Bücher von Joseph Conrad

Le Nègre du "Narcisse" by Joseph Conrad a été considéré comme un travail important tout au long de l'histoire humaine, et afin de garantir que ce travail ne soit jamais perdu, nous avons pris des mesures pour assurer sa préservation en republiant ce livre dans un format contemporain pour les générations actuelles et futures. Ce livre entier a été retapé, remanié et reformaté. Étant donné que ces livres ne sont pas fabriqués à partir de copies numérisées, le texte est lisible et clair.

Delve into the haunting depths of the human soul with Joseph Conrad's timeless masterpiece, "Heart of Darkness." Set against the backdrop of the African Congo during the era of colonialism, this gripping novella takes readers on a harrowing journey of self-discovery and moral reckoning. Follow the enigmatic Charles Marlow as he embarks on a treacherous expedition up the mysterious Congo River in search of the elusive ivory trader Kurtz. As Marlow navigates the treacherous waters, he encounters the savage realities of imperialism, the blurred boundaries between civilization and savagery, and the profound darkness that lurks within the human heart. With Conrad's evocative prose and haunting imagery, "Heart of Darkness" explores themes of power, corruption, and the profound struggle between light and darkness. A profoundly introspective tale that confronts the very essence of humanity, this classic work continues to resonate with readers, provoking questions about the nature of morality, the weight of our choices, and the depths of our souls. Prepare to embark on an unforgettable journey into the heart of darkness, where truth, enlightenment, and the struggle for the human soul intertwine in a mesmerizing exploration of the human condition.

Lord Jim, has been considered important throughout human history. In an effort to ensure that this work is never lost, we have taken steps to secure its preservation by republishing this book in a modern format for both current and future generations. This complete book has been retyped, redesigned, and reformatted. Since these books are not scans of the authors' original publications, the text is readable and clear.

Después de entrar, al amanecer, en la dársena interior del puerto de Tolón, y una vez que intercambió a voz en grito unos saludos con uno de los botes de ronda de la flota, que le dirigió hasta el punto de anclaje, el artillero mayor Peyrol largó el ancla del arruinado buque a su cargo entre el arsenal y la ciudad, en plena perspectiva del muelle principal. El curso de su vida, que a cualquier persona le hubiera parecido llena de incidentes maravillosos (sólo que a él jamás le maravillaron), le había hecho tan reservado que ni siquiera dejó escapar un suspiro de alivio ante el estruendo de la cadena. Y, sin embargo, así concluían seis esforzados meses de errática travesía a bordo de un casco averiado, cargado de valiosa mercadería, casi siempre escaso de comida, siempre a la espera de los cruceros ingleses, una o dos veces al borde del naufragio y más de una al filo del abordaje. Pero en cuanto a este último, el viejo Peyrol había decidido al respecto, y desde el primer momento, hacer saltar su valiosa carga por los aires, sin que tal decisión representara para él perturbación alguna de su espíritu, forjado bajo el sol de los mares de la India en desaforados litigios con gentes de su ralea por un pequeño botín que se desvanecía tan pronto se cobraba, o, más aún, por la simple supervivencia, casi igualmente incierta en sus altibajos, a lo largo de los cincuenta y ocho ajetreados años que ahora contaba.

Mr. Verloc, al salir por la mañana, dejaba su negocio nominalmente a cargo de su cuñado. Podía hacerlo porque había poco movimiento a cualquier hora y prácticamente ninguno antes de la noche. Mr. Verloc se preocupaba bien poco por su actividad visible y, además, era su mujer quien quedaba a cargo de su cuñado. El negocio era pequeño y también lo era la casa. Era una de esas casas sucias, de ladrillo, de las que había gran cantidad antes de la época de reconstrucción que se abatió sobre Londres. El negocio era cuadrado, con una vidriera al frente, dividida en pequeños paneles rectangulares. Durante el día la puerta permanecía cerrada; por la noche se mantenía discreta y sospechosamente entreabierta. En la ventana había fotografías de bailarinas más o menos desvestidas; paquetes varios envueltos como si fueran específicos medicinales, envases cerrados de papel amarillo, muy delgado, marcados con el precio de media corona en grandes cifras negras; unos cuantos números de publicaciones cómicas francesas, colgados de una cuerda como para secarse, un deslustrado recipiente de porcelana azul, una cajita de madera negra, botellas de tinta para marcar y sellos de goma; unos pocos libros con títulos que sugerían poco decoro, unos pocos números de diarios aparentemente viejos y mal impresos, con títulos como La Antorcha, El Gong: títulos vehementes. Los dos mecheros de gas, dentro de sus pantallas de vidrio, siempre tenían la llama baja, ya fuera por economía o por consideración a los clientes.

