimity on any chance there was of being quietly hanged somewhere out of the way of diplomatic remonstrance. As to Karain, nothing could happen to him unless what happens to all—failure and death; but his quality was to appear clothed in the illusion of unavoidable success. He seemed too effective, too necessary there, too much of an essential condition for the existence of his land and his people, to be destroyed by anything short of an earthquake. He summed up his race, his country, the elemental force of ardent life, of tropical nature. He had its luxuriant strength, its fascination; and, like it, he carried the seed of peril within.
