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"An Outcast of the Islands (1896), Conrad's second novel, returns to the Malay world of Almayer's Folly (1895). Focusing on the collapse of Western values and morals in a colonial setting, the novel daringly portrays the power of erotic attraction and exposes the venal ambitions behind small- and large-scale political intrigues. The introduction situates the novel in Conrad's career as a writer and traces its origins and reception. The essay on the text and the apparatus explain the history of the work's composition and publication, and detail the interventions of Conrad's compositors and editors. There are notes explaining literary and historical references, a glossary of nautical terms, illustrations including pictures of early drafts, and appendixes. This edition presents the novel and its preface in forms more authoritative than any so far printed, and restores a text that has circulated in defective forms since its original publication"-- "Conrad's An Outcast of the Islands (1896) returns to the moral world and thematic concerns of his first novel, Almayer's Folly (1895), and to the South-East Asia of his own experience, as he imaginatively revisited the tropics he had left behind him some eight years previously. In committing himself to the novel's writing, Conrad was also taking farewell of his sea-life. The decision to become a professional writer had evolved slowly, in the same way that what was originally to be a short story transformed itself into a full-length novel about moral crisis and its consequences as Conrad discovered that his materials demanded more ample development. While not wishing to pursue the analogy too far, it is perhaps no coincidence that, at the outset of his second novel, the hero's 'little excursion into the wayside quagmires' is intended as no more than 'a short episode--a sentence in brackets so to speak--in the flowing tale of his life: a thing of no moment to be done unwillingly yet neatly and to be quickly forgotten.' Like his central character, Peter Willems, Conrad was to discover that there was to be no going back. He had composed Almayer's Folly, intermittently over a five-year period (1889-94), the manuscript accompanying him from London to various parts of the world--Austrian Poland, the Ukraine, the Congo Free State, Australia and France. By contrast, An Outcast of the Islands took little more than a year to write, from mid-August 1894 to mid-September 1895, and was composed in two places: the writer's London lodgings near Victoria Railway Station, and the Hotel de la Roseraie in the Geneva suburb of Champel-les-Bains, during visits to undergo hydrotherapy treatment for a condition then called 'neurasthenia' (and now termed clinical depression)"--
Europeans --- Trading companies --- Betrayal --- Clerks --- Lingard, Tom (Fictitious character) --- Européens --- Sociétés de commerce --- Trahison (Morale) --- Employés de bureau --- Lingard, Tom (Personnage fictif) --- Fiction --- Romans, nouvelles, etc. --- Southeast Asia --- Asie du Sud-Est --- Fiction.
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When Joseph Conrad’s novel Chance appeared in serial form in the New York Herald in 1912 and in book form in 1914 it established the author’s financial security for the first time. Following years of struggle to reach a wide audience for his fiction, Conrad benefitted from the American marketing of this novel for the women readers of romance. Aggressive advertising promoted the writer’s new focus on a female protagonist and Conrad’s division of the story’s location between land and sea. The novel proved popular and lucrative. Yet in spite of its economic success, Chance remains one of Conrad’s less well-known narratives. This fresh new collection of essays from both young and established scholars opens up a lively critical debate taking Chance beyond the status of best-selling romance. In a striking re-evaluation of the novel these writers examine Chance ’s innovative narrative strategies, its up-to-the-minute commentary on female politics, contemporary ethics, as well as its antecedents in classical debate and the significance of Conrad’s last use of his seaman narrator Marlow.
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