La Nellie, un bergantín de considerable tonelaje, se inclinó hacia el ancla sin una sola vibración de las velas y permaneció inmóvil. El flujo de la marea había terminado, casi no soplaba viento y, como había que seguir río abajo, lo único que quedaba por hacer era detenerse y esperar el cambio de la marea. El estuario del Támesis se prolongaba frente a nosotros como el comienzo de un interminable camino de agua. A lo lejos el cielo y el mar se unían sin ninguna interferencia, y en el espacio luminoso las velas curtidas de los navíos que subían con la marea parecían racimos encendidos de lonas agudamente triangulares, en los que resplandecían las botavaras barnizadas. La bruma que se extendía por las orillas del río se deslizaba hacia el mar y allí se desvanecía suavemente. La oscuridad se cernía sobre Gravesend, y más lejos aún, parecía condensarse en una lúgubre capa que envolvía la ciudad más grande y poderosa del universo. El director de las compañías era a la vez nuestro capitán y nuestro anfitrión. Nosotros cuatro observábamos con afecto su espalda mientras, de pie en la proa, contemplaba el mar. En todo el río no se veía nada que tuviera la mitad de su aspecto marino. Parecía un piloto, que para un hombre de mar es la personificación de todo aquello en que puede confiar. Era difícil comprender que su oficio no se encontrara allí, en aquel estuario luminoso, sino atrás, en la ciudad cubierta por la niebla.

Por regla general, no suele hacernos falta que nos animen en demasía para hablar de nosotros mismos; sin embargo, este librito es resultado de una sugerencia amistosa, e incluso de una cierta presión por lo demás también amistosa. Me defendí con algún denuedo, si bien, con su característica tenacidad, la voz del amigo no cejó en su empeño: «No sé si se da usted cuenta, pero la verdad es que debe usted¿». No fue una discusión; no es ése un argumento de peso, pero lo cierto es que cedí de inmediato. ¡Si de veras uno debe¿ no queda más remedio! La fuerza de una palabra es algo que se percibe de inmediato. Quien desee persuadir ha de confiarse no al argumento adecuado, sino a la palabra idónea. Siempre ha sido mayor el poder del sonido que el poder del sentido. Y no lo digo con desdén. Es preferible que la humanidad sea impresionable antes que reflexiva. Nada que sea verdaderamente grande en el sentido en que lo es lo humano ¿grande de veras, es decir, susceptible de afectar a un gran número de vidas¿ procede de la reflexión. Por otra parte, es imposible no captar el poder de las palabras, palabras tales como Gloria, por ejemplo, o Piedad. No mencionaré ninguna más. No hace falta irse muy lejos a buscarlas. Pronunciadas a voz en cuello y con perseverancia, con ardor, con convicción, estas dos por sí solas, y sobre todo por su simple sonido, han puesto en marcha a naciones enteras y han levantado el suelo duro y reseco sobre el que descansan los cimientos de todo nuestro entramado social. ¡He ahí «virtud» para el que quierä! Hay que prestar suma atención al acento, por descontado. Hay que dar con el acento justo. Eso es de suma importancia. El pulmón ancho y capaz, las cuerdas vocales que atronan o que resuenan con ternura. Que no me vengan a mí con el cuento de la palanca de Arquímedes, quien por cierto era un personaje distraído y dotado de una imaginación si acaso matemática. Las matemáticas merecen todo mi respeto, pero nunca he sido yo de mucha ni poca utilidad cuando se trata de motores. Dadme un cambio de la palabra precisa, dadme el acento indicado y moveré el mundo.

Existe, como no se le escapa ni a un chico de escuela en esta edad dorada de la ciencia, una estrecha relación química entre el carbón y los diamantes. Creo que ésta es la razón por la que algunos le llaman el «diamante negro». Ambas mercancías significan riqueza, si bien el carbón constituye una clase de propiedad bastante menos portátil. Adolece, desde este punto de vista, de una lamentable falta de concentración física. Otra cosa sería si la gente pudiera meterse las minas en el bolsillo del chaleco ¿pero no puede¿. Existe, al mismo tiempo, una fascinación por el carbón, producto supremo de una época en la que nos hemos instalado como viajeros aturdidos en un deslumbrante aunque desasosegado hotel. Presumo que estas dos últimas consideraciones, la práctica y la mística, impidieron la marcha de Heyst, de Axel Heyst.

Tenía dos o quizá cuatro centímetros menos que un metro ochenta de estatura, una contextura poderosa, y avanzaba hacia uno en línea recta, con un leve encorvamiento de los hombros, la cabeza adelantada y una mirada fija, de abajo hacia arriba, que hacía pensar en la embestida de un toro. Su voz era profunda, fuerte, y sus modales exhibían una especie de empecinada autoafirmación que nada tenía de agresiva. Parecía una necesidad, y en apariencia se dirigía tanto contra él mismo como contra cualquier otro. Era inmaculadamente pulcro, llevaba ropas impecablemente blancas, de los zapatos al sombrero, y gozaba de gran popularidad en varios puertos de Oriente donde se ganaba la vida como empleado de puerto de proveedores marítimos.

Since the beginning of time, sound has had more power than sense. Mankind should be more impressionable than reflective. Of course, the accent needs to be corrected. the large lung, the resonant, or the delicate vocal cords. He wrote down ideas, proverbs, and musings on ivory tablets, which fate has preserved for posterity. This is more of a private concern, affecting the individual who created the work, and maybe hinted at in a book when a private remark is written in the margin of a public page. No artist can be blamed for being afraid to take a risk that only fools race to take and only geniuses dare to take on without consequence. If the outward manifestation of feeling does not change, it will inevitably fade into disdain or contempt. Even at the expense of success, having a sense of decency is simply having a sense of one's own dignity, which is inextricably linked to the dignity of one's profession. All objectives are acceptable, with the exception of those that capitalize on human suffering or credulity. Ambitions in the arts and sciences are acceptable, even when they go above and beyond the bounds of cautious sanity. Even worse for the artist if they are insane. It's not insane to strive to go further.

Notes on Life & Letters, has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Notes on My Books, has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Henry Whalley is a true sailor, earning years of experience as a ship's captain before his retirement. Faced with unexpected financial problems and a desire to help his married daughter earn her place in the world, Whalley is forced to sell his boat and buy his way back into service on a trade vessel. But Whalley is living so close to financial ruin that any small deviation from his course will put him The End of the Tether is one of the many books that author Joseph Conrad wrote about sailors and the sea. Using his own personal experiences as a merchant marine as the foundation for his writing, Conrad produced some of the most realistic sea tales of the nineteenth century.

A Personal Record is an autobiographical work (or ""fragment of biography"") by Joseph Conrad, published in 1912.It has also been published under the titles A Personal Record: Some Reminiscences and Some Reminiscences.Notoriously unreliable and digressive in structure, it is nonetheless the principal contemporary source for information about the author's life.[citation needed] It tells about his schooling in Russian Poland, his sailing in Marseille, the influence of his uncle Tadeusz Bobrowski, and the writing of Almayer's Folly.It provides a glimpse of how Conrad wished to be seen by his British public, as well as being an atmospheric work of art.[citation needed]The ""Familiar Preface"" Conrad wrote for it includes the often quoted lines.""Those who read me know my conviction that the world, the temporal world, rests on a few very simple ideas; so simple that they must be as old as the hills. It rests notably, among others, on the idea of Fidelity.""Conrad wrote a new 'Author's Note' to A Personal Record for the Doubleday collected edition of his works in which he discussed his friendship with the British colonial official and writer Hugh Clifford.

The Rover is the last complete novel by Joseph Conrad, written between 1921 and 1922. It was first published in 1923, and adapted into the 1967 film of the same name.The story takes place in the south of France, against the backdrop of the French Revolution, Napoleon's rise to power, and the French-English rivalry in the Mediterranean. Peyrol (a master-gunner in the French republican navy, pirate, and for nearly fifty years ""rover of the outer seas"") attempts to find refuge in an isolated farmhouse (Escampobar) on the Giens Peninsula near Hyères.The story is about Peyrol's attempt at withdrawal from an action- and blood-filled life; his involvement with the pariahs of Escampobar; the struggle for his identity and allegiance, which is resolved in his last voyage.

The six stories in this volume are the result of some three or four years of occasional work. The dates of their writing are far apart, their origins are various. None of them are connected directly with personal experiences. In all of them the facts are inherently true, by which I mean that they are not only possible but that they have actually happened. For instance, the last story in the volume, the one I call Pathetic, whose first title is Il Conde (misspelt by-the-by) is an almost verbatim transcript of the tale told me by a very charming old gentleman whom I met in Italy. I don't mean to say it is only thatAnybody can see that it is something more than a verbatim report, but where he left off and where I began must be left to the acute discrimination of the reader who may be interested in the problem.

Those who read me know my conviction that the world, the temporal world, rests on a few very simple ideas; so simple that they must be as old as the hills. It rests notably, amongst others, on the idea of Fidelity - Joseph ConradWritten at various times, under various influences, the four stories contained in Within the Tides are linked by Conrad's treatment of loyalty and betrayal. They range in setting from the Far East via eighteenth-century Spain to England. The tone shifts from the tragic inevitability of The Planter of Malata and the pathos of Because of the Dollars to the gothic The Inn of the Two Witches and the grim humour of The Partner. The form of the stories was experimental but does not obscure Conrad's humanity or his search for moral truth.

Amy Foster"" is a short story by Joseph Conrad. Conrad's story, told in a realist style, is deeply infused with irony and symbolism. The bay looms behind the quiet life of the village in the first lines of the story, representing the presence of the rest of the world that the townspeople cannot quite keep out. Conrad, heavily influenced by the adventure tale, uses the expected outlines of the story of a castaway washed up in a new land to tell a much darker, ironic story.Conrad's own history as a Polish immigrant to this area of England clearly influenced "Amy Foster," which highlights failures of communication between people of different ethnicities and between men and women, as well as concerns about the author's ability to communicate with his audience.

Joseph Conrad wrote the book The Secret Agent, which was released in 1907. The main character of "The Secret Agent" is Mr. Adolf Verloc, a clandestine agent working for an unspecified foreign power who poses as a seedy shopkeeper in Soho and lives with his devoted but stoic wife, her ailing mother, her younger brother Stevie, and their family. This polite, soft-spoken man now reports to a new spymaster, a condescending and gloating man by the name of Mr. Vladimir, who gives him a new assignment that will attack the foundation of science and therefore make enough noise to accomplish his deeper, more implicit purpose. Also involved unwittingly in the same conspiracy are Verloc's revolutionary comrades, each one of them quite an enigmatic character on his own, including someone named The Professor but you find out about him after reading the novel! Although, this story sounds like a classic spy story which makes it interesting!

Falk (1903) is composed of many elements Conrad used in his other novels and novellas. The story begins with a group of mariners dining in a small river-hostelry in the Thames estuary discussing seafaring matters - a situation he had already used in Heart of Darkness, which was written the year before. He even uses a similar comparison of the narrative present with a distant past - not that of the Roman invasion, but of primeval man telling tales of his experience.

Typhoon is a short novel by Joseph Conrad, begun in 1899 and serialized in Pall Mall Magazine in January-March 1902. Its first book publication was in New York by Putnam in 1902; it was also published in Britain in Typhoon and Other Stories by Heinemann in 1903.Captain MacWhirr sails the SS Nan-Shan, a British-built steamer running under the Siamese flag, into a typhoon-a mature tropical cyclone of the northwestern part of the Pacific Ocean. Other characters include the young Jukes-most probably an alter ego of Conrad from the time he had sailed under captain John McWhirr-and Solomon Rout, the chief engineer. While Macwhirr, who, according to Conrad, ""never walked on this Earth""-is emotionally estranged from his family and crew, and though he refuses to consider an alternative course to skirt the typhoon, his indomitable will in the face of a superior natural force elicits grudging admiration

Under Western Eyes is a novel by Joseph Conrad. The novel takes place in St. Petersburg, Russia, and Geneva, Switzerland, and is viewed as Conrad's response to the themes explored in Fyodor Dostoevsky's Crime and Punishment; Conrad was reputed to have detested Dostoevsky. It has also been interpreted as Conrad's response to his own early life; his father was a Polish independence activist and would-be revolutionary imprisoned by the Russians, but, instead of following in his father's footsteps, at the age of sixteen Conrad left his native land, only to return briefly decades later.Indeed, while writing Under Western Eyes, Conrad suffered a weeks-long breakdown during which he conversed with the novel's characters in Polish

The Shadow-Line is a short novel based at sea by Joseph Conrad; it is one of his later works, being written from February to December.. It was first published in as a serial in New York's Metropolitan Magazine in the English Review and published in book form in 1917 in the UK (March) and America. The novella depicts the development of a young man upon taking a captaincy in the Orient, with the shadow line of the title representing the threshold of this developmenThe novel has often been cited as a metaphor of the First World War, given its timing and references to a long struggle and the importance of camaraderie. This viewpoint may also be reinforced by the knowledge that Conrad's elder son, Borys, was wounded in the First World War. Others however see the novel as having a strong supernatural influence, referring to various plot-lines in the novella such as the 'ghost' of the previous captain potentially cursing the ship, and the madness of first mate Mr Burns. Conrad himself, however, denied this link in his 'Author's Note'

On my first voyage as chief mate with good Captain MacW-------- I remember that I felt quite flattered and went blithely about my duties, myself a commander for all practical purposes. Still, whatever the greatness of my illusion, the fact remained that the real commander was there, backing up my self-confidence. . . . Until I was unlucky enough to catch my captain in the act of hasty cork-drawing. The sight, I may say, gave me an awful scare. I was well aware of the morbidly sensitive nature of the man. Fortunately, I managed to draw back unseen, and, taking care to stamp heavily with my sea-boots at the foot of the cabin stairs, I made my second entry. But for this unexpected glimpse, no act of his during the next twenty-four hours could have given me the slightest suspicion that all was not well with his nerve

A Personal Record is an autobiographical work (or ""fragment of biography"") by Joseph Conrad, published in 1912.It has also been published under the titles A Personal Record: Some Reminiscences and Some Reminiscences.Notoriously unreliable and digressive in structure, it is nonetheless the principal contemporary source for information about the author's life.[citation needed] It tells about his schooling in Russian Poland, his sailing in Marseille, the influence of his uncle Tadeusz Bobrowski, and the writing of Almayer's Folly.It provides a glimpse of how Conrad wished to be seen by his British public, as well as being an atmospheric work of art.[citation needed]The ""Familiar Preface"" Conrad wrote for it includes the often quoted lines:""Those who read me know my conviction that the world, the temporal world, rests on a few very simple ideas; so simple that they must be as old as the hills. It rests notably, among others, on the idea of Fidelity.""Conrad wrote a new 'Author's Note' to A Personal Record for the Doubleday collected edition of his works (published in 1920) in which he discussed his friendship with the British colonial official and writer Hugh Clifford.

The Secret Sharer"" is a short story by Polish-British author Joseph Conrad, originally written in 1909 and first published in two parts in the August and September 1910 editions of Harper's Magazine. It was later included in the short story collection Twixt Land and Sea (1912). The story was adapted for a segment of the 1952 film Face to Face, and also for a one-act play in 1969 by C. R. (Chuck) Wobbe. A film, Secret Sharer, inspired by the story and directed by Peter Fudakowski, was released in the United Kingdom in June 2014.When the story begins, Conrad implies that the Captain gained his post through connections rather than by steadily rising through the ranks of his fellow sailors. By the end of the story, however, Leggatt helps the Captain become more assured with his command and more respected by his crew.

Set during the Napoleonic Wars, this story features two French Hussar officers, D'Hubert and Feraud. Their quarrel over an initially minor incident turns into a bitter, long-drawn out struggle over the following fifteen years, interwoven with the larger conflict that provides its backdrop. At the beginning, Feraud is the one who jealously guards his honor and repeatedly demands satisfaction anew when a duelling encounter ends inconclusively; he aggressively pursues every opportunity to locate and duel his foe. As the story progresses, D'Hubert also finds himself caught up in the contest, unable to back down or walk away.DigiCat Publishing presents to you this special edition of ""The Point Of Honor: A Military Tale"" by Joseph Conrad. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Victory (also published as Victory: An Island Tale) is a psychological novel by Joseph Conrad first published in 1915,through which Conrad achieved ""popular successThe novel's ""most striking formal characteristic is its shifting narrative and temporal perspectivewith the first section from the viewpoint of a sailor, the second from omniscient perspective of Axel Heyst, the third from an interior perspective from Heyst, and the final section has an omniscient narrator.It has been adapted into film a number of times.